Suzlee Ibrahim Selected Series 2005-2017 South East Asian artists Magazine Vol 2 issue no 6

Vol. 2 issue no. 6 P 250 (5.25 usd)

SoutheastAsian A R T I S T S

M A G A Z I N E

Arts • Culture • Events

The International Art Exhibition – NEW HORIZON Kunst Filipino Painting Competition 2021 winners "What's Your Purpose?"

The Life of an Average By: Ingrid Aimee

Art Pivot World Heritage Art Festival 2021-2022 Quick Plein Air Sketches

Suzlee Ibrahim:

Selected Series 2005 - 2017

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ELENA UTIANSKAYA

DORA LABORA

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16 MONGKOL SRISOMBAT

14 LOUIE IGNACIO

DUCAT 48 BENEDICTO"BONG"

South East Asian Artists Magazine

COVER STORY

32 SUZLEE IBRAHIM

CONTENTS

6 Ingrid Aimee: The Life of an Average “ What's Your Purpose?”

12 Paintings by IPEK DENIZLI & Poetry by ABDELILAH JORIO 18 World Heritage Art Festival 2021-2022

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20 Quick Plein Air Sketches 26 The International Art Exhibition - NEW HORIZON 38 Galeri Shah Alam Yayasan Seni Selangor 40 Kunst Filipino Painting Competition Winners 42 Artist Safa BÜte and Art Nigde International 46 S'kaki Art Residency + Art Gallery 50 The Museum and Gallery of the Modern & Contemporary Art 52 AMIRASOLO by Arnaldo Bernabe Mirasol 55 Mark ShellShear 56 Nuve Heritage Hotel Art Space 59 Gallery wks.

60 Exceptional Java Borobudur 62 Palm Art Space

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Arts • Culture • Events Published Quarterly Ruth Chua

Editor in Chief

Filarts Inc. Publisher

Roy Espinosa Creative Director

Ingrid Aimee Vanessa Tan Gana Mark Shellshear Arnaldo Mirasol Writer/Contributor

Editorial and Satellite Business Office Blk 4 Lot 13 A Gemini Street Cruzville Subd Brgy. Kaligayahan Quezon City 1124 Email: filartspublishing @gmail.com

South East Asian Artists Magazine

FROM THE EDITOR

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Christmas is just around the corner and it’s the first time in two years that it looks like this year, most of us would be celebrating the holidays with a semblance of normalcy. But unfortunately, there are others who would not. Typhoon Rai has literally dampened the Christmas spirit in my country as it left some parts of the Philippines devastated. The category 5 typhoon was so strong that it left hundreds of homes, structures, and areas damaged and flooded. Scenes on the extent of the damage caused by the typhoon were too heart-breaking to see. All of a sudden, I don’t feel like in a celebration mood at all.

Searching through Google about the typhoon, articles would always point to the reason for this kind of catastrophe – global warming caused by human-driven climate change. I agree. 100% legit, as millennials would say. This is just one of the painful consequences that we have to suffer due to human environmental abuse.

On a lighter note, in-person art shows and exhibits are slowly taking place, yay! However, we should not be complacent because the Covid-19 virus is still around. Thus, as we gather around whether to celebrate the holidays or to go and appreciate those masterpieces, let’s not forget to observe proper health protocols for everyone’s safety.

Wishing everyone Peace and Love.

Ruth Chua Editor-in-Chief

South East Asian Artists Magazine

Mute . Mixed media on canvas . 16 x 16 in . 2021 Margananda Tagorda

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Unspoken . Mixed media on canvas . 16 x 16 in . 2021 Margananda Tagorda

South East Asian Artists Magazine

LIFE OF AN AVERAGE By: Ingrid Aimee

"What's Your Purpose?"

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For a long time, I felt disconnected from my life. I’d spent most of it on autopilot, either regretting the past or dreaming about the future. I regretted being too afraid to read an essay at the monthly open mic near me for all those years. I thought a lot about writing without actually writing. I dreamed about a future me, totally transformed, eagerly writing at a sunny cafe, the words flowing through my fingers easily, flawlessly. My approach to finding purpose in my career has been to pause, pay attention, and appreciate the journey. It’s subtle, like changing the trajectory of a rocket—a small adjustment or a few shifts make an enormous difference in the end result. My dad used to urge me to find my “calling” and offer my gifts to the world. This always intimidated me. What was my calling? To answer such a question, you have to relax and give yourself space, even if it’s just a breath. Before you decide to drop everything and make a drastic career move, pause. Take time to explore what makes you tick. What activities motivate you and give you moments of flow?

What tasks drain you? Cut through the layers of caked on assumptions like: “I can’t consider taking a pay cut” or “A lateral move means I have failed.” Start your journey by stopping and letting go. For me, I’ve always both known I loved writing and that I would obviously never be qualified enough to do it professionally. I have been journaling since kindergarten, writing for as long as I’ve been able to. I have simultaneously been telling myself that under no circumstances should I dare to think of being an actual writer. I’m not smart enough or well-read enough or disciplined enough to make such a claim. A nice side trick, sure, but not something I could ever pursue professionally. Once the dust settles, you can start building self-awareness. It’s hard to find our purpose because we don’t really know ourselves. We don’t know what we genuinely like to do or why we do what we do. We never question what influences us. We end up in a career because our parents approved of it, because we thought it would be safe or because it was easy enough. If you are immediately turned off at the thought of self-reflection exercises, just notice that and be curious about it. Resistance is a powerful teacher when we pay attention. For me, I just started to notice that little naysayer voice. At first, I just heard it louder and louder."You are so not a writer. Nope, not a writer. Don’t even think that you ever could be." Eventually, I noticed how repetitive and boring it was. "You are so not a writer. Nope, not a writer." Ugh—you again?! Don’t believe everything that you think. My friend sent me a job description for a “Communications Specialist.” I immediately laughed at her email.

“I’m not qualified for that!” You are so not a writer. Nope, not a writer. A few hours later, after recognizing this stale voice as the same one that had been annoying me for years, I applied anyway and got the job. Humans are much bigger than cubicle walls and far more expansive than the margins of resumes. What were you taught a “successful” career looks like?

High pay? Stability? Title? If we are constantly focused on getting enough points to get to the next level, we will miss out on everything. I knew early on I wanted to work in the nonprofit sector as, what I assumed would be, a clear path to “make a difference” and “do good.” Of course, I immediately realized how fraught all those rosy intentions were, and how messy this business of “making things better” is. Like me, you may still get trapped worrying about if you’re “making a difference” in an appropriately prestigious enough way. You may still get trapped longing for stability and a sense that you are important in some way. Some research shows people are happier when they are present with their current experience, no matter what it is. Appreciate the mental grappling you’re doing, appreciate the uncertainty you feel, appreciate the questions you have. It all means you are alive and growing! Try to have compassion for those grappling with these questions too. He or she may be sitting in the cubicle next door. For my dad, it was always critical that I figure out what gifts I had to offer the world and offer them. Your gifts do not belong to you; you have to share them with the world. What he didn’t tell me is how much vulnerability and courage you need to actually do this. First, to acknowledge that yes, you have something unique to offer! (Terribly inconvenient.) Second, to actually offer it for people to accept or reject. (Terrifying.) While this idea of sharing my gifts was terrifying, it has also become the central theme of my career.

I’ve now worked at several nonprofits helping people do just this by volunteering their talents to give back. And what an incredible way to give back!

Ingrid sent July 21 at 12:03 PM To me, volunteerism is one of the most underestimated resources we have.

It seems quaint and suspiciously simple when, in fact, it’s revolutionary.

Generosity sets things in motion. It creates a path where one wasn’t possible before. Unlike money, it doesn’t get used up—it renews itself.

Magic. I guess this was what my dad was trying to tell me all along. Finding your purpose is most likely not going to be a “lightning strikes” moment.

My experience has been much more nuanced, not linear and more redruby-slipper-like. Deep down, you already know what drives you; you just need to let it surface. (Hint: it might be the thing you are avoiding or too afraid to consider.) Nevertheless, the answer is waiting for you. Are you ready to find it?

South East Asian Artists Magazine

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“Cruciātus”

11in ×13in Mixed Media on Paper Giddy 2021

South East Asian Artists Magazine

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DORA LABORA President and Artist Creator of the Corals Guardians With a free and enterprising spirit, the Artist Dora Labora begins in the fascinating world of the arts, cultivating the gift of painting and reflecting in them her desire for the fascinating things in life; conjugating within her an amalgam of feelings that do not discover another form of expression than art. It beautifully reflects this based on bursts of color on unique canvases. Its unique style, which we could call outstanding, vibrant and exquisite color shows incredible creatures, represented in fabrics, seeks to gracefully mix the most daring shades full of color.

Characters and series dedicated to particular themes where their unrivaled human and anthropomorphic representations speak with expressive eyes and each tell their own different, but equally beautiful story.

South East Asian Artists Magazine

Her main technique is acrylic on canvas, worked with brushes and brushes suitable for the material and the purpose of each work. Her theme is varied, maintaining the style that characterizes it, it has captured from scenes of the city that never sleeps (New York), through Asian culture and period dolls, to her most controversial and striking themes such as her concern for the environment. There she has captured two main issues, the decline in the existence of bees and the progressive disappearance of coral reefs, thus shaping a global awareness project, through the creation of humanized coral beings within a unique context. This movement that emphasizes the ecological damage to one of the most emblematic parts of our seas and oceans; it has gained adherents to the most altruistic of causes; "Environmental awareness for the care of corals, covering the vast maritime and oceanic region." So far her paintings have been carried; The United States of America, South Korea, France, Egypt, Jordan, North Cyprus and Spain continue in their desire to include everyone, so that said movement generates a change in attitude towards the battered land, thus allowing it to bequeath to our children a better and cleaner world to live in, seeking that the peace of a beautiful planet be their inheritance, and that they be the ones who maintain the blessing of a guaranteed global Peace for all. Not only human beings but all living beings; Based on this, Dora Labora's work is not only paintings, it is sentiment, sensuality, beauty, color and awareness, plus a sense of belonging to the only home we have "the Earth".

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South East Asian Artists Magazine

"The boy who burned bridges" 120x110, oil on canvas, 2020 The fire! The fire! Get up! Leave your warm beds. Smoke smothers the city. Footsteps are heard in the shadows. The children's laughter fades away. What motives prompted you to commit such an evil? Modern Prometheus runs at night, fire in his hands betrays him. The moon and the river, dumb witnesses, but they will not say anything about the crime.

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"Playing at the seashore" 120x110 cm, oil on canvas, 2020 There's a goldfish there. Dinner is served. It looks like a frog. I'm not hungry. Looks like nothing. It was a hard day. She doesn't like to be disturbed. I'm going to bed. Would you like to be a frog or a toad? I hate this horrible migraine. It would be fun not to go to school. A bank account is due tomorrow. No, eating mosquitoes is disgusting. I hate this job. Ah, but you would get up when you wanted to. Day after day the same routine. You wouldn't have to clean your room. You should change jobs for your own good. You could play as long as you like!

Don't start over, stop whining. But there are no frogs in the sea. It is always the same. Yes you are right. Go to sleep, tomorrow will be another day. It doesn't matter , it would be a lot of fun!

To saw dandelions on the Sea 120x110 cm, oil on canvas, 2019 Clinging onto nothing By a promise Without a sea bottom Where to rest a foot.

The starless heavens Without an abyss Nor a cliff for refuge The dandelion Lingers patiently Enwrapped by time Within the sea, awaiting What is Love A view into the future To walk seeding In the sea grooves

Following the invisible An impossible A seed drifts Germinating hope Where chaos reigns Thinking about love, the fragility of being, the shortness of time, waiting for the miracle of hope germination in the unthinkable abyss of absurdity and chaos.

South East Asian Artists Magazine

"Playing with snails" 80x100 cm, oil on canvas, 2021 How smooth it is.

I really like its color.

It's moving so slowly.

Do you feel pain?

Mine is very quiet.

I like yours better.

Oh, it tickles me a lot!

ELENA UTIANSKAYA Since childhood, I loved to paint and fantasize. Art for me is an act of freedom, a game, a journey into the subconscious, my little world where I can express myself without formalities and without words. the main theme of my works is a human, the world of his inner experiences, the complexity and variety of relationships, the world of feelings and contradictions.

My works are made in the traditional technique oil painting, they are united by thematic and stylictic unity, symbolic metaphorical language, multi-layered meanings. The act in my paintings unfold in reality, to be clear at the junction of reality and surrealism in the plane of magical realism, close in spirit to illustration and appealing primarily to the emotions of the viewer, speaking not in an abstract, but in a single language of human emotions. Work on drawing and painting from nature, constant plein-air practice and copying of old masters help me in this. Finding color gamma and compositional ratio is the most exciting adventure for me in every canvas.

"In vino veritas" 40X50 cm, Oil on canvas. 2021 Alexander Blok The Stranger At evening, above the restaurants, the sultry air is savage, heavy, and the breath of spring, corruption, holds the sound of drunken shouting.

Far off, over the dusty streets the boredom of suburban houses, the bakery’s gilt sign glitters, faintly, and there’s the noise of children, crying.

And every night, beyond the toll, the expert wits, in bowler hats, tipped at a rakish angle, stroll along the ditches with their ladies.

On the lake oars creak, and somewhere a woman shrieks, while the moon’s orb in the sky inured, leers mindlessly.

And every night my only friend is reflected in my wine-glass, quiet like myself, and stunned by sour mysterious drink.

While nearby waiters half-asleep round the neighbouring tables pass, and drunks with their rabbit eyes cry out: ‘In vino, veritas!’

South East Asian Artists Magazine

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Paintings by IPEK DENIZLI & Poetry by

ABDELILAH JORIO

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Une sentinelle regarde au loin reluire le feu derrière des fenêtres Il épie ces bribes de joies esseulées Il a pour lui seul tout le froid des contes qu il n'écoutera plus Comme c'est beau de re-découvrir le mode du fond d'une tranchée !

De mesurer toute l'étendue des pas de danse d'une jeune fille De voir comment elle s'entoure de toutes les couleurs Qu'elle aime éperdument à se mesurer au vent et à se poser des questions à propos de pays à visiter Une sentinelle regarde au loin bleuir la neige et languir les dernières flammes Les tons qui s'entrechoquent avec le temps Et qu'il est là prêt à prendre à ce bal de damnés auquel il n'a pas été invité Il doit suer dans son suaire le temps qu'une balle danse à ses côtés Le temps que le vent embrasse un arbre sur lequel il déposera son ultime regard ahuri Tout flambe, tout paraît reluire et annoncer les derniers soubresauts du néant Et des fêtes qui se dérouleront sans lui Écrit par Abdelilah Jorio 1 sept 2021 tous droits d'auteur réservés Tableau de Ipek Denizli

Abdelilah Jorio

South East Asian Artists Magazine

Écrit par Abdelilah Jorio 31 août 2021 tous droits d'auteur réservés Tableau de Ipek Denizli Une terre étroite qui serre tout le ciel Une île qui trempe dans la mer le fracas de tant d'ombres La danse de spectres cogitant en marge de récits non écrits Des pans de jardins aspirant aux steppes et aux déserts Et qui traînent des tons de danses hétéroclites Retentissent et s'agitent tels des ouragans suspendus aux pics de rochers Pour raconter ces duels interminables où les antagonistes se contentent de brandir leurs armures telles des enluminures Ces batailles foudroyantes au rythme des couleurs de ballet Là où tout est couleur et sang s'emmêlent pour redoubler d'éclat Le sang vague que traînent les navires partis à la rencontre de nouvelles îles Le sang du chant et des cimes Du sang d'airs et des temples, paix et euphorie Écrit par Abdelilah Jorio 31 août 2021 tous droits d'auteur réservés Tableau de Ipek Denizli Tüm gökyüzünü kucaklayan dar bir ülke Denizde bir sürü gölgenin çarpışmasını ıslatan bir ada Yazılmamış masalların kenarlarında düşünen hayaletlerin dansı Bozkırlara ve çöllere talip bahçelerin bölümleri Ve heterojen dansların tonlarını sürükleyen Kayalık zirvelerden sarkan kasırgalar gibi halka ve telaş Düşmanların zırhlarını aydınlatma gibi savurmaktan memnun oldukları bu sonsuz düelloları anlatmak için Bale renklerinin ritmine bu yıldırım savaşları Her şeyin renk olduğu ve kanın parlaklığını ikiye katlamak için karıştığı yer Yeni adalarla buluşmak için ayrılan gemilerin sürüklediği belirsiz kan Şarkının ve dorukların kanı Havaların ve tapınakların kanı, barış ve coşku

Bedenimden denizin gelgitini çekeceğim Ve rüzgarı ve büyüsünü alacağım, Ve bütün putların yakarışları ve tapınakların savaşçısı içimden kaçacak.

Güneş ışınları kanlı yankılarla yankılanıyor Ölüm ve düğün arasındaki ritüel özdeşleşme Ve uzak noktalar, gemilerin yelkenleri ve sürgün adaları Renklerde güzel cerrahın tadı var Işıltı ve parıltı çığlıkları Renkler, uzanan ve dans eden bir denize bakan dar tepelerin tadına sahiptir.

Sert aşkın tüm sözlerini taşıyan cömert bir yara Yaralarımda dolaşan ve danslarımı aydınlatan zıtlıklara hamile Resim bir dua ritüeli haline geliyor Bir tür vahşi savaş Kan ve sevgiyi birleştiren bir vicdan hali Tüm denizlerde bir yelken Renklerin çocukluğu, benliğin tüm karmaşasından hoşlanmayan sözlerin ağırlığından kurtulunca.

Havuçlarla dolu renklerin çocukluğu ve bana yardım eden ve çılgınlığımı serbest bırakan gizli bir dünya Gölgelerin cömertliği ve hayaletlerin cilvesi Gerçek yüzer, sonra buharlaşır ve dağılır Abdelilah Jorio'nun yazısı 31 août 2021 çok sayıda droits d'auteur reservés Tableau de İpek Denizli

Abdelilah Jorio tarafından yazıldı.

31 Ağustos 2021 tüm telif hakları saklıdır İpek Denizli'nin tablosu

South East Asian Artists Magazine

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Floralscape Series 06 . Acrylic on canvas .

36 x 24in . 2021

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Floralscape Series 04 . Acrylic on canvas .

36 x 24in . 2021

LOUIE IGNACIO

Floralscape Series 02 . Acrylic on canvas .

36 x 24in . 2021

PHILIPPINES

Painter of sound and vision.

Louie Ignacio is already an award winning director right before he entered the visual arts practice. But his life has always been premised in creativity.

Besides having found fame in television and film for many years, he has also nurtured the otherness of his creativity by painting. Through abstraction, Ignacio has diligently shaped his body of work in the steady mastery of technique and medium. For this set of landscape paintings, Ignacio mines the connections between nature and psyche through his personally nuanced meditation of places and intimate knowledge and association with natural elements. He also pays tribute to his life of Immersion and travel and the pleasures of nature while capturing them in the artistic possibilities of paint as he remembers them through music.

One thing is certain, Ignacio always has the ability to tap into the grandness and musical underpaintings of things, either in the way he paints or make films. Thus, his artistic practice has always been a constant melding of vision and sound.

Ignacio's being wired with music is not all a surprise being raised by his mother who is also musically inclined, he had early exposure and practically grew up to music chamber music, classical piano pieces. His relationship with music definitely shaped his later career and creative headspace as he would become one of the biggest name Philippine music industry, directing music videos for a lot known singers.

Ignacio is one of those artists committed to distill the complexity of the human mind and allure of the natural world.

Underlying this particular practice is ultimately an engaged impulse to celebrate life, the organicity of thing to reveal the connections man has with his environment, its past and living memories. Much of these paintings are inspired by his travels and his home, constant commune with the Pagsanjan River and other imagined forms inspired by nature as well.

His connection with natural vistas, expanse of spaces, bodies of water and landscapes translayed and re-imagined. Thus, these landscapes and surfaces and surfaces compels us to plumb the depths of our perceptions and offer more poetic speculations.

South East Asian Artists Magazine

As a painter, he attempts to translate music for the eye, inherently inviting viewers inflect our interaction with the canvas while making his audience hear something visually. At every turn, he captures rhythm, relay, cadence, deposited on the canvas surface which ably depict movement as a perspectival effect and emotional resonance. His grand yet subtle work can also be uncannily pulsating, throbbing and flickering with colors in exuberant excess of vividness and flow. As a wanderlust, most of his paintings are also inspired by his encounters with different colors, textures, vistas in the many countries often would find place in his art. Thus, his landscape paintings is always a grandoise and confluence of life as phrased by its teeming colors and energy.

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Floralscape Series 03 . Acrylic on canvas . 36 x 24in . 2021

Floralscape Series 01. Acrylic on canvas . 36 x 24in . 2021

Floralscape Series 07 . Acrylic on canvas . 36 x 24in . 2021

Floralscape Series 05 . Acrylic on canvas . 36 x 24in . 2021

South East Asian Artists Magazine

36X58 cm Watercolor on Paper “Hometown Temple”

MONGKOL SRISOMBAT

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THAILAND

Creative art comes from our own aesthetics. From the experience of perception of what is seen and the influence of the environment. Under perfect physical and mental health, various skills or methods can be applied. Convey to create feelings for those who see.

My name is Mongkol Srisombat. In the past, I studied at the Art Institute and was an undergraduate teacher. I share my teaching experience with people who love art and many community activities. It was the last position until his retirement three years ago. From then I spent my life as a freelance artist. I was born in the upper north. Quiet and beautiful area of Thailand. Most of the natural scenery is surrounded bymountains.

Lots of nature and culture. Familiarity cultivated many artists there, including me who loved art.

Now, in my senior years, I spend my time as a freelance artist. Able to create loving and happy jobs as well as more meetings with society in the same organization including social media and can publicize the work via online media. My artwork has a wide variety of colored objects, but mostly watercolor because of the present age and body must avoid chemicals. I spent time with watercolors and enjoyed them. I like the different techniques, methods and feelings. Able to create good emotional works, there is a charm that must be followed. My way of writing pictures is to imitate nature and culture. Visitors can see the beauty and feel the content that is clear and uncomplicated. Hopes and wishes for the addict to be happy as the intended destination.

South East Asian Artists Magazine

36X58 cm Watercolor on Paper “Make merit with Monks”

36X58 cm Watercolor on Paper “Asian Granddaughter”

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36X58 cm Watercolor on Paper “Hill Tribe Children"

31X41 cm Watercolor on Paper “Long Neck Karen”

South East Asian Artists Magazine

WORLD HERITAGE ART FESTIVAL 2021-2022

The Art Pivot, a centre for contemporary art and ideas is organizing “World Heritage Art Festival 2021-2022” to promote Art and spread awareness for Art in an effort to increase local as well as foreign Artists in our country.

In this modern world we had almost forgotten our cultural values and the heritage we inherited from our ancestors and to promote these forgotten values and cultural paradigm that is no more inculcated in our younger generations through Various Art forms and theatre.

The fact that the global village of the 21st Century with its versatile cross continental communication capacity has redefined the value, dissemination and role of culture in human interaction. If the place of global inter-cultural and cross-continental influence during the era

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of Marco Polo, Vasco da Gama, Zheng He, Ibn Battuta and their peers in the era of enlightenment that followed later were marvels, then, the future holds greater marvels considering that social media has broken hitherto impervious boundaries.

The emerging cross-continental communication opportunities provide an unprecedented platform from which to share value systems, cultures, beliefs and traditions of people across the globe. It is now upon you to give the content that will be shared—both implicitly and explicitly—the texture of universality, application and relevance in the ever growing industrial world.

In the last decades of the 20th century, the term heritage was characterized by expansion and semantic transfer, resulting in the generalization of the use of the word at large, frequently used in place of others, such as monument and cultural property. However, all these terms are not able to cover the semantic fields.

We at Art Pivot took initiative to approach the heritage through Art and envisioned the modern society to thrive and dive in the ancient values through a rather indirect approach of ideas where we can express our gratitude and admiration to our ancient values and traditions.

The World Heritage Art Festival is a celebration of our ancient traditions which are losing its importance in this modern era. Calling upon the International artists and Indian artists to work together and through their Art, we will try to spread and educate the richness of our ‘Heritage’ to benefit the culture at large.

South East Asian Artists Magazine

The “World Heritage Art Festival-21-22” is divided in Four Phases1. WORLD HERITAGE ART FESTIVAL, INDIA: December 24th to 30th, 2021– Will be concluded as first phase with the Opening ceremony along with the exhibition of the art forms received through competition and International artists and Indian artists showcasing their live skills and workshops.

2. WORLD HERITAGE ART FESTIVAL, NEPAL: MAY 25TH to 30th, 2022 – Second phase of the Festival with many International and Indian professional artists showcasing their live skills and workshops along with the exhibition of the art forms received in the competition.

3. WORLD HERITAGE ART FESTIVAL, BHUTAN: June 2nd to 7th, 2022– Third phase of the Festival with many International and Indian professional artists showcasing their live skills and workshops along with the exhibition of the art forms received in the competition.

4. WORLD HERITAGE ART FESTIVAL, INDONESIA: October 26th to November 2nd, 2022 - Fourth phase of the Festival with International and Indian professional artists showcasing their live skills and workshops along with the exhibition of the art forms received in the competition.

During the phase of World Heritage Art Festival 20212022, the art lovers, Professional artists, school children, locals, industrialists and interested ones can visit and encourage the participated artists and our effort to organize such a wonderful, unique camp with our noble vision.

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ABOUT THE CURATOR International artist Rajesh Yadav is the founder of The Art Pivot in India and the World Art Migration Program, from Udaipur Rajasthan India. He did his art education from Rajasthan School of Art, Jaipur Rajasthan University.

His work has been a part of many national and international exhibitions and has been displayed in various art galleries, museums, hotels and government buildings in Rajasthan, Italy, Malaysia, South Korea, Japan, UK, China, Indonesia, etc. Rajesh is an art guru and has organized many art camps, workshops and international exchanges for senior and amateur artists. He has received several awards including the Global Achievement Award by South Korea Museums, the Peace Prize, the International Bronze Medal by AAA Singapore, and accolades for his contributions to the arts. Presently serving as the Cultural Arts Ambassador of South Korea-India and Contemporary Artist.

South East Asian Artists Magazine

QUICK PLEIN AIR SKETCHES By: Artists Network Staff

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Acrylic paints are perfect for capturing beautiful outdoor light effects with quick plein air sketches.

Here, artist Joe Gyurcsak offers his field-tested tips for painting a scene with speed and economy in order to keep up with the changing light.

When we go outdoors to paint in the field, we are engaging all the senses. Painting quick plein air studies is invaluable for recording light sensations, and the process strengthens our visual memory. The experience requires quick decision-making in order to keep up with the changing light. For this reason, acrylic paints are an excellent medium for these studies. The paints are fast drying and permanent, and can be manipulated to produce a full range of opacity from opaque to transparent. Each lighting situation produces unique atmospheric conditions, especially depending on the time of day, the season and the various weather conditions. By utilizing multi-layering techniques within paint passages, artists can emulate the naturally occurring light effects that we encounter in various outdoor conditions.

To get started painting plein air sketches in acrylic, there are some important strategies that will contribute to your success. Here, I’ve outlined a full list of tips I’ve picked up from more than 30 years of outdoor painting experience.

TOOLKIT Paints: Utrecht Artists’ Acrylic Colors: titanium white, unbleached titanium, cadmium yellow light, cadmium orange, cadmium red medium, burnt sienna, brilliant blue, cobalt blue, Hooker’s green, dioxazine purple and Payne’s gray

Surface: Blick 3/8-inch thick Premier Artist Panel (12×12) Brushes: Nos. 2, 6, 8 and 10 Blick Masterstroke interlocking bristle filberts and No. 6 Golden Taklon short handle round

Miscellaneous: Blick 12×16-inch palette paper pad and a bag of rags

South East Asian Artists Magazine

Helpful Hints for Quick Plien Air Sketches 1. Look for a scene in which you can expect the duration of the light to allow you at least an hour of painting time.

2. Start with smaller-sized paintings. This will help avoid getting overwhelmed and will allow you to complete quick sketches in a timely matter.

3. Have a good selection of paint colors available and lay them out on your palette in an organized fashion. I set out my colors (see Toolkit) in chunky piles arranged from light to dark. This facilitates quick decision-making and speedy mixing.

4. A mid-toned ground will help in your judgment of light and dark passages of paint and can serve as a complement to the paint you apply to your canvas or panel.

5. Sketch out your design using a pencil or brush, making sure your composition is sound from the start. This helps to avoid redesigning your painting in the middle of the process.

6. Start with a No. 6 or 8 filbert bristle brush to block in the large masses in thin layers. Then, switch to smaller filberts and synthetic watercolor rounds to add some sharpness and a few important details.

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Patterson’s Farm (Acrylic on panel, 12×12) by Joe Gyurcsak

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7. Establish your light and dark patterns early in the process. To do so, squint your eyes as you observe the scene to eliminate the details. This helps in judging values and seeing the soft and hard edges.

8. A sense of color is developed over the course of the painting, but mixing more neutrals will greatly improve your depictions of nature.

9. Look for opportunities to create contrasts: small versus large shapes, light versus dark values, warm versus cool colors, soft versus hard edges, and so on. Keeping these contrasts in unequal ratios in your overall design will create a more dynamic painting.

10. Keep your paintings simple. Don’t overwork them. There is beauty to be found in simplicity.

11. Look for the natural rhythms of light that flow over organic and inorganic forms. Light and shadow patterns will repeat throughout a scene.

Painting Quick Plein Air Sketches In these additional examples, Joe Gyurcsak shares the inspiration that stirred him to pick up his acrylic paint and brushes and make a quick plein air sketch.

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Jim’s Garage (acrylic on panel, 12 x 16) One night I was looking over my neighbor’s fence and I happened to see his garage had this wonderful glow on all his clutter. The scene was contrasted by two of his motorcycles which were silhouetted in shadow in the foreground. The glow of the night and the artificial light of the garage proved to be a very unique composition and painting challenge!

South East Asian Artists Magazine

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Morning Sun (acrylic on panel, 12 x 12) When I saw the light in this scene and the repeating triangular shapes, I just knew there was something here to paint.

Once I composed all of it in a square format, everything just tumbled into place.

Early Spring (acrylic on panel, 11 x 14) The brilliance of the afternoon sun, the shadows growing from the bottom left of the painting, and the clear blue sky set this painting into motion. In my plein air acrylic paintings, I’m always aware of keeping color energy and allowing for open and lively brush marks. I try my best not to overwork those painting elements. They carry the secret to color vibration and movement.

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Hide and Seek (acrylic on panel, 14 x 18) I had my eye on this house as a painting subject for a long time. Figuring the time of year and time of day that best revealed part of the house through the line of trees took some time. It proved to be a wonderful subject in the late fall when the brush and foliage still had color but did not overtake the morning light on the white house peeking through here and there.

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Two Painters in the Sun (acrylic on panel, 12 x 12) During one of my workshops, I saw two students painting together as the light highlighted their umbrella, hats and painting accessories. The light, composition and color were so intoxicating I could not resist getting it down in paint!

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Virginia Symphony Golden Hour (acrylic on panel) I was standing in a field watching and waiting for the Virginia Symphony to arrive for an evening of beautiful music and a voice in my head said, “Don’t wait! Start painting!” I listened to that voice and then good things started to happen; the glow of the evening was upon us. Once the music started, my brushwork became invigorated. Letting our intuition lead us can drive creativity to new heights!

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Zion Poplars Baptist Church (acrylic on panel) I have been working on a series of long-view paintings. This scene, lit with the afternoon light, had such a glow.

Working with acrylic, I knew I could freeze the light quickly before it faded. I added some spontaneity to the tree line in the background with a large brush loaded with flowing acrylic colors. When depicting organic subjects such as trees, I try to put some of the greens down in an unmixed fashion; this keeps them alive. The feeling of realism is there even with the limited suggestion of detail.

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The International Art Exhibition -

NEW HORIZON

Kuala Lumpur | 11th February to 28th February 2022 Main Venue : KL City Art Gallery, Kuala Lumpur Organizers : KL City Art Gallery (Malaysia) & Arth Art International (India) in collaboration with MOTAC ( Ministry of Tourism, Art & Culture, Malaysia).

Supporting Partner : Mr. Brajesh Kumar Verman Gold Partner : AM Enterprises Proprietary Firm • “There is nothing to fear in life, you just have to understand it. Now is the time to understand more, so we can fear less” Marie Curie.

• “The Kuala Lumpur International Art Exhibition invites you to immerse and unreservedly experience the art and takes you to a New Horizon.” KL City Art Gallery Emerging from the hiatus in the art community brought about by the global covid 19 pandemic, our artists are gearing up , boosted by the creative forces and the accumulated energy for an International Art Exhibition in Kuala Lumpur Malaysia. The hibernation for others - is for our artists, on the contrary, a period of intense creativity, bursting with energy and restless with new ideas. For our artists, the lockdown produces a new body of works which we will proudly present at the KL International Art Exhibition entitled New Horizon, February 11th to 28th , 2022. The Exhibition will showcase the works of artists from Malaysia, India, Philippines, USA and other countries.

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ABOUT THE EXHIBITION: The covid 19 pandemic has fractured every aspect of our lives. Think! “Cogito ergo sum” " I think, therefore I am " (Descartes). The thought of this pandemic sharpens our awareness – we exist now, alive and fragile, with the fearful realization that life and death are part of our existence. Our defences are reduced to isolation and separation.

Fractured; but not broken. We are at the edge of possibilities. While our science is still cracking for the elixir, Art can give us some solace, Art can help us re- imagine. Art can reveal a NEW HORIZON. This exhibition is in many ways exceptional. Happening in the midst of the global health crisis, economic crisis, climate crisis and existential crisis. As the covid 19 pandemic is challenging many aspects of our lives and revealing the weaknesses of the foundations of our current civilization, it also forces us to think of ways to mend the fractures and create a renewal. This pandemic forces us to re- examine our hierarchy of values. It forces us to re-look at the conditions of our existence. It forces us to decide how we shall live as individuals and how we shall relate to our societies and the larger systems.

New Horizon is an International Art Exhibition which signifies a revitalization of new ideas after the pandemic which will give way to a new whole meaning of life. In this Art Exhibition our artists show us how they are seeing the world. Through the artists’ insights on different subject matters, we are viewing and considering our being in the world. In this time of uncertainties and disruptions, art provides some comfort and consolidates our existence. This International Art Exhibition also present an environment for refection and thinking of ideas for humanity to survive the sea of changes brought on by the Covid 19 pandemic.

This Art Exhibition is about creative renewal; after all, creativity is always seeing things from new perspectives without allowing the past to overly influence how we envision our future path. New Horizon signifies widening of vistas, re-vitalization, re-new, re -create and re- growth.

The KL International Art Exhibition - New Horizon showcases arts emanating from different cultures. Artists from India, Malaysia, USA, Philippines and other countries will come on a common platform.

The International Art Exhibition aims to catalyse greater cultural interactions through the arts which arise from the intermingling of our histories. It is occasion to embrace our art, to appreciate and to celebrate art as a way of deepening awareness our life as part of being in this world and the hope for a better future.

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The Exhibition will also present Conversations and stimulating forums on various topics such NFT, Sustainability, digitalization and other developments in art etc. which will be of immense interests to the public, artists, gallerists, curators, collectors and many other “stakeholders” of the art. There will be several fringe events such as poetry readings, dance and music shows, throughout the duration of this Exhibition. These events are programmed to ensure a high level of interaction among participants to fully immerse in and to experience the arts.

Most notably this International Art Exhibition is especially beckoning and welcoming globe-trotting art lovers to converge in the cosmopolitan city of Kuala Lumpur to experience the excitement of art , exchange ideas, to reflect, to interact and to bravely imagine a NEW HORIZON. OBJECTIVES of this International Art Exhibition: • Connect the artists, art lovers and people from different cultures to celebrate the art, to immerse in the creative environment and share experiences and appreciate art not just as a way seeing the world but way of connecting and sharing the common human experience.

• Creating an environment in which an artistic imagination flourishes beyond boundaries.

• In the midst of uncertainties and crisis and to re-imagine the world of tomorrow, to look ahead to - NEW HORIZONS • Develop cultural competences through the arts to enhance of international understanding.

The future and the potentials of Art Tourism in Asia cannot be ignored. The Art tourism sector is underdeveloped in Asia and we see its vast potentials for our artists. The organisers plan to actively promote art though staging international exhibitions at international venues, with special focus on promoting Asian artists and discovering new talents. Crossing of borders and going international present tremendous challenges for most of our artists and the barriers are real. Arth Art International and KL City Art Gallery are establishing the strategic linkages to make this happen. We intend to serve the needs of collectors by offering them more opportunities to extend their collections to include the works of Asian artists. The organizers also strongly believe that art has an important role to rebuild the tourism sector which has been severely affected by the pandemic. Art, we believe, has a role to trigger a creative renewal in the post covid era and beyond.

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Venue : KL City Art Gallery Kuala Lumpur, Malaysia

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Some Artworks of the Participating Artists

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Title : Palms Nation in Yellow Medium : Acrylic on canvas Size : 60cm x 60cm Artist : Abu Jalal Sarimon Country : Singapore

Title : Dialects of Garden Bloom Size : 60 x 120 inches Artist : Tapan Dash

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Title : Message to Barbara Kruger : It is no circus in my blue blue world Size : 12 x 12 inches Medium : Screenprint, Acrylic on paper Artist : Stephen Menon

Title : eYe mean It Size : 42 x 30 inches Artist : Dharmendra Rathore

Title : Perpetual Flux 2 Medium : Arylic on Canvas Size : 24in x 24in Year : 2021

Title : Pancho Piano Pilipinas kong mahal Medium : Oil on canvas Size : 72x48 inches

Title : "Laban" Size : 29 x 21 inches Year : 2020

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Title : Man of Great Enlightenment Size : 70 x 60 inches Artist : Kalicharan Gupta

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Title : Vande Matram Medium : Acrylic on Canvas Size : 60 x 36 inches Artist : Brajesh Verman

Title : Silent Night Medium : Mixed media Size : 36 x 48in Year : 2021 Artist : Ma. Luinette Belen Country : Philippines

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Title : Odissi Medium : Oil on Canvas Size : 60 x 60 inches Artist : Syed Thajudeen

Title : ABUNDANT LIFE Medium : Acrylic on canvas Size : 18 x 24in Year : 2019 Artist : Avic Zamora Country : Philippines

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Title : Eternal Reminiscence Size : 78x 96 inches Artist : Hemraj

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COVER STORY

SUZLEE IBRAHIM

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Dark Fire . 137x198cm . Acrylic & Oil on Canvas . 2009 . Suzlee Ibrahim

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Suzlee Ibrahim: Selected Series 2005 - 2017 With their vibrant colours and dynamic brush marks, the paintings of Suzlee Ibrahim are the manifestations of his innermost feelings about his travels throughout his career as an artist. The sights, sounds, and scents of new as well as familiar places offer boundless inspiration to Suzlee Ibrahim in creating spontaneous and elegant compositions.

A prolific abstract expressionist artist since 1987, Suzlee Ibrahim has produced an extensive oeuvre in 20 series and various dimensions. In 2015, his painting, titled “ The Poem ” from the “ Meditation Series ”, was recognised as the “Longest Abstract Painting in Art Gallery” by the Malaysia Book of Records. The acrylic and oil on canvas painting measures 1.5m by 18m and was produced between 2010 and 2015. The gargantuan painting was displayed at Galeri Serdang, Faculty of Design and Architecture, Universiti Putra Malaysia in conjunction with Suzlee Ibrahim’s 29th solo exhibition, “Meditation”.

His artworks have been displayed in international exhibitions in more than 40 countries, including the UK, US, Denmark, Finland, Macedonia, Singapore, Indonesia, Taiwan, Hong Kong, Japan, Tunisia, Turkey, and the United Arab Emirates.

Suzlee Ibrahim is also an academician. He started his teaching career as a part-time lecturer at the School of Art and Design, Mara Institute of Technology (ITM now UiTM) in 1993. He held a permanent position there from 1997 until 2009.

In October 2009, he became a lecturer at the Faculty of Fine Art at the National Academy of Arts, Culture, and Heritage (ASWARA). Suzlee Ibrahim became the dean of the Faculty of Visual Communication Design in 2015 and since last year has served as the dean of the Faculty of Fine Art.

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Ocean Park . 166x214cm . Acrylic & Oil on Canvas . 2005 . Suzlee Ibrahim

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Sakura Series : Ueno Park . 183x244cm . Acrylic & Oil on Canvas . 2008 . Suzlee Ibrahim

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Selected series Suzlee Ibrahim: Selected Series 2005 – 2017 is the 42nd solo exhibition in his 34-year career as an artist. Showcasing at G13 Gallery, the exhibition celebrates the best of Suzlee Ibrahim’s oeuvre, featuring 14 large-scale paintings.

“The chosen works are from various series. Priority has been given to my choices from each selected series,” says Suzlee Ibrahim.

“The ‘Sakura Series’, for example, is based on my experiences attending the Sakura Festival at Ueno Park, Tokyo, in 2008. The ‘Batik Series’ recalls my return to my hometown in Terengganu and my observation of the development of the 'small industry' of batik making in Terengganu. Similarly, the ‘Waterfall’ and ‘Ombak Merah’ series depict experiences in Terengganu as well.”

The artwork titled “Sakura Series: Ueno Park” dated 2008 and measuring 1.8m by 2.4m, the acrylic, and oil on canvas work illustrates the magnificence of the sea of cherry blossoms during spring in Japan. Executed in a minimal palette of white, red and black, the impression of the pink blossoms is derived from the artist’s gestural splatters in red and liberal black line marks against the white background.

The painting titled “Batik Series: Red Batik”, which was created between 2007 and 2008 measures 1.5m by 1.8m, has a “denser” aesthetic, emulating the busy patterning of batik motifs. Layers of vivid colour from his signature red to white, black, and a hint of blue placed in juxtaposition to each other form an abstract rendition of a batik fabric pattern from Terengganu.

Suzlee Ibrahim says: “ I get a lot of ideas and inspiration while travelling, both domestically and abroad. The human activities, the culture, the landscape of a place I visit give me new experiences that I express on canvas.

“For example, during my visits to Pangkor Island and Langkawi, the sea, the waves, the scenery of the seabed, such as the coral, inspired me to arrange compositions and colour to produce series like ‘Ocean Park’ and ‘Sea Festival’. The inspiration for ‘Middle of the Night’ was different. I had a nightmare, and finding it hard to sleep, I drew some sketches before going to the studio the next day and transferring them to canvas.”

The artworks in this exhibition include “Red Heliconia” (2014); “Waterfall” (2011–2013); “Dark Fire” (2009); “Waterfall Series: Rhythm” (2009); “Moon Cake Festival No 8” (2017); “Ombak Merah No 1” (2008–2009); “Ombak Merah No 2” (2008–2009); “Forest” (2010–2013); and “Lion Dance No 9” (2008).

“The works selected for this exhibition are based on my personal preference for each work. Since 1987, I have produced 20 series with various sizes of works. It was difficult to select just 14 for this exhibition, and these are in my view the best to be shared with the public,” says Suzlee Ibrahim.

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Waterfall Series : Sunday Morning . 183x213cm . Acrylic & Oil on Canvas . 2011- 12 . Suzlee Ibrahim .

Global pandemic As an artist who articulates his sentiments through the visual elements of line, shape, colour, form, motion, texture, pattern, direction, orientation, scale, angle, space and proportion, Suzlee Ibrahim continues to produce paintings even in a time of crisis.

“The Covid-19 pandemic has had no external impact on me, the process of making art goes on as usual. Yet, more spiritual experiences, ‘inner feelings’ emerge and give more inspiration to create. My work is a form of expression abstract expressionism.

“Looking at the surrounding Covid-19 conditions, the environment, and the whole world, it gives a certain colour, texture, and composition to process and expresses feelings onto the ‘chest’ of the canvas. Feelings of sadness, fear, anger, and so on are the lifeblood of the ‘movement in the canvas space’ that has shaped my visual language throughout Covid-19”, says Suzlee Ibrahim.

However, his role as dean is more challenging. Suzlee Ibrahim explains, “The process of teaching and learning has changed drastically around the world since Covid-19 hit. It has become completely virtual learning. It is difficult for practical learning to be delivered online. In the field of visual arts, teaching is more face-to-face, one-on-one.

“The teaching satisfaction for lecturers is lacking and the ability of the students to comprehend and absorb 100 percent of what is being delivered is extremely difficult. The lecturers have to try their best to find a way to share their teaching as best as possible through online applications. As the dean, I also have to monitor the lecturers and their virtual classes by following their timetables. All meetings, whether at the university, faculty, or with students are conducted online. There are definitely more challenges.”

International recognition Suzlee Ibrahim is the recipient of numerous awards in his capacity as both an artist and academician. The accolades include the Gold Medal of Zervas Art (The 5th Paris Art Symposium), Paris, France (2020); Second Prize at the Monastir International Festival of Visual Arts, Tunisia (2019); “Pakar Pengajar (Teaching Experts)” by the Ministry of Human Resources Malaysia, Kuala Lumpur (2016); “Anugerah Pengilmuan Seni/Art Experts” by Aswara, Kuala Lumpur (2014); “Excellent Masters Award” by Universiti Teknologi Mara, Shah Alam (2013); “Tokoh Seni/Art Experts: Anugerah Citra Kencana” by Universiti Kebangsaan Malaysia, Bangi (2011); “Special Envoy for World Peace”, representing Ministry of

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Tourism Malaysia and World Arts and Culture Exchange Malaysia, at the Tokyo Trade Centre, Japan (2008); JapanMalaysia Art Friendship Ambassador (Ministry of Culture Arts and Heritage Malaysia and World Arts and Culture Exchange Malaysia), Malaysia Tourism Centre, Kuala Lumpur (2007); and “In Recognition of Outstanding Creative Excellence” at the Emaar International Art Symposium Dubai, UAE (2005).

Suzlee Ibrahim’s paintings are often available on the secondary art market both locally and abroad, indicating a strong demand for his work.

Sarah Abu Bakar | 23 May 2021

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Ombak Merah No. 2 . 153x183cm . Acrylic on Canvas . 2008-2009 . Suzlee Ibrahim

Sea Festival 1 . 166x213cm . Acrylic & Oil on Canvas . 2006-2007 . Suzlee Ibrahim

South East Asian Artists Magazine

HISTORY The Shah Alam Gallery was established under the administration of Yayasan Seni Selangor Darul Ehsan on 26 January 1991 and was inaugurated by His Majesty Sultan Salahuddin Abdul Aziz Shah Alhaj on 6 July 1991.

Yayasan Seni Selangor Darul Ehsan was inspired by His Majesty Sultan Sharafuddin Idris Shah Alhaj Ibni Almarhum Sultan Salahuddin Abdul Aziz Shah Alhaj when he became His Royal Highness the Raja Muda of Selangor where he himself was one who loved and loved art so deeply. .

To realize the inspiration, a discussion between His Royal Highness the Raja Muda of Selangor, YM Raja Zahabuddin Raja Yaacob (Prof. Dato), Syed Ahmad Jamal (Datuk), Tuan Haji Mohd Musa Ideris and the skilled Encik Kassim Ali (Dato (Dr) and experts in the fields of art and design, museums and legislation were held and together helped plan the inspiration of His Majesty the Raja Muda of Selangor, in formulating the outline of the function and establishment of the Shah Alam Gallery under the auspices of Yayasan Seni Selangor Darul Ehsan.

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In the history of its origin, the traditional Malay shaped building was built for the Office of Culture and Tourism of the State of Selangor and was designed by Mrs. Maimuna Deraman in the early 1980s. Shah Alam City Council has later carried out renovations to this building with the aim of facilitating the carrying out of the Shah Alam Gallery art activities.

In addition to the design of the building features, the sculptures and traditional Malay design is consistent with the objectives of Shah Alam Gallery. Thus, it is in line with the efforts that will lead to high awareness, understanding and appreciation of the arts in integrating the plural society in the state of Selangor to popularize the visual and liberal arts of the country.

Shah Alam Gallery as an arts center and tourist destination in the Klang Valley is located in the heart of Shah Alam city center. The building is beautiful with design refinement of traditional Malay architecture surrounded by lakes and parks add to the beauty of the 'art' in addition to a safe and comfortable atmosphere that can attract people to visit Shah Alam Gallery

Centre : His Royal Highness Sultan Sharafuddin Idris Shah Ibni Almarhum Sultan Salahuddin Abdul Aziz Shah Sultan Of Selangor. (Chairman of Galeri Shah Alam) Sit from right of Sultan : Prof. Raja Dato’ Zahabuddin Raja Yaacob (Board of Trustee) Ibrahim Bujal (retire), Iszuan Ismail, Khairulsani Ismail, Noor Mohd Ariff Hashim, and M.Hilmi Abd. Halim.

Sit from left of Sultan : Siti Nurani Adenan, Ratna Astuti, Nur Syafiqah Zainal, Shafinaz Ismail and Kamariah Mohammad.

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THE ROLE OF THE SHAH ALAM GALLERY Create a permanent collection of galleries Obtain visual artwork ( paintings, sketches, sculptures, prints, textile photography etc.) from well-known national painters from the past to the present as a permanent collection. Procurement of foreign works is also carried out in an effort to enrich the Gallery collection.

Organizing exhibitions Hold regular exhibitions by inviting the country's employees either solo or in groups. Exhibitions from artists and art institutions from abroad are also held specifically to provide opportunities for local communities to evaluate and make reference to the development of art globally.

“Pameran Terbuka” (Open Show) yearly art exhibition for Malaysian Artist.

Print making art activity by Faizal Suhif (Artist print maker and he is artist residency 2011)

Cooperation program Organize collaborative programs with national art galleries, national museums, state art museums, local art galleries, art institutions from within and outside the country, government and private departments, public and private institutions of higher learning and foreign countries to ensure arts programs can be implemented successfully.

Charter Always ready to entertain, help and provide information to artists, painters, activists and art lovers.

Provide feedback on inquiries related to collection or collection information within 7 working days.

Islamic Art Exhibition, Khat Caligraphy 2018.

Always be aware of the need to hold exhibitions as appropriate. Organize open exhibitions of shah alam galleries as a regular annual activity.

Host a competition As a way to hone and encourage new talent in the visual arts competitions in art, photography and graphic arts competitions at the school level, institutions of higher learning, districts, states and nationalities are often held.

In addition to additional programs such as drawing competitions, workshops, drawing classes, seminars, symposiums, conferences, talks and related talks are also held.

Art education Programs such as art guidance classes, sculpture, textile printing and photography for children, teenagers and adults are implemented in line with the main role of the Shah Alam Gallery in an effort to provide art Education to those who are interested.

Studies and references Provides reference materials for studies such as books, magazines, exhibition catalogs, photographs and slides, brochures related to the national and foreign visual arts arena.

“Art Camp” programme for secondary student in Art Subject at Hulu Selangor for final examination Sijil Penilaian Malaysia (Malaysia Valuation Certificate).

South East Asian Artists Magazine

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KUNST FILIPINO PAINTING COMPETITION WINNERS 1st Prize Artemio C. Garcia Jr Waging isinasabuhay ang Pagpipinta Acrylic on canvas 24 x 18in 2021

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2nd Prize BUHAT KO’Y BUHAY KO Jericho Windsor Magnaye Acrylic on canvas 24 x 18in 2021

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3rd Prize Niño Cris Odosis GAANO KALAKI ANG KAYA MONG ISAKRIPISYO Acrylic on canvas 24 x 18in 2021

1st Honorable Mention Francesko Tolentino Beautiful Nightmare Oil on canvas 24 x 18in 2021

2nd Honorable Mention Patricia Casulla Ang Studio at Ang Tatlo Kong Multo Watercolor on paper 24 x 18in 2021

41 3rd Honorable Mention Arthur Marcelo Mga Kulay na Kaagapay sa Pagbangon sa buhay Patungo sa Tagumpay Acrylic on canvas 24 x 18in 2021

Viewers Choice and Jurors Choice Jerwind Magnaye Walang Pag Aalinlangang Hakbang Acrylic on canvas 24 x18in 2021

South East Asian Artists Magazine

Artist SAFA BÜTE and ART NiGDE INTERNATIONAL

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Niğde is the city where I was born and live, it is far from the Cappadocia center about 1 hour by car.

About 35 years I lived far from my city. I have been in many countries to realize art events and then returned back to Niğde. About 10 years ago I contacted the Ministry of Culture in Ankara and I told them I decided to live in Niğde city and give art lessons to the young people and open international exhibitions. The ministy of culture gave me an unused old church for my needs. I spent about 3 years to make it ready for the exhibitions.

I established the Art Niğde International (ANI) and started to work.

A few years I was in some international art Project with the indian artists and associations.

Many of the artists wanted to open solo exhibitions or to take part at the international group exhibitions but unfortunately I could not be successful as I wanted due to the much cargo fees. 99 percent of the artists had the same financial problems. And they were right… Because to transfer the original works by cargo or any other transfer methods cost so so so much. I could understand all the artists as being an artist. I had to find a solution for this problem. I was planning to open 3 or more international group exhibitions in a year. And with the sponsors it was not easy to solve it. Because, if I find sponsors they could support me only for a few exhibitions and then nothing. So I had to find a solution should not be inside any sponsor. In the end I found the best way to realize my group exhibitions.

As you know the technology is growing up in our life. So I could ask the artists to e-mail me the high resolution copies of their works and I could have them printed on canvas and exhibit.

I contacted my friends Yoo Choong Yeul in Republic of Korea, Fred Van W., Carmen Heemels (GAPi) and Abdolreza from Iran (Leading Art) to support me about this Project. Thanks to them, all of them are supported me and I started to realize my Project.

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In the last few years I am realizing the international group exhibitions Artquake series. I started from Artquake-1, 2,3,….

And in april 2022 I will realize the international group exhibition Artquake-9.

As being Art Niğde International we are not getting any commissions on the sales of the works. If any collector wants to buy any art work we have the buyer contact the artist directly.

The artist sends us the high resolution copy of his/her work, we print on canvas, frame and exhibit. To print the work on canvas, frame, exhibition portes, invitation cards, opening cocktail, high resolution certificate etc, every artist pays a participating fee (60 euros), Every artists are happy about this Project, because to pay 60 euros better than to pay hundreds of euros for transfer fee from one country to another. Also no customs problems, or without the problems of the damaged originals.

I will contunie with Artquake-10, 11, 12 …. When end I do not any idea.

Thank you so much for your great support…

All the best and warm regards.

Safa Büte Curator & President of Art Niğde International

South East Asian Artists Magazine

Safa Bute, like his work, has inspired respect and admiration as he emerged from the obscurity of humble beginnings to become one of the most widely recognized and beloved artists in his homeland, Turkey. In the summer of 1987, Bute emerged as an artist and created the art technique now known throughout Turkey as the “Safa Bute Style”.

Although Bute was unable to pursue the educational path he dreamed of as a child, he created a new style of art that has been the subject of increasing interest all over the world, as collectors in Europe and the USA follow his marks.

Art critics reviewing exhibits agree that the style is unique.

Now he is creating his art works at his studios located in Niğde city of Turkey.

AWARDS AND HONORS 2007, Director of the 1. Adana City International Contemporary Art Biennale 2006, Honorary Member of Cultural Association Terra Dell´Arte in Italy 2005, Member of the Artistic Committee of the International Arad Biennale of Contemporary Art in Romania.

2003, 4th award winner of the International Florence Biennale of Contemporary Art in Italy.

2001, 2000 WAIS People Choice Award Winner at the “Ten Top World Artists Invitational Show” organized by Artists Own Registry in Australia.

1999 Nominated to the Time Magazine online poll in the category of Most Influential Artist of the 20th Century 1998 Featured artist at ArtQuest in USA

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JULIANA DOMNA COMES FROM TYANA 35X50CM INK ON PAPER

When I first met Safa I knew I had met an extraordinary artist because of the intrinsic quality found in his art works.

Everyone walking by his display stopped and slowly slid into his intricate pieces.

Each piece takes you into another time period; they seem to have been taken from some monastery study and made by monks under candlelight.

Every image that Safa has made has the ability to leave an “after image” on your mind, forcing one to come back to look again. Can one work contain so much information, such strong emotions and a timeless quality? This man’s works do.

By James Langston , Art Educator Art Consulate for the Florence Biennale

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SAFA BÜTE'S DREAMS 70X150CM OIL ON CANVAS

SAFA BUTE, a highly competent painter who has displayed a diversity of styles but has gone beyond, creating an avant- garde technique that now bears his name: "The Safa Bute Style."

The eclectic world unveiled through his rich palette reminds us of Dali's surrealism.

However, what catches our attention in Safa Bute's artworks are his captivating ink drawings. To me, they are strikingly similar to the drawings on Leonardo Da Vinci's notebooks exhibited at the Louvres: technical, geometrical and exact in their measures and proportions. Expressed in black, white, grey and shades with contrasts that come from the light the dark and the spaces left. And no colours to distract the eye from the rigorous precision of lines, curves and the infinity of points.

Yet these drawings that show the meticulousness of an engineer, a true display of mastery, are quite artistic, inspirational and full of esoteric significance. They introduce us to the artist's inner world, a visionary universe that is deeply immersed in the history of his beloved Turkey, the cradle of millennium civilizations.

They come with clear existential and spiritual messages, qualified by John T Spike, Art Critic and historian, as "sacred works... to be studied and meditated upon with increasing respect."

Multidimensional genres cutting across different periods and inspirations!

But cohesive. The final tableau is all harmony.

We stand in awe before the omnipresent EYE OF GOD that is sweeping rays of light over the universe while the running down precious tear is collected into a jar.

Or the BIRTH OF ANATOLIA, where the artist’s world is comprised with extreme precision inside a chessboard! Tiles and squares limit the rectangular framework and sometimes spill way inside. Some of the human figures are similar to those carved on ancient monuments dating back to the history of mankind, found on mosaics and temples. Their heads and bodies are those of goddesses and emperors printed on antique coins.

They seem to be gravitating in the protective amniotic fluid of a mother's womb!

As for Safa Bute's paintings, they, too are DREAMS, a projection of his dreamlands expressed in forceful colours, the dominant color of which is this flamboyant red with all its tones and shades. And here again we find a world of his own, visions of the births of planets and galaxies, of fire and flames ! And little men in a ballet of life whirling up towards the light, at the rythm of the creation. The cosmos in gestation. The Genesis.

FATIHA BENMANSOUR BEDRAN, Art Critic

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S'Kaki ART RESIDENCY + ART GALLERY

#skakiartgroup #skakiartstudio #skakiartresidency #skakiartgallery

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Art space in S’Kaki Malaysia and is part of the growing artist network, meaning members in the space will have access to our Thailand, Indonesia, Singapore and Australian or over the world spaces for rent when they travel, with our S’Kaki Art Residency + Art Gallery .

‘Aim is to build a platform to bring our local art all over the world, and also bringing the world of art closer to us.’ Art For All Serviced Art Studio space and art Gallery for rent in Sri Rampai Kuala Lumpur on flexible week-to-month terms.

Why Looking for Studio art space for working in KL? Whether you’re a solo artist or a larger team, S’Kaki space will find a space to suit with you !

Our S’Kaki Art Residency space brings Studio style Space to the capital, living with studio, Art Gallery space and hostel space for rent all available on easy, simple agreements.

Art space in S’Kaki Malaysia and is part of the growing artist network, meaning members in the space will have access to our Thailand, Indonesia, Singapore and Australian or over the world spaces for rent when they travel, with our S’Kaki Art Residency + Art Gallery .

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We offer a variety of spaces, if you are looking for a private space for just yourself or for a large team we’ve got you covered. Enquire now for more information and pricing. Price can negotiate.

Directions / Maps:- https://goo.gl/maps/xFcRonFvLY42 7-2, Jln 67/26 Taman Sri Rampai, 53300 Kuala Lumpur Parking Onsite parking available. (Beside School) Nearby Bus Stops Rapid – AEON @ Alpha Angle Shopping Mall.

Nearby Train Station Wangsa Maju Station or Sri Rampai Station

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visit site: https://skakiartresidencyartgallery.wordpress.com

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Lotus 3 Oil on Canvas 36 x 72in 2019 private collection

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BENEDICTO "BONG" DUCAT PHILIPPINES

Born on May 6, 1957 in Tondo, Manila, Benedicto “Bong” Ducat is a Filipino painter noted for his Pointillist style of painting. He credits the late Philippine Women’s University (PWU) Fine Arts program director Ibarra De la Rosa for his influence on this painting technique of using tiny dots of distinct colors to create an illusion of form.

Birds of Paradise Oil on Canvas 36 x 72in 2019 private collection

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Ducat earned his degree in painting at the University of Sto. Tomas’ College of Architecture and Fine Arts where he was conferred the prestigious Benavides Civic Award. He later took his master's at the University of the Philippines in Diliman, Quezon City. At one point Ducat has taught painting at the Technological University of the Philippines and at the Philippine Women’s University and is currently a professor at the University of Santo Tomas College of Fine Arts and Design.

Ducat is noted for his depiction of nature, rendering plants, trees, and flowers skillfully executed in his signature droplet - like strokes and in vibrant colors. His lotus flower series for one are not the “prim and proper” usual types we see. Ducat’s interpretation exudes youth; they elicit positive vibes with its spirited shades and hues, and are devoid of boredom. Likewise his Birds of Paradise series is an eye candy so to speak. There is so much life to the artwork one could feel the artist’s energy and state of mind while crafting the oeuvre.

In Ducat’s Antipolo landscape series, the artist’s attention to details is evident: the mixture and gradation of colors, the consistency in his brush strokes. The painting squeals of liberation – the wide expanse of the landscape captured vividly

by Ducat’s hand alluding peace and tranquility. The strokes are smooth and clean, executed to perfection. And of course, the gabi leaves - the simple life cycle of the humble gabi leaf as it begins to bloom evokes spiritual fascination among its audience. How Ducat is able to play out mysticism in his works is what sets him apart as an artist.

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Over the years as well as in keeping with the times, Bong Ducat has shifted his focus from pointillist painting to semi cubist depictions of still life in the path of Modernist art masters like Vicente Manansala.

Top Right : Trees Oil on Canvas 30 x 40in 2019 private collection Second Photo (R) : Lotus Oil on Canvas 30 x 40in 2019 private collection Third Photo (R) :Landscape Series Oil on Canvas 48 x 60in 2019 private collection

Landscape series with vintage cars Oil on Canvas 30 x 40in 2021 Lotus 2 30 x 40in Oil on Canvas 2019 Private Collection

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The Museum and Gallery of Modern and Contemporary Art

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The Museum and Gallery of Modern and Contemporary Art is dedicated to collecting, preserving, and interpreting developments in the late 19th century to post-World War II art through 1970’s (Modern Art) and 1970’s to the present (Contemporary Art) in all media and creating a welcoming environment for its public appreciation. The Museum promote understanding and interest in art and artists through art shows and exhibitions, curatorial research and publications, and a variety of educational programs, including lectures, guided tours, and workshops.

The Museum is an organic, changing place. Although all the works seen are part of our permanent collection, in order to show the full range of our holdings - over 2,000 objets d’art - and to accommodate important temporary exhibitions, certain works must occasionally be taken off view.

Modern Art Modern Art includes artistic work produced during the period extending roughly from the 1860s to the 1970s, and denotes the styles and philosophy of the art produced during that era.

The term is usually associated with art in which the traditions of the past have been thrown aside in a spirit of experimentation. More recent artistic production is often called contemporary art or postmodern art.

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Contemporary Art Contemporary Art is the art of today, produced in the second half of the 20th century or in the 21st century.

Contemporary artists work in a globally influenced, culturally diverse, and technologically advancing world.

Some define contemporary art as art produced within “our lifetime”.

Free Admission Come Visit Us by Appointment Mon - Fri: 10am - 4pm Sat, Sun and Holidays: Closed Moncada - Alcala - Bayambang National Road (Arboleda Street) San Pedro Ili, Pangasinan, Philippines museumgallery.ph@gmail.com

Delegates of Freedom and Love event who participated in the mural making in the wall of the museum.

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Ray “ Beng “ Duque discussing to the Freedom and Love delegates about the museum.

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AMIRASOLO

By Arnaldo Bernabe Mirasol

I was called Amirasolo by my UST High School classmate Paterno Mendoza. Fernando Amorsolo is the most popular painter in the Philippines at that time, and perhaps even up to today---the one most known to the public, art-lovers and non-art lovers alike. I don't recall exactly what prompted Pat to call me Amirasolo, but I guess it was because he wanted to get on my good side. He was perhaps flattering me because he had an art project to do and submit and he wanted me to do it for him.

Not one to turn down a request 'laced' with praise, I'm sure I readily did it for him. Anyway, he was not the only classmate who'd requested me that. There were several. I only remember Pat because of that memorable utterance of his, which I confess truly flattered me.

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I remember another classmate, Reynaldo Catiis, who cajoled me to draw Batman in my notebook. We were in grade four then at Holy Child Catholic School. No problem with his request. But the trouble was he made that while we were seated at front row, and at a time when our teacher Miss Lolita Flores had already began her lecture. And being a bit of a show-off that I was who can't resist an opportunity to display my talent, I readily gave in to Rey's request.

Miss Flores, of course, noticed what we're up to. She asked for my notebook and when she saw my Batman drawing there, she frowned and shook her head. She ordered me to ask my mother to sign it to let her know what I'm busy with while a class was in progress. I was afraid of the scolding I'll get, so, I just signed the drawing myself with my mother's signature.

Miss Flores readily saw my attempt at forgery. She asked me to go outside the classroom, and while we were there, she pulled my right 'patilya' upwards saying, "Ang bata-bata mo pa, sinungaling ka na." ("So young, and you're a liar already.")

Drawing was a compulsion since my early childhood. My earliest memory of being fascinated by an artwork was when I saw a pen and ink cartoon by Jose Rizal in an old Reading textbook. That cartoon was of the monkey and the tortoise. I haven't entered school at that time, and I remember myself afterwards trying to do a similar drawing which was still beyond me. The drawings I religiously did with a measure of competence, though still in a childish way, were images of fire engines with firemen on board and war jeeps.

My artistic talent was discovered when I was in grade one. Our teacher, Miss Mercy Ramos, asked us her pupils to draw, as our art project, an animal on a whole sheet of cartolina. I drew a blue bird. Miss Ramos was impressed. She couldn't believe that a boy so young could draw a bird so convincingly. I was sent with my drawing to the office of the Assistant Principal, Mrs. Manuel, to receive encouraging words and praise, which were given me. I was told to "Keep it up."---which were words of high praise to a boy of seven like me.

It was in the class of our art and workshop teacher and scoutmaster Mr. Joe that my artistic skill was thoroughly honed.

I learned from him the basics of perspective and isometric drawings, which were being taught us boys to prepare us for an engineering or architecture course in college. We were also trained in woodworking, especially in the use of coping saw. Other crafts-projects taught us were parol (Christmas lantern)-making, the fashioning of flower vases and ladles using bamboo and coconut shells, and even soap carving!

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But I wasn't interested in those. I'm only interested in drawing---not the technical kind of drawing, but fine art drawing. So, what excited me most was the album we were required to compile of colored pencil drawings of different flowers, fruits, trees, fishes, and mammals.

For our final artwork, we were allowed to choose the subject matter and the medium we'll use. I chose to copy an image of Christ the King and used watercolor to paint it. Although it was my first time to use watercolor in painting a subject as complicated as Christ the King, I believe I painted a convincing likeness of the image because the grade I got for it was 99%, which Mr. Joe said was the highest grade he gives.

It would've been great if I still have that album for me to show around. But unfortunately, it was lost in a fire that burned down our neighborhood in April 1969, just a month after our graduation from grade seven. That was tragic--losing a year-long effort for good in just a few hours.

Another teacher, Sir Benjamin Roda, kind of pushed me towards really learning how to paint in oil. He was our English Literature teacher at USTHS, a brilliant one I must say, my favorite. Sir Benjie is also an art enthusiast, who, I presume, was into art making part time during his years as a teacher. It was from him that I bought my first Grumbacher howto-paint book from which I learned the rudiments of oil painting.

Sir Benjie asked me one time to do a visual depiction of a stanza from Thomas Gray's poem, "Elegy Written in a Country Churchyard". What I did was a painting of an ox-drawn cart on a country road which leads towards a church.

Although I used watercolor in tubes in making that painting, I applied the colors using oil painting techniques, that is I applied them opaque and in thick impastos. A mistake. I should've done the painting using the traditional wash or transparent method, because watercolor will definitely flake off if applied thick.

My mother bought me my first oil paint set when I was thirteen. Before that, the coloring tools I used were crayons, colored pencils, and watercolors. I can't wait to try those tubes of oil paints that I hastened forthwith, without thinking, and by force of habit, to thin the paint with water, to no avail of course. I realized my mistake when I saw that the water won't dissolve the paint. Because it was oil paint, I saw, a bit belated though it was, that what I need to thin the paint was oil. So, I got what was at hand and used edible oil which thinned the paint all right. Never mind the durability issue---I didn't know yet what linseed oil is.

We have a new house then, the one that replaced the burnt one. This new house had a room, a small third storey room from which I can slip easily into the second storey roof. It was on this roof that I did my first oil painting which I painted directly on raw plywood (without latex or gesso primer). My subject matter, the mountains of Bataan which can be seen beyond Manila Bay from the roof.

When I was young, I never dreamt of becoming a professional painter of easel-sized works. My ambition then was to be a painter of 'cartelon' or giant movie posters or billboards. A relative of my father, Noy Mancio, was the one who encouraged me to aspire to become a cartelon painter. Noy Mancio was movie star Fernando Poe jr.'s personal driver.

He promised that he'll introduce me to Mr. Poe the moment I am ready to do professional painting jobs. The idea was for me to work directly for him as cartelon painter for his movies.

That dream was boosted further when I was in high school. The Marikina and Antipolo-bound bus I used to take in going to UST High School regularly passed by the Sagmit Advertising Studio at the corner of Antonio Rivera and Bambang Streets in Tondo. I could see from the window of the bus the giant white cloths stretched on giant wood frames, and the painters all busy working on the billboards which were in varying degrees of completion.

I used to think to myself how marvelously skilled those cartelon painters were. I marveled at how easy it was for them to copy pictures magnified dozens of times over when I had the most difficulty doing portraits which were just lifesized.

My dream of becoming a painter of giant cartelons didn't come true. I was 'reduced' instead to being an illustrator of textbooks and picture books, for which I did early in my career illustrations that were almost miniaturist in scale.

Also, I never became a disciple of Amorsolo. My painting style was in no way similar to his. Idyllic rural landscapes, likewise, were not for me. And I'm not really good in portraiture for which Amorsolo is considered as one of if not its best practitioner. My brushwork too---with its smooth luminist quality or absence of visible brushworks and impasto--is the polar opposite of Amorsolo's looser bravura strokes, a style so dear to the magnificent Cebuano masters like Romulo Galicano and Orley Ypon.

Needless to say, Amorsolo doesn't top my list of great Filipino painters. Botong Francisco does. But Amorsolo is a close second. #amorsolomirasol

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(Below: cropped samples of my book Illustrations for Phoenix Publishing House and Tahanan Books for Young Readers)

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South East Asian Artists Magazine

MARK SHELLSHEAR 0947.647.34.65 markshellshear@gmail.com galeriadelasislas@gmail.com

Always assume the sale is on.

Sometimes Artists when you get the first excuse you assume the sale is over, they have not said no, just an excuse and they are still looking at the painting and talking.

Do not assume its over, keep them engaged in the painting and ask questions, you will be amazed how many of them do decide to buy and they say I will take the painting, without you asking for the sale.

They want to decide to buy and they want to buy, but they do not want to be sold to, it is the story we tell ourselves.

When you assume the sale is over you lose enthusiasm and your passion will subside, so always assume it’s on and ignore the excuse and even the first no.

This is easier said than done I know, because we don’t like to hear excuses and we take it personally, like we are being rejected, so learn to ignore excuses unless they walk away and are not interested any more.

Important if they do start to leave, continue to connect with them and keep building the relationship, they will come back if they like you and like your work, talking with strangers is never wasted time if you have connected with them and a relationship is being built, friendship.

I would rather have a friend for life who will buy in the future, than a one off sale.

Always assume the sale is on until they leave, be it your art booth or your FB page.

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" Number 8 in green."

Number eight is a very lucky number to many and mine is in the colour green.

Green is a very interesting colour as it is not like any other colour and it's difficult to describe what colour it is, it's not red or blue or black, some people don't think black is a colour, but I do.

If you put green beside red it's complementary then it seem a stronger colour as they tend to compete with each other.

I like softness of this painting and the green 8 is subtle and retiring.

Acrylic on watercolor paper.

29.7cm x 21cm ( 11.7ins x 8.25ins)

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NUVE Heritage Hotel Art Space

By Abu Jalal Sarimon, abjartstudio@sg Art Organiser, NUVE Heritage Hotel Art Space 13 Purvis Street, Singapore 188592 Email : abjsarimon@yahoo.com.sg Phone : +6596647914 Webiste : contact@hotelnuveheritage.com

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One of the world’s busiest business and tourist capitals, Singapore, has long been the art aficionado’s paradise. With such vast wealth of public galleries, creative events, and white spaces, no selection of the top contemporary art galleries can be comprehensive. Aside from better-known exhibition spaces such as Gillman Barracks, ION and Ode to Art, some strategically located art space such as NUVE Heritage Café Art Gallery are well worth a visit.

This humble art space is one to watch. It places you within a 10-minute stroll of popular attractions such as Bugis Street Shopping District and Raffles City. This 19-room, 4-star hotel has conveniences like a restaurant, a bar/lounge, free in-room WiFi and a wall space dedicated for visual art.

NUVE Heritage art space has become the hub of burgeoning artistic life for established and promising young artists. With only 2 set of spacious walls with high ceiling, the exhibition space is undeniably compact – but each show is allowed to breathe, with a surprising fluidity between the rooms and space to wander with the knowledge to communicate with the nature of the displayed artworks. Although the gallery platform is dominated by two-dimensional art forms, it champions contemporary artists with wide-reaching horizons, including sculptures. For those who enjoy art that tells a story, while staying at a cosy room, enjoying pastry and black coffee, this space exhibitions are unlikely to disappoint.

PREVIOUS SHOWS :

Imago Mundi 3 Nations Art Exhibition Singapore, Malaysia, Indonesia December 2017

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Imago Mundi 3 Nations Art Exhibition : Singapore, Malaysia, Indonesia, December 2017 . Phptography with Head of Imago Mundi Team Abu Jalal Sarimon (Singapore) Antonius Kho (Indonesia) A Zaki Hadri (Malaysia) Posing with their countries’ book published & printed in Italy

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My Place Your Place . Solo Art Exhibition by Allen Sanchez, young Philippines artist. Art dialogue with Mr Choi, Ex Senior Curator for Singapore Gallery & active art writer. February 2020

My Place Your Place, Solo Art Exhibition by Allen Sanchez, young Philippine artist February 2020

Enchanted Odyssey 3 Nations Art Exhibition, Singapore, Philippines, Indonesia, Art dialogue with artists, Roy, Migz, Abu Jalal and Art Buyer Mr Damien, June 2019

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Enchanted Odyssey 3 Nations Art Exhibition, Singapore, Philippines, Indonesia Photography of artists, Cipto Purnomo, Syis Paindow, Abu Jalal and Niluh Sudarti

Seni Ku Solo Exhibition by Gazaly Haron, Nov 2017 Photography with journalist Miss Haryanai Ismail

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Some pieces of fine artworks by Gazaly Haron

Space Eleven Cloud Nine Art Exhibition

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GALLERY wks.

GALLERY wks.

KATAYAMA Kazuhiko 1103, 3-14-26 Nishitenma, Kita-ku, Osaka, 530-0047, Japan works@r.sky.sannet.ne.jp https://www.facebook.com/GALLERYwks

Fundarike No Tho Kametani Aya 2019

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Peace and Unity through Art in Japan 2019

May Sky Katayama Kazuhiko 2020

Osaka is Japan’s second largest city after Tokyo.

GALLERY wks. was founded in 2002 in the gallery district “Oimatsucho” of Osaka.

At a unique location in the top floor of the apartment,the space is a simple white cube. It’s a very creative act to transform an empty space into an extraordinary world through collaboration between artists and galleries. The gallery owners are interested in a wide range of genres such as painting, sculpture, photography, lacquer art, pottery, installation, Contemporary dance. And the gallery presents a truly unique expression and is known for avantgarde activity.

In 2019, a joint exhibition “Peace and Unity through Art in Japan” by artists from four nation, Philippines, Indonesia, Singapore and Japan was held. In the first place, Osaka is a city that has opened overseas. In the 16th century, there was also exchange with the Philippines, which was called Luzon at the time. It is a town that has been interacting with foreign countries since ancient times. As a gallery in Osaka, which is blessed with a rich and richculture, we can expect further.

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PALM ART SPACE

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Hongkong’s renowed artist Eddie Lui's arts are also on display at the Palm Artspace

Palm Artspace is a contemporary art gallery seeking to promote a genuine appreciation and passion for Vietnam and international Arts, ranging from traditional to contemporary artworks. established by Vietnamese visual artist Dang Tuan set in the midst of a lush greenery. It not only conducts art workshops for the young and the young at heart but is also home to local and international art exhibits.

The gallery boasts of paintings and sculptures of up and coming visual artists as well as established masters from the local and international art scene gracing its walls at one point in time. Diverse personalities flock the place to marvel at the visual art feast presented everytime the gallery holds an art show. Palm Artspace is dedicated to presenting artists who have brought esteem to Vietnam art by perfecting their skills and talents in traditional media and subjects.

Palm Artspace, provides a venue for exploration of new media and contemporary expressions. It nurtures the fresh creativity of artists. “ With Palm Artspace, we have given a space to artists who are bolder and more experimental in their creative pursuits. Their artistry could be described as contemporary but we could refer to them as the “Millennials” in Vietnamese art.”

Palm Artspace gallery is located at 188A Thao Nguyen Ecopark Hung Yen Vietnam.

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Dang Tuan’s artwork are displayed in one of the events in Palm Artspace

Dorothea Fleiss artist residency at Palm Artspace 2019

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TOP Photo - From left to right : Eddy Lui , Dang Tuan , Nguyen Phuong Mai , Winnie Mac , Pham Huy Thong, Khong Do Tuyen , Le Dinh Nguyen, Vu Binh Minh , Vu Minh

One of the guest looking immensely at the paintings

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