It is with immense pleasure that I welcome you to the Seni Setulus Hati RHB Art with Heart 2024 exhibition by RHB. This year’s event is a remarkable confluence of artistic diversity and exceptional talent, bringing together 89 distinguished artists who present over 200 captivating works. The collection spans a rich array of styles, including landscape, abstract, stilllife, and surrealism, each rendered through various techniques such as acrylic and oil painting, mixed media, paper quilling, weaving, and drawing, promising a truly diverse and exciting experience for all art enthusiasts.
A particularly poignant element of this exhibition is the inclusion of 18 differently-abled artists (Persons with Disabilities). Their works not only showcase their immense talent but also their indomitable spirit. We are honoured to feature the exquisite creations of deaf artists such as Candice Singha Wong, Lim Anuar, and Zulaiha Zulkapli. Additionally, the remarkable contributions of Nur Fariza, who bravely overcomes the challenges posed by mucopolysaccharidosis type IV, a rare genetic condition, stand as a testament to the transformative power of art, inspiring us all.
Of the 89 participating artists, 55 are making their debut at the Seni Setulus Hati RHB Art with Heart 2024 exhibition. These emerging artists infuse the exhibition with fresh perspectives and innovative approaches. We take pride in highlighting talents such as Afi Sulaiman, a distinguished children’s book illustrator, alongside Farah Ashira, Puteri Mas Aishah and Adam Lais, who are currently pursuing undergraduate studies in Fine Art and Landscape Architecture at Universiti Teknologi Mara. We also welcome Lim Zhi Wei and Lee Ren Xin, recent graduates in Fine Art from the Malaysia Institute of Art.
This splendid initiative by the RHB Banking Group epitomises their commitment to fostering and nurturing young local artists. It provides them a platform to exhibit creativity, connect with potential patrons and collectors, and inspire public appreciation for homegrown art. The RHB Art with Heart initiative has flourished over the years, and this edition promises to be grander and more exhilarating than ever. It offers an unparalleled opportunity for audiences to view the art and engage with the artists, fostering a deeper appreciation for their work.
Curating this exhibition has been a wonderful experience, made possible through the invaluable assistance of my esteemed co curator, Danial Fuad, and the dedicated efforts of our team members, Azam Aris and Jiko. We are profoundly grateful to RHB Banking Group for their unwavering support and commitment to fostering and nurturing young local artists. Their contribution is instrumental in making this exhibition a reality, and we are sure you will join us in appreciating and supporting their efforts.
I invite you to immerse yourself in this vibrant and diverse collection, to be inspired by the creativity on display, and to join us in celebrating and supporting these remarkable artists.
A special tour for the Campus Rangers International School students organised by teacher and artist, Mr, Eugene Nandakumar.Sarah Abu Bakar with Pahang Royal Princess HRH YAM Tengku Puteri Raja Tengku Puteri Afzan Aminah Hafidzatullah binti Al-Sultan Abdullah Ri’ayatuddin Al-Mustafa Billah Shah.
Galeri Khazanah is delighted to present a mini-art exhibition titled Journeying Through Malaysian Art, Imagination and Legacy to celebrate Khazanah Nasional Berhad’s 30th anniversary.
This exhibition showcases 46 diverse artworks by 31 Malaysian modern and contemporary artists from our corporate collection, including the past participants of the Khazanah Nasional Associate Artist Residency Programme (2017 until 2023).
A selection of artworks from the collection, spanning various media such as batik, digital print, drawing, mixed media, painting, photography, and sculpture, is being displayed for the first time in Penang to engage a broader audience.
At the heart of this exhibition lies the harmonious blend of tradition and innovation, with a notable selection of seven sculptures, each brought to life in a unique and interactive way through augmented reality.
As we commemorate three decades of growth and contribution to our beloved nation, this exhibition not only marks a significant milestone in our journey since the launch of Galeri Khazanah’s virtual gallery at galeri.khazanah.com.my in 2022 but also reaffirms our dedication to fostering creativity, innovation, and cultural enrichment within our community over the past decades.
Galeri Khazanah berbesar hati mempersembahkan pameran seni mini bertajuk Mengembara Melalui Seni, Imaginasi dan Warisan Malaysia untuk meraikan ulang tahun ke-30 Khazanah Nasional Berhad.
Pameran ini menampilkan 46 karya seni yang pelbagai oleh 31 artis-artis moden dan kontemporari Malaysia dari koleksi korporat kami, termasuk alumni Program Residensi Rakan Artis Khazanah Nasional (2017 hingga 2023).
Pilihan karya seni dari koleksi kami merangkumi pelbagai media seperti batik, cetakan digital, lakaran, media campuran, lukisan, fotografi dan arca, kini dipamerkan buat pertama kalinya di Pulau Pinang untuk khalayak yang lebih luas.
Teras kepada pameran ini adalah gabungan harmonis antara tradisi dan inovasi, melalui tujuh arca yang terpilih, setiap satu dihidupkan dengan cara yang unik dan interaktif melalui realiti terimbuh (augmented reality).
Tatkala kami memperingati tiga dekad pertumbuhan dan sumbangan kepada ibu pertiwi, pameran ini bukan sahaja menandakan pencapaian signifikan dalam perjalanan kami sejak pelancaran galeri maya Galeri Khazanah di galeri.khazanah.com.my pada tahun 2022, tetapi juga mengukuhkan lagi dedikasi kami untuk memupuk kreativiti, inovasi dan pengayaan budaya dalam komuniti kita sepanjang beberapa dekad yang lalu.
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.
L-R: Khazanah Residency Programme 2023 Artist Mark Tan, Galeri Khazanah Consultants Mudzafar Abdullah Sanusi and Sarah Abu Bakar, Khazanah Nasional Berhad Managing Director Dato’ Amirul Feisal Wan Zahir, Think City Managing Director, Dato’ Hamdan Abdul Majeed, Khazanah Residency Programme 2018 Artist Eryn (Winnie Cheng) and Khazanah Nasional Berhad Senior Vice President Corporate Communications Amelia Wardah Kassim.A visit to Think City Penang and Galeri Khazanah mini-exhibition by the Lord Mayor, City of Adelaide, Dr Jane Lomax-Smith AM (fifth from right) and delegates on 9 August 2024.Sarah Abu Bakar demonstrated the Augmented Reality sculptures at Galeri Khazanah mini-exhibition to Penang State Executive Councillor for Tourism and Creative Economy Yang Berhormat Tuan Wong Hon Wai on 20 July 2024.One of the guided tours for schools during Galeri Khazanah mini-exhibition in Penang.
A special tour for National Art Gallery Malaysia Chairman YBrs. Encik Shaik Rizal Sulaiman and friends on 27 July 2024.
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 50th 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 5th 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 11th and 14th 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.
L-R: Artist Bayu Utomo Radjikin, Emma Shaari, Ahmad Fuad Osman and Pakha Sulaiman.L-R: Artists Bayu Utomo Radjikin and Ahmad Fuad Osman, Emma Shaari and Pakha Sulaiman.L-R: Pakha Sulaiman and Bayu Utomo RadjikinL-R: Artists Noor Azizan Rahman @ Paiman and Noor Mahnun Mohamed @ Anum.L-R: Noor Mahnun and Pakha Sulaiman.Noor Azizan Rahman @ Paiman with his artwork “The Coward’s Family” (2012).Noor Mahnun Mohamed with her artwork “My Red T-Shirt I,II,III” (2005).Noor Azizan Rahman @ Paiman with his artwork “Pendeklamato Mimpi” (2012).L-R: Noor Mahnun Mohamed and Sarah Abu Bakar.L-R: Sarah Abu Bakar and Noor Mahnun Mohamed.
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.
Habib group executive chairman Dato’ Seri Meer Habib at the media launch of “Interwoven Realities” at HARTA Space on 18 April 2024.Sarah Abu Bakar in an interview with the media at the launch of “Interwoven Realities” at HARTA Space on 18 April 2024.
Framing a Moment in Fathers and Daughters’ Journey with Art
Nazura Rahime and Sharmin Parameswaran are the sole daughters of Rahime Harun (1954 – 2008) and Dato’ N. Parameswaran (1948 – 2022) and grew up amidst their respective fathers’ art-collecting journeys. “Bapaku Pulang” encapsulates the early recollections of both daughters as preschoolers growing up with art until adulthood. With the exhibition, Nazura and Sharmin offer a glimpse into the selection of artists and subject matters that their fathers favour with the intention of breathing new life and meaning into the artworks.
Rahime and Dato’ Parameswaran connected through art when Rahime founded A.P Art Gallery in 1983 with his late wife, Zarina Ariffin (1955 – 2010), Nazura’s mother. Initially located at the Anak Alam Space in Padang Merbok, Kuala Lumpur, the gallery opened in Equatorial Hotel, Kuala Lumpur, then moved to KL Hilton, Jalan Sultan Ismail, Kuala Lumpur. Rahime acquired a three-storey building in Taman Melawati, Kuala Lumpur, in 1993 that now houses Nazura’s production company, Manggis Group, which was established in 2003 with her husband, Fauzee Nasir and A.P Art Gallery since its resurgence in 2018.
Dato’ Parameswaran joined the Ministry of Foreign Affairs Malaysia in 1969. Between 1971 and 1981, he served the Malaysian Missions in Jakarta, New York, Addis Ababa, and Nairobi. While in New York, USA, from 1973 to 1975, Dato’ Parameswaran began visiting art museums with his wife Lyn Loh Siew Ling (1948 – 1991), Sharmin’s mother. They first met as sixth-form students at the Anglo-Chinese School in Ipoh, Perak.
“My mother was the one who was artistically inclined, and inspired my father with her appreciation for visual arts and music. I have fond memories of my childhood listening to her play the guitar singing my favourite song as a kid, ‘Angel of the Morning’. I think the start of my father’s passion for the arts came from her,” recalled Sharmin.
Sharmin was born in Kuala Lumpur in 1978. At the time, Dato’ Parameswaran was the Charge d’ Affaires for the Embassy of Malaysia in Addis Ababa, Ethiopia. From 1986 to 2008, Dato’ Parameswaran was Head of Missions in Switzerland, Vietnam, and Singapore.
Nazura was born in her mother’s hometown in Kota Bharu, Kelantan, in 1979. At the age of four, Nazura spent her weekends at Rumah Anak Alam – a bungalow that housed artistic activities by artists, poets, and theatre actors – and attended art lessons with resident artist K. Thangarajoo alongside artist-couple Mustapha Haji Ibrahim and Maryam Abdullah’s son, Zaihan.
Rahime was remembered as “a passionate champion of Malaysian culture” and “a highly competent art business entrepreneur and administrator”. He instilled in Nazura the greatest gift of life values, hard work, and perseverance.
When A.P Art Gallery opened an outlet in Central Market, Kuala Lumpur, in 1985, Nazura assisted her parents on weekends. Her task was to sell postcards to tourists for 60 cents. She earned RM10 a day and looked forward to spending her hard-earned income at Kentucky Fried Chicken.
“My father used to tell me every time he spoke about art: ‘Paint what you see, know and feel’. Anak Alam and Central Market were my playgrounds when growing up. Art museums and galleries across the country were my holiday destinations, where most often I would be throwing tantrums in front of these museums as I did not appreciate art as a child. Looking back on these memories, I realise that this love-hate relationship I have with art is what I treasure now, each artwork a reminder of my life. For ‘Bapaku Pulang’, I am looking to pass on the artworks knowing it will give a new meaning to others.”
In 1984, Rahime Harun attended a Diploma course in Entrepreneurship Development (Art Business) in Turin, Italy, to serve the Malaysian art market. He took the opportunity to visit the Peggy Guggenheim Collection. This museum houses the personal collection of Peggy Guggenheim’s 20th-century European and American art, which inspired him to own a private museum back home.
In 1995, Rahime Harun presented an exhibition titled “Pursuing a Dream – The Collection of Rahime Harun” at Galeri Petronas, Kompleks Dayabumi, Kuala Lumpur, which featured 135 artworks by artists such as Abdullah Ariff, Datuk Syed Ahmad Jamal, Latiff Mohidin, Siti Zainon Ismail, Khalil Ibrahim, Ahmad Zakii Anwar, Rafiee Ghani, the Matahati collective, and more.
The exhibition was held in conjunction with his 42nd birthday. The launch coincided with the signing a memorandum of understanding between Rahime Harun and Perbadanan Muzium Melaka to loan his art collection to Muzium Melaka.
As for Sharmin, her parents separated when she was eight years old. Her mother raised Sharmin until her untimely demise in 1991. Sharmin then lived with her maternal uncle and aunty throughout secondary school and college. While commencing tertiary education in Australia, she travelled to Europe and America solo – a brave endeavour for a young woman, reflecting her independent and strong-willed nature. In 2000, Sharmin graduated with a BA (Hons) in Commerce, majoring in Accounting from the University of Melbourne in Australia. She began her career in the media industry in 2003 and crossed paths with Nazura.
Dato’ Parameswaran was introduced to many artists of the time by Rahime; among them was Malaysia’s foremost wayang kulit artist, Nik Zainal Abidin, sculptor Raja Shahriman Raja Azzidin and printmaker Juhari Said.
During Dato’ Parameswaran’s stint as Ambassador of Malaysia, he has hosted several excursions for Malaysian artists abroad. An example is an excursion organised by the Malaysian Artists Association led by Ahmad Khalid Yusof to Hanoi, Vietnam, in 1993.
During the trip, artists like Rahime Harun, Zarina Ariffin, Khalil Ibrahim, Long Thien Shih, Sanip Lasman, and Ahmad Zakii Anwar, among others, visited artists’ studios, art exhibitions and cultural programmes.
An exhibition titled “Titian III” by Malaysian artists was held at the Hanoi School of Fine Art in Hanoi, Vietnam.
This moment was captured by Rahime and Zarina as exemplified in their watercolour paintings titled “Teatime” (1993) and “The Passage, Hanoi” (1993) featured in ‘Bapaku Pulang’.
Although Dato’ Parameswaran spent 39.5 years working abroad, he did make time with Sharmin to do activities he loved at home, such as visiting artists at their studios or having meals with them and discussing art. Sharmin’s lack of enthusiasm as a teenager for these types of outings corresponds with Nazura’s.
For Sharmin, visiting family members in Penang will ultimately be extended to paying visits to artists like Tan Choon Ghee, Dato’ Tay Mo Leong and Penang Art Gallery’s Dato’ Dr Tan Chee Kuan.
“My father funded my first year of university by selling art, especially as I was abroad during the 1997 financial crisis where the Malaysian ringgit plummeted.” said Sharmin.
In 2015, the National University of Singapore Museum presented an exhibition titled “Vietnam 1954 –1975: War Drawings and Posters from the Ambassador Dato’ N. Parameswaran Collection”, which showcased one of the largest known singular collection of drawings and posters from the Vietnam War” on loan to the NUS Museum for a period of three years to prospect research and to facilitate teaching.”
Sharmin explained: “Inheriting an art legacy swings between daunting and exciting. My father has passed on for more than a year, and I am still going through his collection attempting to understand his reasons and passion for collecting. ‘Bapaku Pulang’, featuring Malaysian works, is just the start of this process, where I do intend for the collection to move on to where it would be appreciated and best resonate as art will mean different things to different people.”
She also shares similar views and perspectives on art with her father. Both appreciate visual arts based on sight, emotions and develop a bond with artists by talking to and working with them. “However, where we differ is in the appreciation of mediums, with my father having a preference for traditional paintings, a medium in which he is familiar and knowledgeable with. As for myself, having grown up across analogue and digital media, I have an appreciation and excitement for progressing forms and mediums of art expressions. Not to mention, being a fan of current popular culture,” said Sharmin.
The father-daughter duo worked on a project together, culminating in an exhibition titled “At First Glance” in 2012 that was held at White Box, Publika, Kuala Lumpur. The show has given impetus to impending curatorial work for Sharmin, which has surpassed 40 art events.
In 2013, Dato’ Parameswaran established Interpr8 Art Space, an art gallery in Publika, Kuala Lumpur, with Sharmin. His interest in acquiring, collecting, and deaccessioning artworks was most active during this period. Among the solo exhibitions he organised at Interpr8 were by Nik Zainal Abidin and Haron Mokhtar.
In Nik Zainal Abidin, Dato Parameswaran found lasting friendship until the artist’s demise in 1993. Dato’ Parameswaran admired Nik Zainal’s use of vibrant colours to depict the accuracy of the characters from the Hindu epic, Ramayana.
Dato’ Parameswaran also had a strong interest in Dzulkifli Buyong’s work. In 2019, Sharmin interviewed her father to discuss the talented artist’s work. His account of the published interview reads:
“It was through the late Rahime Harun, who ran an art shop at the National Art Gallery. I used to go there very often, and we became very good friends. Rahime knew of my interest in Dzulkifli Buyong (Dzul) as the National Gallery used to feature his works frequently. There was a group show in 1986, in which Dzul was exhibiting. I went there excitedly, and of course all his works had been booked already. One work, ‘Menghafal’, was of a girl walking and memorising a book, and a cat following behind. This work had been booked by Rahime, and because he knew of my keen interest, he said to me, ‘Since you like Dzul so much, I’ll transfer my booking to you.’ That was how I got my first Dzulkifli Buyong artwork. And it was Rahime who told me to go and see Dzul. He revealed that Dzul had a series of watercolour self-portraits that few had seen. Rahime was at that time one of the best art entrepreneurs in town.”
When Sharmin asked when Dato’ Parameswaran began to take an active interest in Malaysian visual art, he replied: “It was much later in 1985. I was flying back to New York one day, with a stopover in Taiwan. On the plane there was a magazine called Salam, a magazine of the Malaysian Hoteliers Association, and outside on the cover was a Tan Choon Ghee artwork. I took the magazine, and inside there were many pictures of his works reproduced, which reminded me so much of Dong Kingman. I read the article, and it said that the person who was handling the artworks was Victor Chin of Rupa Gallery, at that time located in Old Town, PJ. When I returned from that trip, I went to find and meet Victor Chin, with the intention of buying and perhaps meeting Tan Choon Ghee. Instead, I ended up buying my first ever artwork, a stone lithograph by Victor Chin at RM400. It depicted minaret tops of the KL railway station building.”
The lifelong journey of art collecting comes with excitement and grievances – the mutual feelings that Nazura and Sharmin have in common. Having left with their fathers’ legacies, Nazura and Sharmin come to terms with everlasting memories attached or detached to/from objects of desire and, in doing so, experience grieving/celebrating a loved one.
National laureate Baha Zain captures the essence of the patriarchal figure in his poem titled “Bapaku” (1979):
Bapaku
Dia tak memerlukan kemasyhuran atau kuasa
Dan tak memuja sesiapa
Dia bagai gunung Titiwangsa
Selalu di depan mata
Tidak memberi penjelasan
Dan tidak meminta maaf.
ISMAIL MAT HUSSIN
Untitled
Watercolour on paper
80 x 92cm
RM 2,800
Ismail Mat Hussin (1938-2015) was a remarkable artist whose batik paintings captured the attention of Malaysian art lovers with his technical mastery and representations of Malaysian daily lives. This watercolour on paperwork depicts a motherly figure with her four children leisurely lounging on the compound of their kampung house. This heart-warming scene of simple living illustrates the pleasures of family bonds. Ismail Mat Hussin was a member of the Angkatan Pelukis Semenanjung (APS) Kelantan and Persatuan Seni Lukis Kelantan (PESENI).
ALI ‘MABUHA’ RAHAMAD
Egypt II, 1979 Oil on canvas 27cm x 20cm
RM 3,500 SOLD
Ali ‘Mabuha’ Rahamad (b. 1952) spent over four decades travelling the world from Singapore, India, Nepal, Pakistan and Afghanistan to Turkey, Greece, Switzerland, Holland, Germany, Egypt and more. Ali captures the complexities of the modern world and the intricacies of the hundreds of cultures that span the globe, such as this oil painting titled “Egypt II”, dated 1979.
Ali was a member of the influential Anak Alam collective in the 1970s and was involved with Angkatan Pelukis Semenanjung. Ali is A self-taught artist known for his surrealistic style and masterful use of colours that invoke feelings of serenity, peace, and calmness amid worldly turmoil.
MARYAM ABDULLAH
Kinabalu, 1985
Pastel on paper
83 x 64cm
RM 8,000 SOLD
Maryam Abdullah (b. 1951) is an abstract artist most active during her years with the Anak Alam group of the 1970s. This pastel on paper titled “Kinabalu” depicts 12 multi-coloured abstract shapes and stylised icons floating against an arc demarcated by a solid colour palette of pastel pink and light blue. Her delicate and feminine interpretation of nature reflects the agenda of the time: “the desire to become one with nature”. Maryam, alongside Mustapa Haji Ibrahim, managed the premises of Anak Alam colony, Rumah 905, in the 1970s.
MUSTAPA HAJI IBRAHIM
Untitled, 1988
Acrylic on canvas
89 x 130cm
RM 12,000 SOLD
Mustapa Haji Ibrahim (b. 1946) is an unassuming artist who prefers to keep a low profile, loyal to the ways and views held by the Anak Alam members. In 1974, he was one of the artists who formed the Anak Alam collective. His art activities had already started before he enrolled in the Angkatan Pelukis Se-Malaysia (APS) at the Taman Budaya Studio, Jalan Ampang, Kuala Lumpur, in the late 1960s. Among his solo exhibitions include shows at the British Council in 1973, Anak Alam Studio in 1979, the Equatorial Hotel in 1983 and “Mustapa Haji Ibrahim: Paintings 1968-2008 4th Solo Exhibition” at RA Fine Arts, Kuala Lumpur in 2008. His paintings reflect his passion for nature, expressed through organic shapes and forms in a harmonious colour palette.
MOHAMED ZAIN IDRIS
Rural Passage, 1982 Watercolour on paper 106 x 84cm
RM 8,000
Mohamed Zain Idris (1939 – 2000) was a gifted artist who excelled in watercolour, capturing the spectacular scenes of idyllic rural Malaysian landscapes such as “Rural Passage”, created in 1982. Born in Kampung Nail, Besut, Terengganu, Mohamed Zain Idris attended Sekolah Melayu Kuala Besut in Terengganu and was later honoured as the Terengganu state’s Guest Artist by the 10th Chief Minister of Terengganu, Tan Sri Haji Wan Mokhtar bin Ahmad from 1991 to 2000. During his lifetime, he held four solo exhibitions with Samat Art Gallery (1971 and 1972), at Hotel Equatorial (1984) and Hotel Shangri-La (1987) in Kuala Lumpur.
NIK ZAINAL ABIDIN
Wayang Kulit in Red & Green, 1989
Watercolour on paper
50 x 57cm
RM 8,000 SOLD
Nik Zainal Abidin Nik Mohamad Saleh (1933 – 1993), known as Nik Zainal, is revered for his impeccable drawings, illustrations, and paintings of the characters from the Hindu epic Ramayana. A self-taught artist, Nik Zainal moved to Kuala Lumpur in 1955 and attended informal art lessons with the Wednesday Art Group led by Peter Harris. In 1960, he was commissioned by Tunku Abdul Rahman, Malaysia’s first Prime Minister, to design the “Kunci Ibu Kota”, the Royal Throne for the first Yang-di Pertuan Agong and cokmar.
The late Dato’ N. Parameswaran was known to own “the biggest single collection of Nik Zainal’s works”. In 2013, Dato’ Parameswaran organised an exhibition titled “Nik Zainal Abidin: Malaysia’s Foremost Wayang Kulit Artist” that showcased more than 60 of Nik Zainal’s works in various media and wide-ranging subject matters such as figurative, Islamic calligraphy and landscape. Dato’ Parameswaran purchased his first Nik Zainal artwork through the late Rahime Harun, an art dealer and owner of A.P Art Gallery, in 1986.
TAN CHOON GHEE
Nagore Durgha Sheriff, Leboh Chulia Penang, 1986
Watercolour on paper
66 x 76cm
RM 8,000
Tan Choon Ghee (1930 – 2010) was an observant visual artist interested in chronicling street scenes and historical buildings. Many fine examples are manifested through his watercolour and ink renditions of daily activities in Penang, such as this immaculate work titled “Nagore Dargha Sheriff, Leboh Chulia Penang).
Constructed in the early 1800s by the Chulia community as a Muslim sacred shrine for the revered Sufi saint Shahul Hameed (1490–1579 CE), the original Nagore Dargah that houses the tomb of Shahul Hameed is in Nagore, a coast town in Tamil Nadu, India.
FUNG YOW CHORK
Masjid Tengkera, Melaka, 1984
Oil on canvas
49 x 43cm
RM 2,500 SOLD
Venue: Bangsar Shopping Centre, Concourse, Kuala Lumpur
Curator: Sarah Abu Bakar
Co-curator: Danial Fuad
Curator’s Introduction
RHB Banking Group’s Art with Heart (AwH22) exhibition continues with its fourth instalment, encouraging and elevating the local arts scene while enriching vulnerable communities’ lives. Over the years, the exhibition has garnered much interest from art enthusiasts and artists alike and established itself as amongst the most anticipated events to showcase the talents of local young and emerging artists.
Themed “Rising Together”, AwH22 brings equal gender representation and gives prominence to artists from diverse backgrounds and age groups, featuring over 100 artworks by 53 Malaysian artists. These numbers surpass the previous RHB Art with Heart exhibitions, reflecting the growing reach and impact of AwH22 within the arts fraternity.
AwH22 comes at a most opportune time when our local arts community works to rebuild following the prolonged COVID19 pandemic. It has indeed been a challenging period for local artists; where a survey by the Cultural Economy Development Agency (CENDANA) during the Movement Control Order period found that more than 90% of the respondents were negatively impacted by the COVID19 pandemic, with 70% of them having lost all or most of their income.
Rising together through this adversity, the arts fraternity strengthened their bond, forging ahead with innovative and novel ways to bring inspiring stories to life through their works of art.
To add even more meaning to AwH22, the exhibition creates a unique opportunity for visitors to appreciate the works of Persons With Disabilities (PWD) artists, including those from We & I Art collective, as well as the creativity of artists diagnosed with Autism Spectrum Disorder (ASD), and Down Syndrome. On display are also photographs captured by a talented group of visually impaired photographers trained by professional photographers from Plus Community Partnership.
This year, AwH22 features various visually stimulating artworks in various styles, from abstract, figurative and landscape painting to sculptures and photography, that best encapsulate the theme “Rising Together”. It is with the hope that this initiative will continue to inspire Malaysians to appreciate and collect beautiful works of art while extending a helping hand to communities in need.
As we forge towards sustainable recovery, we hope that AwH22 serves as a reminder of how we continue to overcome our challenges by rising together.
Abstract
There are 28 artists representing the abstract style ranging from PWD artists Ahmad Danial Ahmad Kushairi, Izzati Shahrin, Maryam Zharifa, Ong Yong Da, and Stephanie Tam; young graduates such as Afiq Zainal, Anna Azzreena, Fuji Anggara, Lim Jing, Lim Tong Xin, Mulaika Nordin, and Yazi Jaclyn (Teh Ya Zi); emerging artists Abdul Shakir (Grasshopper), Alicia Lau, Azam Nasri, Azizi Latf, Elly Nor Suria, Emelia Ong Thiran, Hana Zamri, Hardiana Hidayah Azni, Hafiz Razak, Malina Su, Nadia Nizamudin, Nizar Sulaiman and Wendy Teo; and senior artists Faizal Suhif, Farif Jalil and Suddin Lappo in this category.
Figurative
In the figurative segment, 12 artists express themselves through depictions of human figures, portraiture, fauna and still-life, namely PWD artists Haziq Izmi and Wan Jamila (artjamila®); young graduates Amri Ibrahim, Chua Hui Qin, Danielle Lin, Ellis Khan, Joy Ng, Sharina Shahrin; emerging artists Arikwibowo Amril, Rais Azmi, Aiman Aisamuddin, and senior artist Noor Mahnun Mohamed.
Landscape
Various landscape interpretations are depicted in the works of four artists: Aimman Hafizal, Khairul Izham, Kimberley Boudville and Leong Sok Yeng.
Photography
A group of seven visually impaired photographers from Plus Community Partnership consisting of Ahar Bin Tabe (B2), Jamaliah Mohd Yasin (B1), Rashidi Abdullah (B3), Suzie Ng (B2), the late Svivabalan A/L Selvarajan (B2), Theng Tze Young (B1) and Vivian Kwek Chu Lan (B3).
Plus Community Partnership conceptualised the SENSORY PHOTOGRAPHY™ programme, and in early 2018, a collaboration began with the Malaysian Association of the Blind (MAB) and Studio DL Photography.
The objective is to empower the visually impaired with the opportunity to explore an activity they previously had no access to. The SENSORY PHOTOGRAPHY™ programme is centred on photography as a channel for selfexpression and provides photographers with an additional source of income.
All photographers named above are legally blind at different degrees of visual impairment. The classifications are:
B1: total blindness
B2: partial vision of shadows and movement
B3: severe low vision/tunnel vision
Sculpture
Another exciting element of Art with Heart 2022 is art expression through sculpture. On offer are artworks by Agnes Lau, who incorporates ceramic pieces in her wall sculptures and Mohd Al-Khuzaire Ali, whose artworks are produced using mixed media.
The Edge, September 3, 2022, Rising together in support of the art community. Link to PDF here.
The Star, September 7, 2022, June Moh: RHB Foundation uplifts OKU artists via Art with Heart showcase. Link to PDF here.
BASKL, September 9, 2022, Danial Fuad: Bangkit Bersama di RHB Art With Heart 2022. Link to PDF here.
Curator Sarah Abu Bakar delivering a speech during the opening night of RHB Art with Heart 2022The opening night of RHB Art with Heart 2022. Photo courtesy of RHB Banking Group.
L to R: Norazzah Sulaiman, RHB Group Chief Sustainability and Communications Officer, and Mohd Rashid Mohamad Group Managing Director / Group Chief Executive Officer
Date: October 19 – November 2, 2019
Venue: HOM Art Trans, 6A, Jalan Cempaka 16, Taman Cempaka, 68000 Ampang, Selangor
Do drawings matter? This group show by 12 contemporary artists celebrates the importance of drawing as a form of artistic expression.
Drawings Matter? focuses on the technique of “drawing” as a mean of artistic expression. Expanding from the conventional sense of “drawing” – typically understood by many as pencil doodles on paper – this exhibiti on aims to gather artists to interpret its significance.
By reassessing their approach, the selected artists offer a myriad of aesthetic exploration to offer their methodical aspects of drawing. The traditional notion of “drawing” that is composed of pen, paper and lines now seem archaic yet pertinent.
Abdullah Jones
Abdullah Jones’ abstract works are witty and are a reflection of current times. A multi- media artist, Abdullah Jones is also known for his contemporary batik paintings. His solo exhibitions included Lolong (2018) and Blues Malaya (2017) at ArtCube Gallery, Kuala Lumpur. He has participated in numerous group exhibitions namely Batik: Evolution of Identity – A Travelling Exhibition (2019) at University of Malaya Art Gallery; Morphosis (2018) at Galeri Prima, Kuala Lumpur; Amal Insani (2017) at Balai Seni Lukis Negara, Kuala Lumpur; and Love Me and My Batik (2016) at Ilham Gallery, Kuala Lumpur, to name but a few.
Hantu Lawan Hantu #2
Pen on canvas
64 x 64 cm
2019
RM 2,800
Hantu Lawan Hantu #3
Pen on canvas
64 x 64 cm
2019
RM 2,800
Hantu Lawan Hantu #4
Pen on canvas
64 x 64 cm
2019
RM 2,800
Hantu Lawan Hantu #5
Pen on canvas
64 x 64 cm
2019
RM 2,800
Hantu Lawan Hantu #6
Pen on canvas
64 x 64 cm
2019
RM 2,800
Hantu Lawan Hantu #7
Pen on canvas
64 x 64 cm
2019
RM 2,800
Hantu Lawan Hantu #8
Pen on canvas
64 x 64 cm
2019
RM 2,800
Hantu Lawan Hantu #9 Pen on canvas
64 x 64 cm
2019
RM 2,800
Afiq Faris
Afiq Faris explores unconventional materials and techniques such as dry medium drawing on tissue paper, inkjet print, washed and re-fix using graphite, colour pencil, marker and acrylic on tissue paper. Each of the two artworks from his Currency series is then coated with resin on wood and canvas producing a delicate drawing yet with an everlasting quality of a sculpture.
Gaya (Balut)
Paper towel, rice paper, mixed dry drawing media, resin & paint on plywood
92 x 92 cm
2019
RM 4,000
Mutu (Menthol)
Inkjet on paper towel, acrylic, colour pencil, resin, marker & paint on plywood
92 x 92 cm
2019
RM 4,000
Keunggulan (King size)
Inkjet on paper towel, acrylic, resin & paint on plywood
92 x 92 cm
2019
RM 4,000
Agnes Lau
Agnes Lau’s concern for artmaking is process-oriented. A work with endless repetition to force the audience to experience his or her own creation of time and space. As the repeated movements have no specific definition to the audience, they can engage the works freely. However, the true meaning intended by the artist lies in the creation itself, a feeling of satisfaction when Agnes completes the task.
It is a physical ceremony in which Agnes puts visuals of lines on a surface; uses a minimum repertoire of visual elements aiming for maximum visual intensity. Language is now unnecessary. The stress in her works begins to form when she engages the pencil onto the canvas; the lines begin to create rhythmic textures – a system of its own. The endless repetition performs a ceremonial passage, which subconsciously moves forward but consciously knowing its heights and widths in relation to the surroundings.
After completing her studies at Dasein Academy of Art, Kuala Lumpur in 2015, Agnes delves into her art practice which involves the search of harmony in everyday life. The ordinary yet ignored objects or activities from daily life plays a role in her study and she tries to stimulate a reflection through art making processes. Her work lies between systematic and non-systematic processes within a determined time and space. Incorporating both the conscious and unconscious mind, she allows various forms to take place in her work, juggling between drawing, painting and printmaking on different materials.
Black Lines on White Plane
Mixed media on plywood
100 x 100 cm
2019
RM 5,600
Anas Afandi
Anas Afandi graduated with a Diploma in Fine Art from the Malaysian Institute of Art, Kuala Lumpur in 2015. His artistic practice includes drawing, collage and painting inspired by his emotions, perspectives and experiences. Since graduating, Anas has been involved in a wide range of creative discipline such as artmaking, curating, writing, furniture making and music.
In 2019, Anas participated in a group show entitled SH/FT – A Contemporary Visual Art Exhibition by Cendana at White Box and Black Box, Publika, Kuala Lumpur. In 2017, Anas worked as an assistant for Shooshie Sulaiman, who participated in the Yokohama Triennale at the Yokohama Museum of Art, Yokohama, Japan.
Analogi Alam Semulajadi Pencil, colour pencil, ink, collage on paper
21 x 29.7cm (each)
2019
RM 2,500
Anwar Suhaimi
Multi-disciplinary artist Anwar Suhaimi obtained a Master’s degree in Fine Arts & Technology from University of Technology Mara in 2014. He is the recipient of the Jury Award, Bakat Muda Sezaman 2019 (Young Contemporary Award 2019) organised by the National Art Gallery, Kuala Lumpur.
In his practice, Anwar Suhaimi experiments with natural and artificial materials “to be in awe of the elemental nature and sciences, and to become the light itself”.
His ink on paper artwork entitled Skematik Delan Masa I,II,III was created with a clock timer instrument, picturing the anti-clockwise movement of time.
Skematic Delan Masa I,II & III
Ink on paper
69 x 58 cm (each)
2019
RM 1,200 (each)
Kua Chia Chi
Kua Chia Chi also known as CC Kua held her first solo exhibition entitled Mosquito Bite at Lostgens’ Contemporary Art Space, Kuala Lumpur in 2016. She held her second solo show wittily entitled Left a Bit, Right a Bit, Up a Bit, Down a Bit at the same venue in June 2019.
In 2019, CC Kua graduated with a Master of Fine Art from the Institute of Plastic Arts, Tainan National University of The Arts, Taiwan. She obtained her BA (Hons) in Graphic Design and Illustration from The One Academy (degree conferred by the University of Hertfordshire, UK) in 2013.
She has also participated in several group shows namely SH/FT – A Contemporary Visual Art Exhibition by Cendana at White Box and Black Box, Publika, Kuala Lumpur in 2019; Walking, Road Curve, Speaking, Peeing at Whitestone Gallery, Zhongxiao, Taipei in 2018; Taipei Free Art Fair at Songshan Cultural and Creative Park, Taipei in 2018; Di Mana (Where Are) YOUng at National Visual Arts Gallery, Kuala Lumpur in 2017; and Conjoin: Spontaneous #1 supported by Artemis Art at Publika, Kuala Lumpur in 2014.
Escalator
Ink & colour pencil on paper
31 x 23.5 cm
2019
RM 250
December 31 in Southeast Asia
Ink & colour pencil on paper
31 x 23.5 cm
2019
RM 250
I Am Sure This Is Not That Digi Guy
Acrylic on paper
21 x 29.7cm
2016
RM 200
Frolicking
Pastel on paper
21 x 29.7 cm
2016
RM 200
My Line is Not Closed
Coloured pencil on paper
35 x 50 cm
2019
RM 400
Brushing Teeth
Watercolour on paper
27 x 39 cm
2016
RM 400
Sliding Through
Ink & pastel on paper
21 x 29.7 cm
2019
RM 200
Human Train
Oil on canvas
20.5 x 61 cm
2019
RM 1,800
Small Banana and Big Banana
Oil on canvas
61 x 45.5 cm
2019
RM 2,500
Significant Others
Pencil & watercolour on paper
61 x 45.5 cm
2019
RM 1,800
Ho Mei Kei
Ho Mei Kei’s whimsical paintings draw inspiration from her experience teaching art and music to young children. Her playful take on the local education system is incorporated through the repetitive miniature doodles and artwork title such as Gariskan Mata Pelajaran Yang Paling Anda Gemari (10 Markah).
Mei Kei completed her Diploma in Fine Art at Dasein Academy of Art in 2016 and decided to become a full-time following her graduation. Mei Kei has been exhibiting her work locally and internationally such as in Indonesia (2017), The Philippines (2018) and Taiwan (2018). She held her first solo exhibition entitled 100 Markah = A+? at Taksu Gallery in 2018. She is also the co- founder of Studios Sama Sama, a studio space for fresh graduates to pursue their dream in becoming a professional artist. Apart from winning the Jury’s Prize for the Bakat Muda Sezaman competition (2017) and being selected again for the same competition in 2019, Mei Kei was also awarded twice for the Tanjong Heritage National Art Competition (2015 and 2016) and shortlisted twice for the UOB Painting of the Year Competition (2016 and 2017).
Skyline
Colour pencil on paper
43 x 60 cm
2019
RM 2,000
Izat Arif
Izat Arif obtained a Bachelor (Hons) in Drawing from Camberwell College of Art, London in 2012. In November 2019, his artworks will be exhibited at Ilham Gallery, Kuala Lumpur in an exhibition called Domestic Bliss alongside Vietnamese artist, Hoang Minh Duc, organised and sponsored by The Factory Contemporary Arts Centre in Ho Chi Minh City, Vietnam. Izat has also participated in numerous group exhibitions that include recent shows in 2019 such as an intimacy that allies us…. organised by Sikap Group, Singapore; Genset by Gajah Gallery at Whitebox, Publika, Kuala Lumpur; Awan & Tanah (Sisters in Islam charity show) at Cult Gallery, Bukit Tunku, and more. Izat was an Artist in Residence at the NTU-CCA Singapore from October to December 2018.
When I Die, Please Remember That I Have Done My Best, And I Would Like To Be Celebrated Every 5 Years For My Contributions
Graphite on digital print
20 cm x 28 cm (each)
2019
RM 4,200
John Lim
John Lim graduated with a Diploma in Fine Art from the Malaysian Institute of Art, Kuala Lumpur in 2015. His work investigates cultural identity, the stereotypes of being Malaysian Chinese and his predicament on not being able to converse in his mother tongue.
John’s artwork entitled Tentang Cina (About Chinese) is a series of 23 repetitive inscription in Chinese characters that offer no meaning. It is a phonetic expression that translates as Cina belajar Cina or Chinese learning Chinese when read out loud.
John describes, “the improper translation is purposeful, it illustrates the contradiction present in my thought process.”
Tentang Cina
Ink on paper
13 x 23 cm and 14 x 24cm (set of 23)
2019
RM 500 (each)
Paiman
The social historical context of Paiman’s artworks are conveyed through various media such as installation, performance as well as documentation with illustrations. An example is his “installation drawings” exhibition titled Malaysia-365 days of 2008 at Wei-Ling Gallery in 2009.
For Drawings Matter?, Paiman presents a collage work on paper entitled Sarjan[A] Ekonomi 80+, which illustrates a whimsical portrait donning a striped Santa-like hat, a pair of spectacles with a finely trimmed mustache and a stylish “chin strap” beard. The figure is also wearing a superhero cape with a newspaper clipping as his uniform.
The artwork recounts a recent history, in which an economist who has helped the country through his experience was eventually awarded the highest university degree at the age of 81. The title “sarjan” (sergeant) indicates the subject as a leader, who is a scholar (sarjana) at the same time.
Paiman is the Minor Award recipient of the Bakat Muda Sezaman (The Young Contemporaries Award) organised by National Visual Art Gallery, Kuala Lumpur in 1992, 1994, 1997 and 2002. In 1999, he was a resident artist for the Art Exchange Program at the First Fukuoka Asian Art, Japan.
sarjan[A] Ekonomi 80+
Collage on paper
21 x 14 cm
2019
RM 2,000
Noor Mahnun Mohamed
German-educated Noor Mahnun Mohamed creates tranquil figurative and still-life paintings with domestic objects to represent symbolism and geometric patterns to depict routine and discipline.
For Drawings Matter?, Noor Mahnun produces still-life drawings in watercolour and graphite featuring a citrus reamer, a colander, a glass bottle, a three-hole dressings dispenser bottle and a garden pressure sprayer. Also on display is a study of the Phalaenopsis Blume or moth orchids, depicting Noor Mahnun’s current preoccupation on botanical illustrations.
Her eleventh solo exhibition entitled Disco Lombok Still Life by Noor Mahnun at The Edge Galerie in 2017 was highly successful – propelling the demand for her artworks.
A painter, curator, writer and educationist, Noor Mahnun graduated with a Master of Fine Art from the Hochschule für Bildende Künste, Braunschweig, Germany in 1996.
Garden Pump & Spray Study i
Watercolour on paper
30 x 23.5 cm
2019
RM 1,800
Colander Study i
Watercolour on paper
24 x 34 cm
2019
RM 1,500
Sarsi Study i
Watercolour on paper
30 x 23.5 cm
2019
RM 1,200
Squeeze Bottle Study i
Watercolour on paper
25 x 19.5 cm
2019
RM 1,200
Squeeze Bottle Study ii
Graphite on paper
30 x 21 cm
2019
RM 750
Squeeze Bottle Study iii
Chalk on paper
30 x 21 cm
2019
RM 750
Lemon Squeezer Study i
Watercolour on paper
25 x 20 cm
2019
RM 1,200
Lemon Squeezer Study ii
Graphite on paper
30 x 21 cm
2019
RM 750
Lemon Squeezer Study iii
Graphite on paper
30 x 21 cm
2019
RM 750
Botanical Drawing Assignment 1 (Phalaenopsis O)
Watercolour on paper
30 x 23.5 cm
2019
RM 1,800
Yew Jun Ken
Yew Jun Ken graduated with a Diploma in Illustration from the Malaysian Institute of Art, Kuala Lumpur in 2015. An independent artist seeking clarity of the mind and body, Jun Ken uses art as his main mode of expression and form of experimentation.
Jun Ken aims to create worlds out of concepts that range from the introspective philosophic to the outward-facing corporal through a variety of structures and processes. Mediums such as experimental drawings, installation, photography, sound and video collage, function as studies for these abstract complex themes.
Currently, Jun Ken also produces audio recordings under multiple aliases, incorporating his deep interest towards digital production and sampling techniques in music, serving as an extension of his artistic exploration.
pluto: and look at the infinite; citric incalculable; endless
Pen on paper
21 x 29.7 cm
2019
RM 700
mouth/hollow
Pen on paper
21 x 14.8 cm
2019
RM 400
vertebrae: a coiled policy; stop; ruminate
Pen on paper
21 x 29.7 cm
2019
RM 700
Untitled
Pen on paper
21 x 29.7 cm
2019
RM 700
quicksand
Pen on paper
21 x 14.8 cm
2019
RM 400
mantra: a cyclic cascade; always will be; in clotting
Pen on paper
21 x 29.7 cm
2019
RM 700
body/memory: I saw the shaped decoration; my generation; mourning the variable
Pen on paper
21 x 29.7 cm
2019
RM 700
atom: slight spin shivering; murmuring complexity; helix sings
Pen on paper
21 x 29.7 cm
2019
RM 700
Date: September 6 – 19, 2018
Venue: The Edge Galerie, G5-G6, Mont’ Kiara Meridin, 19 Jalan Duta Kiara, Mont’ Kiara, 50480 Kuala Lumpur (permanently closed)
Bracing the Heat is the eighth solo exhibition by established artist, Fauzan Omar highlighting serious environmental issues that the world is facing today.
BURNING ISSUE
Recently-retired art educationist Fauzan Omar has reached a milestone in his art career. Finally free from the rigours of academia, 67-year-old Fauzan has devoted all his energies in the past year to come up with an astonishing 200-odd pieces of artworks that form 13 captivating sets to express his long burning concern about the dire straits of our natural environment.
In his latest solo exhibition, Bracing the Heat, Fauzan — one of Malaysia’s most respected contemporary artists — offers scorched wood collages and images of orbs as well as his signature paintings and carved motifs to reflect the flora of the Malaysian rainforest under threat from climate change.
But given his technique of intense layering of motifs and colours, Fauzan’s latest works are not overtly concerned about death and destruction. Rather, they are about nature coping with the dire consequences of mankind’s unbridled greed for land resources, and so on.
Land clearing schemes — whether legal or not — come immediately to mind. Large-scale destruction of rainforests in the name of progress to come up with modern plantations will eventually bring consequences, as Fauzan alludes to in his work. To depict bare landscapes would be too conventional a composition. His contemporary works always have a certain delicate element of beauty. To fully appreciate the full extent of their impact, the artworks have to be viewed in a proper gallery setting.
Fauzan has been involved in the arts for some 30 years, devoting most of his waking hours to educating and nurturing art students. He has been a mentor to quite a few artists, including Ahmad Shukri Mohamed, whose Made in Malaysia exhibition was held at The Edge Galerie from
Sept 27 to Oct 13 last year. The senior artist is also a close friend of Shukri’s wife and fellow artist Umibaizurah Mahir @ Ismail, who has also exhibited with The Edge Galerie (Fragile, July 20 to Aug 5, 2016). In fact, it was Umibaizurah who suggested that Fauzan show his work in our gallery.
Since retiring from Universiti Sains Malaysia last year, Fauzan has worked feverishly to transform the long-simmering ideas in his head into the works that we see today. The pieces selected for this exhibition are deemed to be the best in his new series.
ARTWORKS
TROPICAL HEAT 1 2018 183cm x 152.5cm Mixed media on canvas
TROPICAL HEAT 2 2018 183cm x 152.5cm Mixed media on canvas
PANAS DI MALAM HARI 1 2018 183cm x 152.5cm Mixed media on canvas
PANAS DI MALAM HARI 2 2018 183cm x 152.5cm Mixed media on canvas
BLAZING FLAME 1 2018 152.5cm x 168cm Mixed media on canvas
BLAZING FLAME 2 2018 152.5cm x 168cm Mixed media on canvas
ENORMOUS HEAT 1 2018 152.5cm x 152.5cm Mixed media on canvas
ENORMOUS HEAT 2 2018 152.5cm x 152.5cm Mixed media on canvas
READY TO IGNITE 1 2015-2017 153cm x 153cm Acrylic on canvas
READY TO IGNITE 2 2015-2017 153cm x 153cm Acrylic on canvas
MATAHARI
2018
30cm x 30.5cm
Mixed media on canvas
WITHOUT RAIN
2018
40.5cm x 8cm, 24.5cm x 50cm
Gloss paint on burnt wood & mixed media on wood panel
BARA
2018
31cm x 30cm, 106.5cm x 30.5cm
Plywood strips on canvas & mixed media on canvas
KEMARAU
2018
20 x 20.5cm, 24.5cm x 25.5cm
Mixed media on wood panel & mixed media on canvas
Fauzan Omar Born: January 2, 1951, Pasir Mas, Kelantan
Date: January 11 – 20, 2018
Venue: The Edge Galerie, G5-G6, Mont’ Kiara Meridin, 19 Jalan Duta Kiara, Mont’ Kiara, 50480 Kuala Lumpur (permanently closed)
Rising contemporary artist Chong Ai Lei presented her fourth solo exhibition and the first in her home country entitled When I See You Again, which featured eight contemplative paintings recalling her childhood memories.
SENTIMENTAL AND NOSTALGIC
Unabashedly sentimental and nostalgic, the latest works of contemporary artist Chong Ai Lei, 33, mark her first solo show in Malaysia.
Despite having participated in many group shows locally and three solo shows overseas, this is the first time the fine art graduate is staging a solo exhibition in her home country.
Entitled When I See You Again by Chong Ai Lei, the show will be held at The Edge Galerie and will feature eight large oil paintings. The format of the self-portraits is either 230cm by 170cm or 170cm by 230cm. The paintings convey a nostalgic yet melancholic mood as Chong revisits her childhood home in Segamat, Johor, where she was raised. The various rooms of the house serve as the backdrop for her paintings.
Chong depicts herself wearing clothes that were owned or passed down by her mother, alongside a myriad of personal belongings and furniture. All the spaces and items tend to relate to a specific
memory.
In a work entitled Jackfruit, the artist is in a green dress, one that her mother had worn in her younger days. Chong grips a nangka by the stem as she walks past the front door of the house. The artist recalls how the jackfruit seemed always to be in season and how its smell reminded her of her childhood.
A dressing table at which Chong and her sisters readied themselves for school and a money box, the first-ever present given by the artist’s father, are both seen in Rabbit Money Box.
Indeed, Chong’s compositions are filled with a sentimentality that documents her growing years in an ordinary Chinese household.
When I See You Again by Chong Ai Lei is The Edge Galerie’s first exhibition for 2018 and it is being held with the support of leading property development company, Matrix Concepts.
ARTWORKS
Girl Jumping On Red Sofa 2017 230cm x 170cm Oil on canvas
Jackfruit 2017 230cm x 170cm Oil on canvas
Standing Behind A Curtain 2017 230cm x 170cm Oil on canvas
Girl With Blue Skirt 2017 230cm x 170cm Oil on canvas
Reflection In The Mirror 2017 230cm x 170cm Oil on canvas
Lying On The Floor 2017 170cm x 230cm Oil on canvas