Category Archives: Exhibition

Curator’s Note

Link to exhibition catalague here.

Galeri Khazanah Mini-Exhibition

19 July 2024 – 17 August 2024

Think City@Bangunan UAB, Penang

Link to exhibition catalogue here.

Watch the making of Galeri Khazanah Mini-Exhibition in Penang here.

Watch a special highlight of Galeri Khazanah Mini-Exhibition in Penang here.

Photos and videos courtesy of Khazanah Nasional Berhad.

TUBUH: Selected Works from the Pakha Sulaiman Collection at URMU Toffee

The Spirit of Steel and Human Resilience

Stepping into the exhibition, one is immediately captivated by Mad Anuar Ismail‘s large-scale sculptures and drawings, particularly from the “Storm Riders” series, which stand out with their distinctiveness.

Mad Anuar’s series of steel sculptures depicting stylised figures, “Storm Riders”, skillfully captures the essence of human resilience and poignantly reminds us of our societal challenges. Drawing inspiration from the daily struggles and enduring spirit of the fishermen in his kampung (village) in Terengganu, “Storm Riders” depicts the fishermen either alone, in a pair, or a group of five, defiantly raising their fists atop oars as they confront the turbulent seas. This narrative of struggle and triumph resonates with all of us, reminding us of our battles and triumphs.

The sculptures’ striking compositions combine exaggerated symmetry and sharp lines with softer curves and subtle movements, creating a powerful visual narrative of heroism and perseverance in adversity. Through meticulous craftsmanship, Mad Anuar imbues the work with triumph and endurance, combining welding and forging techniques on industrial steel, requiring immense skill and precision.

Incorporating traditional and local motifs infuses the sculpture with a distinct Nusantara identity, a term that refers to the Malay Archipelago and its shared cultural heritage. At the same time, the use of welded steel reflects the artist’s contemplation of the tensions between traditional livelihoods and the encroachment of modernity. “Storm Riders” is a testament to both the resilience of the human spirit and the enduring beauty of cultural heritage amidst a changing world.

Next, Raja Shahriman Raja Aziddin’s dynamic metal sculptures are strategically placed along the gallery’s corridor. The robust twists that form warrior-like postures invite viewers to analyse their curved and sharp points, creating an interactive viewing experience that encourages the audience to engage with the artworks on a physical level.

His early sculptures, the “Gerak Tempur” series (1996), three from this series are featured in this exhibition, depicted figures that attracted flaks from the general public, particularly within the Malay Muslim community.

In Islamic belief, the prohibition against depicting the human form in sculptures and paintings stems from a desire to avoid idolatry and ensure that worship remains directed solely towards Allah. This principle, known as aniconism, is rooted in the Quran and Hadith teachings, emphasising God’s oneness and caution against any practice that might lead to worshipping images or idols.

As a result, Raja Shahriman’s inner turmoil led him to seek solace in a different artistic direction. His dedication to seeking truth, exploring faith, and studying religious rituals and ceremonies has inspired the creation of the “Api, Bayangan dan Kemenyan” series (1998), followed by “Semangat Besi (2001), which encourages viewers to concentrate on and connect with their inner strengths. The series builds upon the philosophy of earlier works, delving into the role of aggression within a society shaped by post-industrial economic successes.

In 2004, “Nafas” emerged, a collection of metal sculptures that refers to one of the four elements linked to human experiences: earth, fire, water, and wind. It symbolises the breath of life and the artist’s struggle to express his thoughts through art. The “Nafas” series, characterised by the headless human form, is a powerful exploration of objects that breathe. One of the sculptures and two study drawings are featured in this exhibition.

Characterised by abstract lines from forged metal resembling hands, feet, and the human form, the deconstructed form of “Nafas” represents an attempt to alleviate the burden of human figures on his mind.

In his work, Zulkifli Yusoff delves into the study of human emotions such as anger, fear, surprise, disgust, happiness and sadness – exploring the nuances of emotional expression and advocating for the value of sincere self-expression.

Known for his outspoken nature and willingness to confront controversial topics within Malaysian society, Zulkifli has gained notoriety for critiquing issues such as power abuse, social ills, and injustices. His art mirrors our society, reflecting the harsh realities we often choose to ignore and sparking conversations crucial for our collective growth and progress.

In a series of freestanding steel sculptures—a unique medium in Zulkifli’s multidisciplinary artistic practice—he characterises the human qualities in his canvas work in three-dimensional and tangible formats. Using steel as a medium adds a unique tactile and visual appeal to the sculptures and symbolises the strength and resilience of the human spirit that Zulkifli aims to portray. This innovative use of steel as a medium challenges traditional artistic norms and inspires us to view his characters in three-dimensional form.

The Explorations of Inner Struggles

Inside gallery two, viewers will encounter Amron Omar’s pair of large-scale paintings and a series of drawings that illustrate the combative form of silat.  

Amron Omar’s “Pertarungan” is an intense depiction of duelling with oneself through the performance of silat. The traditional martial art is imbued within his environment—his father, a silat master, and Amron, his father’s student. This personal connection to the art form and his family’s influence is a vital inspiration for his artworks, which he brings to life through a meticulous, creative process involving extensive research and sketching.

The diagonal perspectives in Amron’s compositions demonstrate his ability to depict a familiar scene growing up in Kedah – an elevated view from the window of his house overlooking the silat court.

A long-time patron, Pakhruddin Sulaiman, has nurtured a long friendship with Amron. He observes that the pair engaged in a battle are indeed images of the same martial artist—an interpretation of the painter himself. This use of self-representation as a metaphor for personal struggles is a recurring theme in Amron’s works. Adopting the fighting image is a clever visual tool to emphasise or manifest the theme of the greatest battle in Islam, which is the fight or struggle with oneself to fight the dominance of lust in his works of art.

In Islamic tradition, jihad is often understood as a spiritual struggle, commonly called “greater jihad“. This form of jihad involves an internal battle against one’s desires, sins, and temptations. It is the effort to live a righteous life, embodying the principles and values of Islam through self-discipline, self-purification, and moral integrity. This inner jihad aims to achieve inner peace and closeness to Allah, striving to overcome negative traits such as anger, greed, and pride and cultivating virtues like patience, humility, and compassion. This concept emphasises the importance of personal growth and moral conduct in the life of a Muslim.

During the 1980s and 1990s, when figurative art among Malay Muslim artists declined, influenced by the aftermath of the Iranian Islamic Revolution in 1979 and the rise of Islamic revivalism, artists like Amron Omar, Jalaini Abu Hassan, Raja Shahriman Raja Aziddin, Ahmad Fuad Osman, Bayu Utomo Radjikin and several others in this exhibition defied conventional wisdom. Despite the prevailing trends, they boldly pursued overtly figurative artworks, challenging the status quo and swimming against the current.

Jalaini Abu Hassan uses self-representation as an artist embodying the role of a shaman to delve into themes of identity and his Malay heritage, influenced by his familial lineage of shamans. Despite the cultural significance, the integration of animistic beliefs within a predominantly Muslim-Malay identity can generate discomfort and debate.

Jalaini’s artworks embrace his traditional roots, reflecting a personal challenge to reaffirm his artistic prowess. Through an intensive creative process, Jalaini experiments with various media and forms, resulting in enigmatic and evocative drawings that explore spiritual themes and traditional myths.

Key pieces in the exhibition include “The Healer” and “Tok Bomoh”, which pay homage to a shaman depicting Jalaini himself as a traditional doctor, showcasing his self-assured demeanour and cultural influence. These drawings, executed with charcoal and bitumen, demonstrate Jalaini’s mastery of capturing intricate details and evoking emotional resonance. The use of charcoal and bitumen as a medium allows Jalaini to create rich, deep tones and subtle gradations, enhancing the emotional impact of his artworks.

“Bangsawan Melayu” is derived from Jalaini’s solo exhibition titled “Bangsawan Kebangsaan” in Tyler Rollins Fine Art in New York in 2011. The exhibition name alludes to a genre of Malay popular opera known as Bangsawan, intertwined with the concept of national identity (Kebangsaan), akin to a “National Operetta”. Bangsawan, flourishing from the 1920s to the 1960s, blended Malay and Western styles alongside Indian and Chinese influences, featuring vibrant narratives and stock characters like princes, shamans, and enchanting maidens. Jalaini fondly recalls these performances as a primary source of entertainment during his upbringing in a Malay village in the 1960s and 1970s. Much like Bangsawan operas, Jalaini’s work cleverly plays with notions of cultural representation, political intrigue, and the artist’s role on the stage. In essence, Jalaini’s work unfolds as a theatrical presentation in an exceptional performance.

His art is deeply rooted in references to traditional Malay life and culture while also engaging with the contemporary dynamics of Malaysia’s rapidly evolving society. His extensive education abroad influenced him, including an MA from the Slade School of Fine Art in London and an MFA from the Pratt Institute in New York. Jalaini infuses his work with an international perspective and cosmopolitan sensibility. His adoption of bitumen as a principal medium originated during his postgraduate studies in New York City and has since become integral to his artistic practice. Jalaini remains captivated by the potency of iconic imagery, whether traditional or contemporary, continuously pushing the boundaries of drawing and painting as he explores the art-making process.

Bayu Utomo Radjikin’s figurative expressions consistently present a meticulously crafted sense of theatricality. Through his distinctive style of epic realism featuring Malay male protagonists, he also delves into various subjects, ranging from public and personal identity to social commentary and international political tensions.

Beyond drawing and painting mythology and heroism in a distinctive Figurative Realism style, Bayu produces sculptures that explore the spectacle of male identity.

“Growing” is known to be the last sculpture he created based on an image of a boy he saw in a newspaper clipping. Produced in an edition of five, “Growing” features the facial features of a cheerful young boy and a custard apple fruit or buah nona at the back of his head to represent a growing mind.

In his early body of work such as “Helpless: War Poster II”, “Brothers” and “Don’t Let Them Be A Victim”, Bayu conveys the echoes of despair through poignant and harrowing paintings that meticulously document the profound sufferings endured by children amid war, genocide, oppression, and the devastating impact of HIV/AIDS. Each work captures the raw, unfiltered anguish of young lives caught in the relentless tides of conflict, brutality, and disease.

The canvases are a sombre palette of greys, browns, and muted tones, with blood-red speckles reflecting these children’s bleak and desolate environments. His brushstrokes are both delicate and fierce, mirroring the fragile yet resilient spirits of the young subjects. Gaunt faces with hollow eyes peer out from the frames, their expressions a haunting blend of fear, sorrow, and resignation. These are the faces of the skeletal, innocent victims whose dreams and futures have been shattered by the ravages of war and the relentless scourge of HIV/AIDS.

The bleakness of the surroundings amplifies the sense of isolation and abandonment. Amidst the darkness, faint glimmers of hope struggle to shine through. In one artwork, a child clings to the arm of a sibling, their bond a testament to the enduring human spirit. Yet, even this glimmer is overshadowed by the overwhelming sense of despair as survival becomes increasingly precarious and hope fades into the background.

The painting is a powerful narrative that speaks to the enduring human cost of conflict. It serves as a sad reminder of the innocent lives torn apart by war, urging viewers to reflect on the urgent need for peace and compassion in a world fraught with violence and hatred. Through this body of work, Bayu courageously seeks to witness the voiceless and immortalise the suffering that should never be forgotten.

Timeless Narratives

Ahmad Fuad Osman produced larger-than-life self-portraits inspired by the Reformasi – a Malaysian political movement of the late 1990s. These portraits reference the three wise monkeys – the Japanese pictorial maxim “see no evil, hear no evil, and speak no evil”. These renowned paintings have been loaned to his retrospective exhibition “At The End Of The Day Even Art Is Not Important” to coincide with Fuad’s three decades of artistic practice at the National Art Gallery, Kuala Lumpur, in 2019.

In 2007, during Malaysia’s 50^th anniversary of independence, Fuad seized the timely occasion to reflect on the nation’s advancement. Recognising the fading memories of historical events among the populace, he embarked on a “Recollections of Long Lost Memories” project. This involved gathering old photographs and digitally altering them to include an imagined Malaysian figure, inviting viewers to accompany the character on a quest for national identity or to enjoy the journey.

Fuad, a skilled storyteller and a truth-seeker, initiates timely and enduring dialogues. The artwork’s tongue-in-cheek titles reflect his conviction that art should transcend mere aestheticism or ownership, instead catalysing conversation and discourse. Far from being provocative, Fuad emerges as someone committed to fostering understanding of his world, whether on an individual or communal scale, exploring themes of race, faith, nationality, and, ultimately, the shared human experience.

In the “Kosong” (Empty) artwork created in 2007, Fuad depicts a portrait of a Palestinian boy looking upwards, seemingly kneeling, pleading for his life. Tears stream down his face, reflecting his fear, while three bolts and nuts pierce his lips, presenting a harrowing visualisation of torture and oppression. This image resonates even more profoundly today in light of the relentless genocide that occurred in Gaza on 7 October 2023, widely shared across social media, thereby heightening the global call for awareness and action.

Challenging Identity

In gallery four, visitors will be engaged with figurative art and portraits of Malaysian women contemporary artists.

Presenting a more convenient and conventional identity of a Malay Muslim woman, Nadiah Bamadhaj adopts a deliberate feminist stance. Her portrayal of wearing a songkok not only acknowledges the racialisation of this identity but also challenges and subverts it. Her chosen lifestyle and personal choices defy cultural stereotypes and societal expectations of what constitutes an excellent Muslim woman’—such as holding a ‘respectable’ job, being married with children, and residing in the suburbs.

Nadiah’s adorning a songkok in “Menelan Kejut, Termuntah Diam” stands defiant amidst the landscape, challenging notions of belonging and acceptance. The juxtaposition of the animate and inanimate suggests a sense of stagnation and the fleeting nature of life.

In “Udang di Balik Batu,” Nadiah explores architectural motifs to depict elements of local life in Malaysia that she finds unsettling or questionable. A translucent bust wearing a songkok with her back facing the viewer is superimposed. The title, which suggests behaviours with ‘ulterior motives,’ indicates a form of authority and leadership that operates discreetly behind the façade of architectural grandeur.

Nadiah finds it intriguing that the high court would feature a religious symbol. She was fascinated by the concept of what one scholar described as an architectural motif transcending boundaries, from mosques to government towers, and how such elements could reflect the dominance of a single group within a culturally diverse nation.

Nadiah’s portraits convey feelings of submissiveness, fear, questioning, and defiance, offering a nuanced reflection on societal norms and power dynamics. These portraits also show how the state and society regulate and restrict the body, dictating specific behaviours and standards. A resident of Yogyakarta in Indonesia since 2002, Nadiah’s current practice delves deeper into her position within the larger context of Indonesian society.

In 2000, Noor Mahnun Mohamed participated in a year-long Rimbun Dahan Malaysia-Australia Visual Arts Residency programme. Surrounded by the natural setting of Rimbun Dahan in a tropical climate where outdoor human activity thrives, the environment sparks an intense longing in the artist to reconnect with nature and explore landscapes. This longing is beautifully exemplified by a painting titled “Sill”, depicting a woman gazing out of a window. The landscape is mirrored in the windowpane, suggesting a deep desire to immerse oneself in nature, albeit not immediately. The painting is a self-referential expression of the artist’s profound sentiments at the time, inviting the audience to feel the same longing for nature.

Noor Mahnun’s “My Red T-Shirt I, II, and III” is a captivating series that showcases the artist in three distinct hairstyles: an edgy crop, a ladylike bob, and long, flowing locks. These hairstyles, subtly changing over time, symbolise the artist’s evolving identity and her exploration of different facets of herself. As her features subtly change over time, she maintains a consistent expression with sealed lips and piercing eyes, seemingly challenging judgment and scrutinising herself in the mirror. This series is a fascinating exploration of the artist’s evolving identity, inviting the audience to ponder the significance of these changes.

Figurative has always been an essential form of Noor Mahnun’s artistic practice. It takes centre stage in the “Pictures of You, Pictures of Me” exhibition in 2005, where this work was the main highlight – shedding the veil of mystery to reveal deeply personal themes. These themes are personal and deeply emotional, inviting the audience to feel the depth of the artist’s self-expression.

Shia Yih Yiing‘s portrayal of herself as a good mother offers an Asian reinterpretation of fairy-tale magic and darkness, blending elements of whimsy with a hint of peril.

Shia’s artistic style, characterised by sentimentality, symbolic depth, and playful imagery, serves as a vehicle for exploring themes such as fantasy, family dynamics, motherhood, and national concerns.

As she witnesses her children growing up, she becomes increasingly preoccupied with the nation’s issues. She aims to express her thoughts and concerns uniquely through “Sarong of Prayer (Fairly Good Mother)”.

Using fairy tales as a narrative device, Shia can convey her emotions, reflections, and societal engagement beyond the confines of domestic life, serving as a form of poetic resistance.

Balancing the roles of mother, wife, teacher, and artist does not hinder Shia; instead, her everyday experiences in each role inspire her artwork, infusing it with a sentimental essence.

Inspired by children’s toys, Umibaizurah Mahir @ Ismail’s figurines embody playfulness and experimental presentation. Bold and adventurous, the works include hand-painted ceramic and terracotta figurines on plinths. Her unique accessories complement these whimsical installations.

Umibaizurah’s insightful ceramics reflect her thoughts on global issues. Deriving from her third solo exhibition titled “Fragile by Umibaizurah: Recent Works 2015–2016 in 2016, “The Lady’ Smoky Haze'” consists of 15 miniature masked busts assembled in a pyramidal form. Each female figurine is distinctive, with eyes, hair, face masks, and plinths painted in various colours. It is a documentation of the air pollution in Southeast Asia at the time.

Visitors will explore Anurendra Jegadeva’s paintings on canvas and found objects (e.g., a rice cooker) along the corridor of gallery four.

Anurendra Jegadeva is celebrated for his thought-provoking socio-political artworks infused with poetic nuances. As a narrative artist and storyteller, he champions the enduring potency of painted imagery, consistently delving into contemporary and historical themes.

Currently based in Australia, Jegadeva draws from personal experiences and responses to his subjects, whether the post-colonial complexities of multicultural Malaysia or the Asian immigrant experience in Australia. In his work, he skilfully intertwines autobiographical elements with the intricate realities he seeks to depict.

Through diverse artworks, Jegadeva explores the paradoxes of modern life and investigates the dynamics of cultural integration amid the juxtaposition of contemporary and traditional values. Employing a variety of narrative techniques, including recurring symbols, colour symbolism, and techniques reminiscent of temple carvers and comic book artists, Jegadeva navigates the complexities of existence with a multifaceted vocabulary as seen in “happymalaysians”, “Big Black Boots with My Girlfriend’s Photo and Three Muzzled Monk Heads” and “The Line”.

Echoes of Reform

Wong Hoy Cheong’s “Migrant Series” emerged from a pivotal period in his artistic journey, from the mid-1990s to the early 2000s, coinciding with a transformative phase in Malaysia’s political landscape. During this time, Malaysia experienced significant economic growth, becoming one of Southeast Asia’s leading economies while also grappling with the rise of racialism and race-based politics. Wong was deeply engaged with these issues, reflecting his country’s post-war development in his art.

The late 1990s saw the rise of the Reformasi movement, sparked by the fallout from Anwar Ibrahim’s deposition by then-Prime Minister Mahathir Mohamad. This movement mobilised citizens to demand profound structural reforms in Malaysia’s corruption-laden political culture. Wong found himself personally and artistically immersed in this period of turmoil.

The “New Migrants” series debuted in an exhibition that also featured the “Migrants” series, consisting of five large drawings detailing the history of Wong’s Sino-Malaysian family, and the “History of Rubber and Labour” installation, which documented Malaysia’s rubber trade and the migrant labour that sustained it. “New Migrants” comprised large-scale charcoal portraits on paper depicting recent blue-collar immigrants to Malaysia from neighbouring Asian countries, namely “Kak Norbati, Office Worker” and “Mohamad Haque, Construction Worker II”.

In “Maid in Malaysia,” Wong deliberately choreographed images of domestic helpers in superhero costumes or heroic characters to look like billboard-size advertisement lightboxes, portraying them as commodified global icons akin to superhero characters instead of promoting the exploitation of maids. For the artist, the kitsch aesthetic was essential. According to data from 2008, Malaysia had as many as 270,000 foreign maids.

In “Chronicles of Crime”, Wong investigated the glamorisation of crime. “Mandi Bunga / Bath of Flowers” re-imagines the gruesome murder of Batu Talam state assemblyman Mazlan Idris by a Malaysian female bomoh (traditional medicine woman), Mona Fandey and her partner in 1993.

Polite Provocation

 Noor Azizan Rahman Paiman is one of Malaysia’s leading social commentary artists. He is known for his parodic and satirical portrayals of national figures, protagonists, and antiheroes. Through witty, insightful art, he deftly navigates social norms and politics. His works are rooted in contemporary Malaysian life and offer sly commentary and humorous asides, featuring familiar personalities depicted as flying creatures in the skies.

A substantial number of drawings from his series “The Code” were exhibited at the 5^th Asia-Pacific Triennial of Contemporary Art at Queensland Art Gallery in 2006. This series portrays politicians and other figures engaging in typed dialogues in Bahasa Malaysia and English, highlighting the humour and flaws of everyday life and its notable participants. The texts are drawn from newspapers, magazines, and other media sources, resonating with Malaysians.

Vivid and amusing, these sharp commentaries also invoke mythical beings from Southeast Asian folklore, illustrating that contemporary issues and controversial events in Malaysia’s socio-political landscape often mirror ancient stories.

“Pendeklamator Mimpi” is one of the most significant oil on canvas paintings by Paiman that was created in 2012 to document the polls for the Malaysian state governments as indicated by the bar charts on each side of the canvas – on the right shows the numbers from the then government and on the left is of the opposition’s. Paiman’s signature flying creature characters and quirky figures populate the whimsical and vibrant setting. A protagonist cartoon figure adorning gold buttons adds humour to the artwork, symbolically challenging the identity of power.

The Veil of Smoke

Ahmad Zakii Anwar’s most recognisable works are the “Smokers” series, which uses cigarette smoke as a mask to represent our reluctance to reveal our true selves.

Contrary to what Zakii evasively suggests, “The Smokers” series is not solely about his love of smoking. While the series may have been sparked by an incident with a friend, the incident was merely a catalyst. The veil of smoke emerged as a device to explore the duplicitous nature of humanity.

The series is seminal in Zakii’s body of work because it lays the foundation for his later work’s allegorical content and aesthetic sophistication. “Deconstructed Verses,” “Dark Interior,” and “My Finger is on Fire” are featured in Zakii’s solo exhibition, Disclosure, in 2008. The exhibition catalogue represents the first comprehensive study of Zakii’s artistic career spanning two decades since 1988.

Widely recognised as a significant influence on the evolution of figurative realism in contemporary Malaysian painting, Zakii has explored a wide array of ideas and styles in his work, from still life to digital photo manipulation.

Faces of Power

The final gallery is dedicated to witty, satirical, and matter-of-fact portraits of notable Malay politicians, each capturing a distinct phase in Malaysian history.

In two separate paintings titled “Makan” and “Suap”, Mad Anuar Ismail depicts an image of Tun Abdullah Ahmad Badawi, Malaysia’s fifth Prime Minister (2003 to 2009), hand-feeding his deputy Najib Razak (2004 to 2009). Witnessed by Muhammad bin Haji Muhammad Taib, former Selangor First Minister (1986 to 1997) and Rosmah Mansor, Najib Razak’s wife, the celebratory occasion is infused with humour and subtle criticism.  

The gesture symbolises scandalous bribes and corruption by those surrounding the Prime Minister, who portrayed the “Mr Nice Guy” or sleepy image during his tenure. 

Ahmad Fuad Osman captures Anwar Ibrahim’s infamous black eye incident, which occurred as a result of an assault in prison by the former Malaysian police chief Abdul Rahim Noor on the evening of his arrest on 20 September 1998. Parti Keadilan Rakyat, or the People’s Justice Party, was formed in 1999, using as its flag a symbol of Anwar Ibrahim’s black eye.

Ahmad Zahid Hamidi, Malaysia’s 11^th and 14^th Deputy Prime Minister, whose portrait is illustrated as a Tiang Seri, or central pillar, holds paramount importance in the traditional construction and engineering of the Malay kampung dwelling. Renowned among the Malays for its mystical significance, the Tiang Seri was believed to safeguard the household by serving as a bulwark against evil forces. In the past, the Malays held the conviction that the Tiang Seri maintained security by acting as a barrier against evil interference.

Here, Ahmad Fuad Osman depicts Ahmad Zahid Hamidi as a figure of resilience and controversy. The artwork represents his rise through the political ranks, juxtaposed with elements questioning his integrity and leadership. He stands on a sturdy pillar, symbolising his contentious role in Malaysian politics.

Pakha’s Portraits

Interspersed along the corridor are intimate portraits of the collector and art patron Pakha Sulaiman. These portraits add a personal touch to the exhibition, highlighting Pakha’s moments of vulnerability when sitting for the artists. As the final section of the gallery, these portraits offer a moment of reflection on the selected artworks for the “Tubuh” exhibition, depicted through the discerning eyes of Malaysian contemporary artists.

Also on display are the actual objects featured in Amron Omar’s life drawings: a Marcel Breuer Wassily Chair depicted in the portrait of Pakha Sulaiman and a yellow single-seater sofa shown in the depiction of Fatimah Sulaiman. Visitors can admire these pieces in the gallery space, bridging the artwork with its tangible inspirations.

Sarah Abu Bakar

Co-curator

Watch CIMB Artober Art & Soul 2024 Presents Art Living with Pakha Sulaiman here.

Threads of Perception: Exploring Interwoven Realities

April, 18 – May 11, 2024

HARTA Space

Welcome to Interwoven Realities – a group exhibition at Harta Space – where the boundaries of reality blur and intersect in a mesmerising display of artistic expression. Interwoven Realities brings together the works of 32 talented artists, each offering a unique perspective on the intricate tapestry of existence.

Within these walls, you will encounter a diverse array of styles and mediums, reflecting the multifaceted nature of our shared reality. From the ethereal landscapes of abstraction to the precision of geometric lines, from the evocative narratives of figurative art to the cutting-edge innovation of digital creations, every piece contributes to the rich fabric of our collective experience.

Sculptures rise like monuments to human ingenuity, while text-based art speaks volumes in its silent eloquence. Textile and fibre-based works invite touch, weaving threads of meaning and memory into tangible form.

As you wander through this exploratory exhibition, allow yourself to be transported beyond the confines of everyday perception. Here, the boundaries between the real and the imagined blur, inviting contemplation and sparking conversation. Interwoven Realities invites you to discover the myriad ways in which our world is shaped, connected, and transformed through the lens of artistic vision.

Let’s delve into the curated journey through diverse thematic sections that illuminate the complex tapestry of existence through compelling artworks and discover the captivating narratives woven by our talented artists:

Abstraction: Enter a realm where form dissolves into essence, as Adam Ummar (Universo), Alicia Lau, Azam Nasri, Emy Thiran, Mulaika, Kika Goldstein, and Nini Marini evoke emotions and provoke thought through their enigmatic compositions.

Digital Art: Witness the convergence of technology and creativity as Aliya Mai Sarah pushes the boundaries of visual expression inspired by the potent beauty of Garcinia atroviridis, a homage to nature’s quiet power and resilience.

Figurative: Explore the depths of human experience through the dreamlike interpretations of Danielle Lin, Lim Yong Wei’s pursuit of personal strength, and Elly Nor Suria’s evocative representations.

Geometric Lines: Experience the harmony of tradition, materiality, and introspection through intricate patterns and precise forms by Agnes Lau, Arikwibowo Amril, Cheong Tuck Wai, Falil Johari, Farah Ashira Mohammad Ariffin, and Fazrin Abdul Rahman.

Sculptures: Marvel at Mohd Saharuddin Supar’s Bom Bunga, forged from mild steel in an expression of freedom and physical manifestation of artistic vision in three-dimensional form and Anniketyni Madian’s delicate yet sturdy embodiment of beauty and tradition weaving together original songket, 3D laser cut motifs, with resin, wood and metal in an exquisite wall-mounted sculpture.

Text-based Art: Delve into the fusion of semantics and graphics as Abu Fikrah, Ammar Idris, Anas Afandi, Muhammad Ibrahim, and Raja Muhammad ‘Imran weave language into visual narratives, enhancing conceptual artworks with layers of meaning and introspection.

Textile, Fibre and Alternative Art: Immerse yourself in emotive expressions crafted from textile, fabric, and alternative media, as Ang Xia Yi, Cheong See Min, Jakob van Klang, Kimberley Boudville, Nadia Nizamuddin, Nor Tijan Firdaus, Nurul Diyana Kairulanuar, and Xeem Noor weave together personal memories and experiences to explore the intersections of the personal and the universal.

Each section offers a distinct perspective on the interwoven realities that shape our world. From established luminaries to emerging talents, these artists invite you to journey through the intersections of imagination and truth, where meaning unfolds in myriad forms.

Curator

Sarah Abu Bakar

28 March 2024

Link to exhibition catalogue here.