south east asian artists magazine vol 1 issue no

ISSN 2719-0064

Vol. 1 issue No. 2 P 250 (5.25 usd)

Southeast Asian A R T I S T S

M A G A Z I N E

Arts Culture Events

The Life of an Average “In a World That Can't Stop Talking” Unique wedding of Artist from Magelang Art and Artist Apply your Creativity Power Chocolate (The Making Of “Once Upon a Time”)

The Bedrocks of a Good Dream..

By Tam P. Austria

“ In a world That Can’t Stop Talking”

by Ingrid Aimee

Art and Artist

by Hati Sri Prameswari

Unique wedding of Artist from Magelang

Southeast Asian A R T I S T S

M A G A Z I N E

Arts Culture Events Published Quarterly

Ruth Chua Editor-in-Chief

Museum and Gallery of Modern and Contemporary Art

Filarts Inc. Publisher

Roy Espinosa Creative Director

Ingrid Aimee Mark Shellshear Arnaldo Mirasol Atte Hati Sri Prameswari ii Writer / Contributor

Mike Austria Jun Taniang Rafael Gozum Photographers

Editorial and Satellite Business Office: Blk 4 Lot 13 Gemini St. Cruzville Subd.

Quezon City 1124 Email: filartspublishing@gmail.com / filartsincorporated@gmail.com

Power Chocolate (The Making Of “Once Upon a Time”)

By Arnaldo Mirasol 42 South East Asian 2 Artists Magazine

CONTENTS: page 5 Gallery Wks page 6 Ingrid Aimee: The Life of an Average “In a World That Can't Stop Talking" page 12 Unique wedding of Artist from Magelang Wawang Geni page 24 Art and Artist by: Hati Sri Prameswari page 27 Apply your Creativity Mark Shellshear page 30 Our cover : The Bedrock Tam P. Austria page 36 Museum and Gallery of Modern and Contemporary Art page 42 Power Chocolate (The Making Of “Once Upon a Time”)

By Arnaldo Mirasol 42 cover Photo by Mike Austria

page 62 S’kaki Art Residency + Gallery Kuala Lumpur, Malaysia

South East Asian 3 Artists Magazine

FROM THE EDITOR

G

oing through the second issue of the South East Asian Artists Magazine, a couple of articles caught my attention: Maestro Tam Austria's and Power Chocolates.

Tam's incites on the pandemic and its effects not only in the art industry but in every lives, struck right through my heart. Covid 19's massive global effect is devastating. In the blink of an eye, the whole world changed shift and everyone's lives is altered. Indeed we need discipline to overcome this pandemic. And yes, despite the current situation, we should keep our hopes high and believe that this too shall pass.

Power Chocolates is a joy to read. You get a glimpse on the story behind how the classic children's books we all love were given new illustrations.

Another set of asian artists are also featured in this issue whose painting styles and artworks I find quite interesting. Looks like every issue of the South East Asian Artists Magazine would be a must read to be acquainted with artists from other asian countries.

Ruth Chua Editor in Chief

South East Asian 4 Artists Magazine

Peace and Unity through Art in Japan 2019

“MAY SKY” KATAYAMA KAzuhiko 2020

Peace and Unity through Art in Japan 2019

“FUNDARIKE NO THO” KAMETANI Aya 2019

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 rich culture, we can expect further.

And finally, I pray that the art fire will continue even if the world suffers from CORONA. May the Asian seas be connected again by art.

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 South East Asian 5 Artists Magazine

"In a World That Can't Stop Talking” Ingrid Aimee: The Life of an Average

We live in a culture that celebrates extroversion and sees introversion as a weakness or something to overcome.

If you’re an introvert, you may have grown up believing there was something wrong with you. You may not even have realized there’s a word for your personality type, that 26 to 50 percent of the population falls under that umbrella, and that our brains are actually wired differently than extroverts’ brains.

According to Scott Barry Kaufman, the Scientific Director of the Imagination Institute (which sounds like the coolest place in the world to work), it all boils to down to the neurotransmitter dopamine.

When our brains release dopamine, we feel more motivated to strive for external goals and rewards, like a raise or an ever-widening social circle. Though we all have the same amount of dopamine in our brains, the reward center is more active in extroverts. That’s why an extrovert might feel energized and excited anticipating a social event, while introverts might feel over-stimulated.

We introverts rely on a different neurotransmitter, acetylcholine, which makes us feel good whenever we turn inward—something we’re much better able to do in calm environments, with minimal external stimulation.

Yes, I said “we.” I’m a deep thinking, quiet-time needing preferrer of profound conversations over small talk. I’d rather dissect the meaning of life on a rooftop below a starry night, with one close friend by my side, than scream over loud music amid a rowdy crowd at a party or in a bar.

For years, I felt like a loser because I have fewer friendships than most and spend more time alone. It’s just that I detest forced socialization, superficial relationships, and feeling the pressure to ‘perform’ for a group.

While I’m beyond relieved to finally recognize my personality type isn’t a character flaw, I appreciate when the people around me understand and value my nature as well. And I know I’m not alone.

If you’re an introvert, this might put into words what you’ve thought many times—from all different angles, while enjoying various solo activities. If you’re an extrovert, this will hopefully give you a little more insight into how your introverted friends feel, what they want and need, and why they do the things they do.

I love the time I spend alone. It feeds my soul. ?

I would rather have a deep conversation with one or two people rather than small chit chat with 10. ?

I’m not grumpy or unsociable, I just don’t know how to do small talk. Also, I’m not boring. You just never initiate deep conversations with me. ?

I do not enjoy forced conversation and situations. They only makes me want to retreat back to my own space. Just

let me sit back to observe, and I will decide if I should join in. ?

I mean what I say and only speak when I have to say something. ?

Not wanting to hang out is not personal. I need way more down time and rest than other people may, and that doesn’t mean I’m lazy. ?

We’re not all social butterflies; we’re more like social caterpillars. We take a while to open up. When we do, we can

South East Asian 6 Artists Magazine

either be like a butterfly around you, but if things go south we’ll want to stay in the ‘wrapped up’ phase forever. ?

When you mention how quiet I am because I don’t talk much in large gatherings or make a big deal when I do speak, it just makes me feel self-conscious and retreat more into myself. ?

I cannot be “on” when you want me to. There are times when I can join the conversation or party, and times when I simply cannot. ?

Just because I’m an introvert doesn’t mean I’m anti-social or stuck up. It just takes me longer to recover from

events and big groups of people. ?

I care and empathize with so many people in my life, even those that I don’t know personally. I can’t ‘turn it off.’

Going home is my way of avoiding overworking my emotions. ?

My silence in group conversations isn’t aloofness, indifference, or lack of personality. I’d just rather get to know you

one-on-one before I start revealing my thoughts and opinions. ?

Just because I’m not loud and don’t share my feelings with everyone in sight, it doesn’t mean that I don’t have

them. Quite the opposite. I feel things very deeply. ?

Sometimes I just want to walk in silence, but I am neither sad nor lonely. ?

Just because we keep to ourselves, or we are not talkative, does not mean we do not have an opinion. ?

I’m not talking because I don’t have anything worthwhile to say and I’m fine with the silence. ?

Sometimes I may act extroverted, but it’s kind of a survival skill I’ve adapted in an extroverted-centered world. Still leaves me feeling mentally exhausted and drained. And feels unnatural. ?

If you ask a question and we don’t respond right away we are thinking through every possible response, how you

might react to each response, if it is actually the truth, and then we might get distracted and eventually ponder the meaning of life … even if you just asked how we are doing. ?

I don’t hate people. I just save my energy for genuine interactions.

South East Asian 7 Artists Magazine

Eddie Lui Eddie LUI Fung Ngar (aka LV Fengya in Putonghua) was born in 1947 in the then British Colony of Hong Kong, where his parents had settled some years earlier. However, while still a toddler, Eddie's parents took him to their former rural home in Haifeng County, Guangdong Province, where he stayed until 1956 before returning to his place of birth to receive an education.

Growing up in a city where East meets West, Eddie was privileged to witness the sociological changes in Hong Kong and its one-of-a-kind metamorphosis from a light industrial port to a regional manufacturing hub; and then from a busy entrepĂ´t to one of the world's leading financial service centres; and subsequently transforming into a sophisticated metropolis where art and culture could flourish.

In his late teens, having secured his livelihood with a nine-to-five job at a local bank, Eddie pursued his art studies by enrolling in a three-year part-time visual arts programme with the Extramural Studies Department (now SPACE, the School of Professional and Continued Education) at The University of Hong Kong. This uniquely structured institution, under the directorship of Jon A. Prescott (1925–1994), utilized established artists, art critics and historians whose tutorials helped nurture a new breed of visual artists who became leading practitioners in the Asia Pacific arts scene.

Encouraged by his experiences, Eddie chose to spend a further year taking a specialised Sunday programme in contemporary ink art at the same institution. That timely involvement in the developmental path of the contemporary ink movement, pioneered

by Hong Kong's leading ink painters, furnished him with a multifaceted approach towards the realisation of his unique direction in contemporary ink culture.

Eddie's first one-person ink painting exhibition in 1973 was the catalyst to establishing his artistic career and taking a leading role in developing contemporary art in Hong Kong. That same year he helped set up the Hong Kong Visual Arts Society in partnership with other major players passionately preaching and spreading a unique ink culture.

So began Eddie's double-life of banker by day and art promoter and practitioner in every spare moment. His managerial and operations exposure with international financial institutions enhanced his career path and enriched his working life; it had in many ways expanded his vision on the role of art in the nature of life. He currently lives in Hong Kong, practicing visual art, 3-D design and working as a visual art consultant.

South East Asian 8 Artists Magazine

WFH Series 11 Petite Pitaya (2020) Ink and colour on paper 39.5h x 27.5w cm Private Collection

His artworks are included in the permanent collection of the Douro Museum, Alijo, Portugal (2019);the Diaghilev Museum of Modern Art of the St. Petersburg State University (2019); the International Printmaking Centre of the National Taiwan Normal University (2019); the Muzeul de Arta Cluj-Napoca, Romania (2018); the Xishuangbanna Museum of Ethnology, Jinghong City, Yunnan, China (2018); the Gao Xiaohua Museum of Fine Arts, the Southwest University for Nationalities, Chengdu City, Szechuan, China (2017); Kinmen County Ceramics Factory, Kinmen Islands, Taiwan (2010); Jingdezhen Ceramic Art Museum, Jiangxi Province, China (2004); the Guangdong Museum of Art, Guangzhou, China (2001); Ibrahim Hussein Museum and Cultural Foundation, Langkawi, Malaysia (2000); the Ceramic Art Museum, Foshan, China (2000); Calgary Chinese Cultural Centre, Alberta, Canada (1993); And in Hong Kong, the M+, Hong Kong; The Hong Kong Museum of Art; The Hong Kong Heritage Museum; University Museum and Art Gallery, The University of Hong Kong; Hong Kong Arts Centre; The Hong Kong Academy for Performing Arts; The MTR Corporation, Hong Kong; the Hong Kong Jockey Club; the Hongkong Land Limited and other cultural bodies and corporations and private collectors.

WFH Series 13 The Three Graces (2020) Ink and colour on paper 39.5h x 27.5w cm Private Collection

WFH Series 3 Papaya (2020) Ink and colour on paper 39.5h x 27.5w cm Private Collection

WFH Series 16 Bulb Onion (2020) Ink and colour on paper 39.5h x 27.5w cm Private Collection

South East Asian 9 Artists Magazine

SUZLEE IBRAHIM Country: MALAYSIA

Suzlee Ibrahim was born in Kuala Terengganu, Malaysia (1967), has shown a remarkable achievement in his 33 years career as a painter. He has had 39 solo exhibitions and exhibited in more than 40 countries all over the world. In art education, Suzlee started as a part time lecturer at the School of Art & Design, Institut Teknologi MARA in 1993. Now he is the Dean of the Faculty of Fine Art, National Academy of Art & Culture (ASWARA), Kuala Lumpur, Malaysia.

Suzlee inspires many young artists and art students. He sets example as a successful academician and artist in Malaysian art scene. Upon recognition for his participation in art scene, Suzlee was awarded In Recognition of Outstanding Creative Excellence - Emaar International Art Symposium Dubai/ UAE (2005), Special Envoy for World Peace (Ministry of Tourism Malaysia & World Arts and Culture Exchange Malaysia) Tokyo Trade Center Japan (2008), Japan-Malaysia Art Friendship Ambassador (Ministry of Culture Arts and Heritage Malaysia & World Arts and Culture Exchange Malaysia) Malaysia Tourism Centre/ MaTiC Kuala Lumpur (2007), Tokoh Seni (Art Experts): Anugerah Citra Kencana - Universiti Kebangsaan Malaysia, Bangi (2011), Excellent Masters Award - Universiti Teknologi Mara Shah Alam (2013), Anugerah Pengilmuan Seni (Art Experts) - National Academy of Art & Culture Kuala Lumpur (2014), Pakar Pengajar (Experts) by The Ministry of Human Resources Malaysia Kuala Lumpur (2016), 2nd Prize (Monastir International Festival of Visual Arts) Tunisia (2019) and Gold Medal of Zervas Art (The 5th Paris Art Symposium), Paris France (2020).

More than 100 pieces of Suzlee's works have been auctioned at international auction house such as Bruun Rasmussen Auctioneers Denmark, Sotheby's Auction Hong Kong, Henry Butcher Art Auctioneers, Masterpiece Auction (Hong Kong, Singapore & Kuala Lumpur), The Edge Auction, KLAS Art Auction, Asian Ace Auctions and Wells Art Auction. www.suzlee.com South East Asian 10 Artists Magazine

Wall Series Masterpiece ii SOTHEBYS AUCTION Hong Kong 2018

Upper Right picture: Dato Sim Chairman Malaysia Art Expo, Prime Minister, Suzlee and Danny Lower left: Suzlee, Tun Hasmah and Tun Mahathir Upper Rigth picture: SUZLEE Poem Series LIGHT

South East Asian 11 Artists Magazine

Unique Wedding of Artist from Magelang Sunday, March 8, 2015

T

RIBUN JOGJA, MAGELANG - Fortunately Yuli Prastiawan (33), a resident of Kauman, Blondo Village, Mungkid District, Magelang Regency believes that marriage is a sacred moment and happens once in a lifetime.

The painting artist who painted with the media of mosquito coils and cigarettes known as "Wawan Geni", held his wedding with unique and attractive packaging, Sunday (8/3) at the H Widayat Museum, Mungkid, Magelang Regency.

In his marriage he invited his wife, Swasti Handayani Putri (32), a resident of Ngaran, Borobudur District, and their parents, to paint on canvas.

The sound of a tambourine wasps and the sound of a traditional musical instrument playing in the yard of the H. Widayat Museum. Some people covered in brown soil appeared to lift and accompany a beautiful bride dressed in Javanese traditional clothes in green.

The newly weds, Wawan Geni and Putri sat on a "throne" which is quite unique. Not using horses, or luxury cars.

The bride and groom were paraded using a unique throne made of dried natural leaves, such as straw, coconut leaves, woven coconut leaves, and corn husk.

Wawan Geni and Putri continued to smile as they were paraded around the Soekarno-Hatta statue, which is the entrance to Borobudur Temple, from the center of Mungkid City. Kirab and the procession, of course, divert the attention of residents and road users. Some of them and the guests then took a cellphone and capture the special moment.

Procession

Meanwhile, before the procession, the couple also experienced a unique procession. Initially, Wawan Geni and his wife threw betel leaves together and also broke up native chicken eggs. Then, Wawan Geni gave a set of painting tools, in the form of a brush, a canvas measuring 1.5 meters x 1.5 meters and two some of acrylic paint. After giving the set of painting tools, Wawan invited his wife to paint on canvas with the accompaniment of the song "When I Fall In Love" that floated from the saxophone that Kenny blew.

The romantic atmosphere of the couple, then increasingly colored by the action of throwing eggs filled with color paint on canvas fabric, which was carried out by the parents of the bride and groom.

Although there are some eggs that did not break, but it did not reduce the romance and the sacredness of this wedding moment.

"I did not expect, nervous, and happy to be able to have a wedding in a unique way. Representing my identity as a painter, "said Wawan on the sidelines of the marriage procession.

Wawan said the procession using performance art from the Indonesian Borobudur Arts Community (KSBI) was the most surprising thing. He claimed to be happy mixed with emotion by the involvement of artists in supporting the event.

"As for the set of painting tools that I gave my wife, is South East Asian 12 Artists Magazine

an expression that the world is beautiful. As beautiful as a painting. That is also my characteristic as a painter, "said Wawan who claimed for a month carrying out wedding preparations.

Wawan said he was relieved to finally be able to live on his new family's ark, since dating from 2009 ago.

Meanwhile, eggs containing color paint thrown by the old princess and Wawan, were interpreted as coloring in wading the ark of his new family.

"We hope to be happy through this marriage.

Moreover, we choose a place in the Haji Widayat museum, which is a maestro of paintings from Magelang which is quite phenomenal and worldwide, "he said.

Umar Chusaeni, KSBI Coordinator explained, from

the marriage procession of Wawan Geni and Putri, he caught that Wawan wanted to show marriage as an example and message in life, and not an ordinary ceremonial.

"The elements used by Wawan in the marriage procession were also very down to earth and integrated with nature. Like using land media, it is the land of Borobudur. And some other things that tend to be brown and dark, "said Umar.

He said the marriage was packaged attractively.

Because, as an artist, said Umar, he must do different and creative things. However, it does not leave behind Javanese standards and traditions.

"So the customary procession is still being carried out, but there is additional creativity. For example, from additional forms of decoration, performing art, a mix of contemporary and Islamic music, "concluded Umar.

(Source: Report from Agung Ismiyanto, Tribun Jogja, March 9, 2015, page 10, tribunjogja.com)

South East Asian 13 Artists Magazine

South East Asian 14 Artists Magazine

South East Asian 15 Artists Magazine

Previous Shows

NUVE Heritage Hotel Art Space 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 betterknown exhibition spaces such as Gillman Barracks, ION and Ode to Art, some strategically located art space such as NUVE Heritage CafĂŠ Art Gallery are well worth a visit.

This humble art space is one to watch. It places you within a 10minute stroll of popular attractions such as Bugis Street Shopping District and Raffles City. This 19room, 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 twodimensional art forms, it champions contemporary artists with widereaching 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.

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

South East Asian 16 Artists Magazine

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

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

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

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

Enchanted Odyssey 3 Nations Art Exhibition, Singapore, Philippines, Indonesia Photography of artists, Cipto Purnomo, Syis Paindow, Abu Jalal and Niluh Sudarti June 2019

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

South East Asian 17 Artists Magazine

AliceChang

Alice Chang Oi Lai http://www.lailaiart.com/ Hp:+60123716479 Born in Malaysia, Alice has always been fascinated with figurative and pictorial art since her young age.

She now researchers and creates arts in her private studios in Kuala Lumpur Malaysia and Monale Italy for exhibition and charity organizations which she is very active promoter especially where it concerns children.

Alice is a well traveled woman who has taken hundreds of photographs capturing the myriad images of the charm and the culture of the local places to inspire her works.

Alice has keen interest in art , beside painting ,she does a lot of embroideries,pottery painting,mosaics and also get involved in charity work. Alice travel intensively in Italy, a trip to Tuscany where art is part of daily life, had deeper her dedication and passion for art.

NOTES ON HER WORKS Alice uses various techniques,strong colors and brushstrokes in communicating her emotions; and expresses her feelings on the canvas in attempting to give a different,unique interpretation of humanity to her subjects.

Using acrylic and oil paint as her medium and a preference for light pastel colors,tender and soft hues , she likes creating contracts with her unique use of strokes and colors highlighting shades and light.

The meaning that Alice wants to give to her works is not the reproduction of reality in itself but her way of interpreting it; which challenges our perception. The artist takes the viewers on a visual treat ; one can see the positive image, the colors and tones and then, through juxtaposition, the negative transition can be perceived. The chromatic differences, Sometimes aggressive and shocking, the contrast between light and shade, pale and dark shapes of the images we see, feel and perceive.

In the early years she concentrates mainly on animals, mirroring the desire to express herself through emotions and the feelings of human nature in animals and presenting her vision of the numerous type of animals.

Later, her professional background emerges , renewing her works in a more conceptual way through abstract art.

At present she trying to present to the public/viewers with a wider interpretation of her perspectives.

Alice believes that art must be subjectively perceived, and that interpretation is the base of the work , not the consequence.

Solo exhibition: 2017 -1st solo exhibition " Vientiane " at Islands Gallery Penang - November 2018 - 2nd solo exhibition " Epoca " at Minerva Art Fund International Brescia Italy- October 2019 - 3rd solo exhibition " COLORE e' MUSICA " at Alson Gallery Milan Italy- February Alice born in 1968 Email address: alicechang3394@gmail.com

South East Asian 18 Artists Magazine

Blooming 3 / Oil on Canvas / 135cm x 135cm / 2019

Dance with Me 1 / 157cm x 115cm / Oil on canvas / 2019

Mosaics On Cement 2020

Mosaics On Cement 2020

Mosaics On Cement 2020

CD Art Mosaic 2020

South East Asian 19 Artists Magazine

Thineswari Govindasamy

Thineswari Govindasamy (b.1982) hails from Selangor, Malaysia. Her journey in art began as a self- taught since young. Growing up, she believes that the 'world has a lot more to offer than it seems to be' and started exploring whimsical perspectives, mostly drawing feminine inspired illustrative artworks. This very foundation leads into multi – disciplinary art projects over the years, involving art societies and competitions while pursuing Art Studies and BA(Hons) Graphic Design in First UC; affiliated with The Nottingham Trent University, UK. Her first breakthrough in art scene was winning for highest bid auction for creating 12feet painting in an art competition, held in KLCC (2001). The experience re-kindled her newfound passion into paintings and discovering hidden potentials; while practicing her design profession. Prior to years of design industry experience, Thines took a leap further to being self-employed which gives her the liberty to take up illustration and painting projects, participating in art bazaars and collaborations. To this very platform the opportunity to share her artistic beliefs expanded, gaining guidance from her mentors and artist friends, thus gaining recognitions on both local and international art exhibitions i.e. Philippines, Australia, Japan and Thailand; to name a few.

Thines believes on a personal concept of 'Flow' - that is, to seek essences in forming both creativity with fancy supremacies in her artworks. Her paintings grow to the concept, hoping a better alternate style on each works. Inspired mostly by artist and illustrator Richard Stine, she believes in highlighting subtle forms of existence, painting on subjects that appears tangible yet has its beautiful binding rhythm. Such humbling processes and experience allow her to embrace and continue her artistic path further towards 'Flow'; not just in art but also towards her life.

More of her works can be found at Facebook : Thineswari G Creations Instagram : @thineswari_g_arts South East Asian 20 Artists Magazine

Namaha (Salutation) Acrylic on Canvas / 36in x 36in / 2020

Balance / Acrylic on Canvas / 60cm x 90cm / 2017

Graceful Kin / Acrylic on Canvas / 80cm x 80cm / 2019

But You're a Flower Too / Acrylic on Canvas / 70cm x 70cm / 2019

Realized II / Acrylic on Canvas / 50cm x 50cm / 2019

South East Asian 21 Artists Magazine

Danny Sola

Lodronio

Danny Sola Lodronio studied Fine arts and Architecture at FEATI University. He had a one man show exhibit in 1983 which focused on realistic paintings. Along his journey, another artworks was exhibited internationally in Vancouver, Hongkong, Wakayama, and Chicago.

He was the Grand Prize Winner in the graphic category of the Art Association of the Philippines Annual Competition in 1993. He used to make figures and learned illustrations and paintings from master of realism named Francisco 'Kiko' Reyes, Dean of Philippine illustrators.

About late 90’s, he practiced modern approach in making prints. When he started to enter Mariposa workshop and Heritage circle of friends, he learned the color theory and modern style of making landscape paintings since year 2000 up to present. Right now, He focused to develop more styles in figure., together with Country landscapes, such as rural scenes, harvests, fruit and vegetables vendors. Even his abstracts applied same approach, wherein the stroke of color as a whole is always related to each other and has relevance. He called his artworks under ‘RELATIVISM’, means Theory that holds that morality is relative to the norms of one's culture”.

Above all, Danny keeps on praying to Almighty God because of his given talent. Blessed and thankful for everything he got. Asking for his guidance in every artwork he make.

South East Asian 22 Artists Magazine

Sapa sa Paraiso / Acrylic on Canvas / 40in x 30in

Talisahin / Soft Pastel / 16in x 12in

Sapa sa Hardin Acrylic on Canvas / 40in x 30in

Butil ng Ani Acrylic on Canvas / 26in x 20in

South East Asian 23 Artists Magazine 20

ART and ARTIST Hati Sri Prameswari

“Time and memory are true artists, they form reality closer to what the heart wants."

Art is the expertise to make quality works in terms of their refinement, their beauty, their functions, their shape, the meaning of their shapes, and so on, such as dancing, painting, carving, and so on. Art includes many human activities in creating visual works, audio, or performances that express the imagination, ideas, or expertise in the technique of the maker, to be valued for their beauty or emotional strength. These activities generally consist of the creation of works of art, art criticism, historical discussions art and aesthetic art.

Artist is a subjective term that refers to someone who is creative, innovative, or proficient in Art. The most common use is to refer to the people who create art, such as painting, sculpture, acting, dance moves, literature, film and music. Artists use their imagination and talents to create works with aesthetic value. Art historians and art critics define artists as someone who produces art within recognized boundaries.

A work of art must be judged based on the work itself, regardless of how the artist lives, and whatever method the artist uses to create a work worthy of our appreciation. Discussing about art and artists is always inseparable from culture.

Because every element of art and everything there must be an influence on the order and development in life, both as a whole or in certain aspects. In this world all things will relate to each other in this regard including art and culture that affect the progress and development and development of the nation and state.

Art itself can be interpreted as something beautiful from the work of humans. Which represents the character in accordance with the conditions and era of life and civilization The layman's view of assessing art is something created from the management of ideas, inventiveness, a sense of the conditions that influence it at the time. Art itself is more likely to be said or associated with something that has aesthetic value or beauty both in the form, appearance, function and material used. Starting from an idea or imagination and then to the planning of the production of an idea or imagination which is depicted in an emotional concept and interpreted in the form of a work called Art or Artwork. For example painting, sculpture, and others.

While culture can be interpreted as a manifestation of art with a way of life that identifies in a civilization that has been passed down from generation to generation. The culture itself is formed either in groups or a tribe and even the life of the nation and state in which the culture itself is often formed or mixed with religious, social, political conditions, including customs and works of art and the identity of a civilization itself.

Then why art and culture is very high influence on the development of a region or nation and state development. The role of art and culture is certainly very important, because in art and culture there are noble values ? of life that can be the foundation of a social life. To realize the development of an area or nation and state, of course this must be followed by building and preserving cultures that contain noble values ? of life that are driven by the religion and philosophy of a country from where the art actors come from.

In every country, art and culture occupy a fundamental important point in the development of a country, because the role of art and culture is as character building to continue to educate and teach about local wisdom in generations on the basis of pleasure and the need to understand cultural art as an identity in the region or Country.

In general, the more our younger generation loves and understands the art and culture of its ancestors, then, it will not be easily contaminated by negative cultures which may be many countries that still uphold customs and wisdom. Artists who love the history of their country and art culture, their actions could inspire the younger generations to study and preserve each's cultural background so that it won't fade or get tainted. If cultural art is developed and given more space in the life of the nation and state, It can also improve the economy of an area or country.

A simple example of the progress of a nation and country that embodies art and culture, such as architectural arts, literature, music and other arts. The art of technology, digital art to the audio-visual arts that fit into this millennial era.

Cultural acculturation, cultural exhibitions, and cultural symbols that are mass produced into a product or fabrication such as batik clothing, cleaver and other features that become images on a particular product, besides being socialization and literature can also be an economic value that used to play and prosper the community of cultural arts practitioners for sure.

And the most important thing is character building through art and culture which can oversee all development towards the future that preserves the past history of each country. Cultural internalization in daily life is also a strategic step in developing the potential and local wisdom to become an icon or identity that supports economic rotation in countries where the actors of art originate.

In connection with this discussion about art and culture, there are not many artists who specifically focus on cultural themes in their works. In my article I am currently making a list of who are the artists who make paintings by bringing up the South East Asian 24 Artists Magazine

culture of their country.

Like this painting by Syis Paindow, his work is not just a portrait of himself but there are cultural values ? that he tries to convey. The title of the painting, "Light My Fire (The spirit of BORNEO Tattoo).

Kalimantan special ornaments in his paintings.

Tattoos on the body can explain a number of things: part of religious tradition, social status, respect for abilities, expertise in medicine, or indicate someone who often wanders. If you are interested in making this Dayak tattoo you are more than welcome to come to Kalimantan, Indonesia.

Still a painting of Syis Paindow who raised the theme of Balinese woman with Batik and Balinese culture, Indonesia enriched with Balinese ornaments and the Red Barong.

Barong Bali is one of the many kinds of Balinese performing arts. Barong is a traditional Balinese dance marked by a mask and body costume that can be worn by one or two people to dance it.

Barong Bali is believed to be a metamorphosis of Barong ponorogo, East Java, Indonesia, or Reog. Which was brought

by King Airlangga while fleeing to the island of Bali to save himself. Besides Barong Ponorogo brought to Bali, also

Syis Paindow is an artist who concentrates to always incorporate cultural elements into his paintings. Why him? because I witnessed how he took the concept of his work very seriously, he always thought of every work carefully and worked very thoroughly and in detail.

Explaining about Indonesia with its diversity of tribes and cultures, one of which is the Dayak tribe from Kalimantan. For the Dayak tribe the tattoo image has its own meaning and philosophy. It is closely related to the experiences they describe as a form of reminder of both their personal and spiritual experiences.

The picture of a tattoo for the Dayak Kalimantan people is not just decoration, but it has very deep meanings.

The body of a Dayak man is a symbol of everything: initiation marks, symbols of magical power, and relate to religion, and for treatment, travel memories or life notes.

But the most essential meaning of the picture of the tattoo for the Kalimantan Dayak tribe is proof of manhood that is resistant to suffering.In terms of motives, the traditional Dayak Kalimantan tattoos are full of symbols and philosophies. Dayak mythology in the sketch shows the figures of living things in the form of abstract.

Placement of a motive in a part of the body, also has its own meaning. For Dayaks, tattoos are more than a lifestyle. The more tattoos, the "torch" will be brighter and the road to the world of eternity or the realm of Nirvana increasingly broad. Even so, still making tattoos can not be made as much as possible carelessly, because they have to comply with customary rules. Both tattoos on men or women are traditionally made using long orange fruit spines. Over times they started using several needles at once as their new method. What has not changed is the material for making tattoos which usually uses soot from a black pot. The ingredients are then collected and mixed with sugar then stirred until such a way. Besides Tattoos, Syis also included

brought literary arts, Javanese script, and religion. During its development Barong Ponorogo was changed in form and story according to the conditions of the people in Bali which were intended for religious spiritual activities.

The influence gained on Balinese barong can be seen in the form of barong ponorogo when appearing without Kucingan and on the Rangda Mask which is influenced by the Bunang Ganong mask. And the group of people who study magic in their parents who have an influence on the behavior of the real activities of young warok and old warok who are powerful and are still awake in Ponorogo, even though these activities are currently closed to certain circles.

That way, there is a type of Balinese barong with various animal heads such as pigs, elephants, dogs and birds that are the pride of every city in Bali. Many people from other countries know Bali, but there are people who do not understand that Bali is in Indonesia. In this painting, Syis Paindow also included Balinese cloth, Poleng cloth, this cloth called poleng cloth. The motif is black and white checkered, this motif cloth is usually used in traditional ceremonies. But that does not mean it can not be used for others. You can use it as a tablecloth or home decoration. The Balinese woman in

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the painting uses the Balinese prada kebaya. Its name is similar to a famous fashion brand. This is a traditional Balinese cloth that has a motif of painting using shiny gold paint. The basis of the Prada Fabric can be plain or patterned fabric.

He also slipped a gringsing cloth. Gringsing is a Balinese woven fabric full of meaning, gringsing itself comes from the word gring which means sick. And sing which means no. So gringsing means not sick or avoiding pain. Gringsing fabric has the meaning of repelling reinforcements, which is to drive out physical and spiritual diseases. People believe that gringsing cloth has magical power that can protect them from disasters.

All the Tenun Gringsing are done by hand, aka handmade. The yarn used is spun by traditional hand spinning spun, with a single cotton seed material that only grows on Nusa Penida Island, Bali Indonesia. After spinning, the yarn is soaked for more than 40 days to a maximum of one year using hazelnut oil. And the oil is replaced every 25-49 days. The longer the thread is soaked, the softer and stronger the structure of the thread.

Another painting that is still thick with Culture by Syis Paindow entitled as Royal Majestica, a beautiful woman dressed in a modern red dress like rose petals that blooms the largest and red, taken from legendary stories such as Romeo and Juliet Javanese version called Dewi Sekartaji and the man named Panji Asmoro Bangun is described as a banner mask, Panji Story is a cycle of Javanese stories, a legendary prince from East Java fell in love with a girl named Dewi Sekartaji but was not approved by parents. Along with the Ramayana and Mahabharata stories, these stories form the basis of various poems and wayang genres known in East Java, Indonesia.

The banner stories have inspired the traditional Indonesian dances, especially mask dances from Cirebon and Malang, as well as Gambuh dance dramas in Bali. Especially in the Kediri neighborhood, East Java Indonesia land was taken from the Panji story. The Panji stories have spread from East Java to become a source of literary and drama stories throughout Malaya, a region that includes modern Indonesia, Malaysia, Thailand, Cambodia, and Myanmar. And there are still many other works that raise the culture, especially Indonesian Culture.

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Apply your creativity.

Think about solutions, don’t dwell on the overwhelming problem.

We can always find a solution to the problem.

We may get an answer immediately and the problem is fixed.

We may be faced with a major crisis that we will have to ride out, the solution is patience.

Also always look for the good that can come out of every problem. The solution might be What we needed to learn a particular lesson, so we would not pass that way again.

Being over whelmed with a problem is not a solution. It will just makes the problem worse.

Artists, you are problem solvers in your every day Art practice.

You are very creative people who apply their creativity to each problem they face in their Art practice.

Use that same creative problem solving attitude to every area of your life.

When you walk out of the studio you do not stop being a highly creative Artist, so apply that same positive creativity to problem solving in your every day life and you will be surprised at the outcomes and your ability to solve problems.

Mark Shellshear

Think out side the box, that's what Artists do.

0947.647.34.65 markshellshear@gmail.com galeriadelasislas@gmail.com South East Asian 27 Artists Magazine

DedySufriadi Born: 1976 in Palembang, Indonesia Masters of Fine Art, Institute Seni Indonesia (ISI), Yogyakarta Bachelor of Fine Art, Institute Seni Indonesia (ISI), Yogyakarta Originally from Palembang in Southern Sumatra, Dedy Sufriadi is the second of six siblings and began painting seriously at the age of 15 while still in Senior High School for the Arts (SMSR). From there, he went on to study at the prestigious Indonesian Institute of the Arts (Institute Seni Indonesia) in Yogyakarta, better known by its Indonesian acronym ISI, where he majored in painting. In 2013, he obtained his Masters degree from the same institution.

Dedy is an avid reader, seriously consuming books ever since he began his tertiary education in 1995. One specific area he is particularly well read in is existential philosophy, a subject that has strongly informed his artistic endeavor. Among the books he has read over the years include philosophical heavyweights such as Friedrich Nietzsche, Jean Paul Sartre, Soren Kierkegaard, Martin Heidegger, and Albert Camus, among others.

Because of his love for reading, it should come as no surprise that text has become a very important element in his art. Dedy also notes the ubiquitous nature of text, as a means to convey information, citing the often-overlooked fact that we are subjected to text, in its various forms and mediums of presentation, at almost every waking moment.

Earlier in his career, a time that Dedy describes as his Existentialist Period (1998 – 2004), text was used in his paintings in a manner that could be described as complementary to what was presented on the canvas. The text was more distinct, and one could visually track and verbalize what was presented quite easily, although portions may have been obscured.

Text in his paintings during this period articulated his many experiences, reflections, daily observations, or even transcribed excerpts from books he was reading at the time. Dedy describes his use of text as an “added alternative to overcome issues of visual understanding”, citing picture stories with added text were always easier to understand, to illustrate his point.

Gradually, how text is used in Dedy’s artworks evolved, a process that began when he started to ponder and question the utilization of text in paintings. How did the convention of text begin? Who was the first to become aware of text, and what were the circumstances surrounding this awareness? Could text itself broaden and develop knowledge?

These were among the core questions that became the parameters for Dedy’s serious study of text.

What emerged from this philosophical thought process was an eventual repackaging of how Dedy presented text in his works. Randomly placed and multilayered applications of text emerged as new visual elements, supplanting colors and lines typical of abstract expressionist artworks. The text became not much more than disparate snippets, each having little, if any, to do with the other, providing a much-needed middle path in the tug-of-war between intuition and logic, the freedom to improvise freely on the one hand, and the logic dictates demanding that the text still be legible and readable, on the other.

The end result is that the literal meaning of the text presented no longer becomes important, and no longer contributes directly to the aesthetics intended. Instead, text now could coexist harmoniously in parallel with other visual elements and mediums within the artwork, in total becoming a reinterpretation of recorded experiences, thoughts, obsessions, and opinions of the artist.

Dedy’s artworks essentially provide the opportunity for the viewer to not only appreciate what they visually discern, but to be in control of contextual understanding. This attribute is achieved from the multi-layering and random placement of the text utilized, creating countless combinations of visual trajectories the viewer may pick up on. As opposed to books, where text is presented in an arrangement predetermined by the author, Dedy’s artworks allow the viewer to simultaneously “read” and become the author of what is “read”.

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Greatest Shopper 280cm x 450cm Acrylic, Oilstick, Marker, on Canvas, 2016

Borderless series, Peace for us and Universe 150cm x 150cm.

Oil, Oilstick,Marker, Acrylic on Canvas, 2015

Love and Coffee 150cm x 300cm Acrylic,Colase, Marker, Oil stick on Canvas 2015

Love and Compassion 150c0 x 200cm.

Oil, Oilstick, Marker, Paper, Acrylic on Canvas 2016 Seek Happiness. (dalai Lama series) 150cm x 200cm, acrylic, Marker, Oil stick on Canvas 2015

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The Bedrocks of a Good Dream..

By Tam P. Austria

How do you describe your artists style: My mode of expression in art is easy. It is realism with movement that shows beauty. This is my way of interpreting the life based on our national tradition. How everything breaths harmoniously. I express love and freedom and moral responsibility, positive thinking, character, discipline other natural elementsi balance. The spiritual essence of life in reality. which is the wholeness recreamindoism Rena style ( based on as simulated syllables 7 acronym of principles.

In the cyber age, technique in printing had made a significant break through in art. But my natural skills and innovation based on my soul and spirit cannot be over taken by technology. Many decades now proved my art survived preserving its identity, refutation and grace. Sharing to all aspiring artists who deserve.

I

t is a dream that will never slumber forever, neither be ever lost into forgetfulness.

It has been a recurring dream that have counted years. A good dream. And the dream became a vision—and it stayed with me all those times I have spent painting—through austerity and consolation.

This vision has been in my mind for a long time—it has never waned. Like any fine wine, I believe it is on the ripe old age. This is the right time to make the vision a reality.

So that others may benefit too.

An Inspired Journey Life is a journey so they say, and it truly is. Like all journeys, every step is different, pace not permanent, obstacles here and there. No matter how hard a journey is, it becomes light and fulfilling when you do it with inspiration. I for one was no exception. I have been through tough times in my life before I met peace and contentment, and that is manifested in the certitude that I worked hard and dedicated—in point of fact because I am inspired.

'B' stands for the 'Basic' solid art formation—it is deeply rooted in RECREAMINDOISM ReNa. It is my personal philosophy, my 'Inspirer,' my own safeguard for an aspiration to share to others.

'E' stands for 'Explainable, heartfelt vision.' One that is easily grasp by people from all walks of life.

Appreciating what is true to life and beautiful.

‘D' stands for 'Determined' self-less act. I am consummately done with the mindset of “self first” and now passionately involved in sharing the truth that a life lived with inspiration beats all obstacles of mess and misdirection.

'R' stands for 'RECREAMINDOISM ReNa.' It is my beacon in search for contentment, valuing one's artistic intuition and respect for life.

'O' stands for the 'Overriding concern to impart the substance of the philosophy, to supplement every individual's natural talent and gift.

'C' stands for 'Content.' The very purpose of this summation is to impart the very content of the vision that yours truly wants to convey to others.

As we go through our personal 'Book of Life' we come and go in successive chapters. In the living, as one chapter ends, another begins. A new chapter in mine simply begins on a bedrock—a solid rock foundation beneath a compressible soil. The bedrock stands for firmness, stability and strength. The soil represents uncertainties.

In our life they are both present.

'K' stands for 'Knowledge.' The understanding of it all. The realization of the fact that by sharing what was learned and visualized could help others to be more creative and pursue their aspirations in life.

The vision lingers, and is firm I would call my vision 'my Bedrocks' because it stands for many strong attributes. While the word 'bedrock' stands for solidity, it also stands for something more significant as an abbreviation.

And the 'S' stands for the 'Solid summary of thoughts.' All the collation of thoughts and ideas in my mind, I am willing to impart to everyone who is willing to listen and understand. Whatever I am now, it is because I believe in them!

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A Recurring Vision; A Deep Mission When a vision remains in your mind for five decades, it must have a real value. And all throughout the years, I saw what the real purpose was. I was destined to inspire people through arts, and so it shall be.

Through a vision a mission was born. And a series of missions followed.

To share the lessons of life in order to augment a talent to create through the usage of the book, RECREAMINDOISM ReNA. It simply teaches us to become inspired under all circumstances. Most significantly, when circumstances does not favor us.

Remain inspired.

Through this vision you become a 'Buster of Inhumanity.' A model of fairness, promoter of the truth and the just—a vanguard of peace; You become an 'Indestructible You,' with your talent nothing can discourage you to stop what you yearn the most—to create; Against corruption, you are the 'Incorruptible You.' And against divergence , you are the 'Inseparable You.' The yearning of the body does not conflict with the need of the soul. It is just and moral, the very worth of being humane. The 'YOU' also stands for 'Yearnings One's Understanding.'

A Monumental Landmark The vision calls for an 'Art Reservoir,' an imposing structure that will house several galleries and a museum—a permanent home for art treasures, a grand place to exhibit works of arts for people to see,

and a haven for artists both professional or a budding beginner.

In one monumental landmark we put up several galleries for the artists of the country, and the rest of the world. A museum that represents our cultural heritage, our art treasures, of past, present and future. It is the reflection of our society, who we are, where do we come from, what we are before, and what we have become now.

Philosophy of your work: In practice, my inspirer art of recreain endoism Rena Brain child - by product of my seemingly endless passion in art that holds on THE BEST ABILITY & POWER of inspiration based on principles. The philosophical elements behind art. Dee- insight that expresses that abstract theory to a layman’s language of inspiration or breath of life that rhymes to life. the balance between the body and soul is inseparable, because they are meant to be as one. It’s art’s intrinsic wholeness with form and beauty- humanity’s worth. At the back of this inspiration on what inspired me most, that helps the artist finds the reason why he paints or why its created such work with gift of fertility. To exist and mainly with mission in prompting the spirit to others and unstoppable good dream is immeasurable in reaching the hallmark classification of respect - all artists wish to achieve love.

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Maestro Tam Austria in his studio with his wife Divine

I no longer search for fame or personal gain, only the good intention to impart. I am blessed with such a colorful life, both literally and metaphorically speaking. And in a society where we belong, it is only but fitting to contribute something beneficial to everyone.

Be inspired! That is the main mission. The galleries can give us the chance to teach people the value of talent and opportunity, and the museum to rediscover the past for its valuable lessons, the significance of the now, and a glimpse of the forthcoming.

Time immemorial when this vision was like a haunted drape floating over my consciousness, I must admit I was tempted to talk this out to the former First Lady of the Philippines, Imelda Romualdez Marcos . It was way back the 70's era. But then everything was new at its infancy, the Cultural Center of the Philippines, performance theaters, the arts patronage. As time goes by and so thus my age added up, the idea of having an arts and cultural landmark worthy of the country's recognition never withers. As days, months and years progressed I was able to build a good foundation on how to accomplish this vision, and I call it my 'Four Pillars of Representation.'

The first pillar is the 'Meetings of the Mind.' I started it out by calling the attention of my friends and colleagues in the arts world. Public leaders I started calling, and patrons of the arts peddling them the idea. I discussed it with community leaders, business leaders, influencers, teachers and students as well. The idea was to converge them in one time and opportunity so that different views may then be laid down for discussion.

The second pillar is the creation of a 'Manifesto'—when the 'thinking minds' meet and agree on the aim of making it a reality, we make a public declaration of commitment. A covenant, so to speak, between people who understands the value of cooperation, believes in creativity of men and the appreciation of individual talents may be rolled into one historic and monumental structure.

The third pillar is to bring in a 'Mandate'—a legal authority to carry South East Asian 32 Artists Magazine

out the realization of the vision. This is only made possible when we seek the participation and concurrence of our political leaders. And that they too believe on the endeavor.

The fourth pillar is the 'Multitudes' of gratefulness, of hope, inspiration and humility. We seek no monetary rewards here, only appreciation in numbers make unforgettable consolation in our hearts.

A fifth pillar, an added foundation but with immeasurable amount of significance, is owing all the efforts made fruitful in the 'Mercy' of God. And then the pandemic strikes.. â€œâ€Śand dreaming amidst the pandemic is not so bad if one dreams a good dream only to make it come trueâ€?

And then it hits us. Nobody sees it coming. The world at present, with all the sophisticated advances in technology and know-how were no match against the ravages of the pandemic. Money cannot even save those who were afflicted.

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I feel the loss of the people of the world. Their pain resonates all over the news—it is overwhelming. You cannot fall on deaf ears. Even the mightiest of countries, bowed down to the unseen.

I have high hopes for mankind. This is the moment that we need to be strong—the human heart shows its true color when faced with such a predicament like walking on the edge of a precipice, and the color is brilliant! A sign that it wants to survive so it keeps on going.

Humans are normally resilient. We are tough. But for every tribulation in life, toughness is tested on different levels. This time, we need not just toughness but clear thinking. Discipline, of both mind and body, is what we need in this trying times.

Amidst the calamities hitting us and diseases going astray we need to give our people the reason to continue living with inspiration, and that is through pursuing with passion the ability to be creative—painting what is true to life and beautiful.

This too shall come to pass..

Now that the world stood still, and trying to move forward inch by inch towards the old normal, nobody knows if we could ever get back at it. As our advocacy has come to a stall, with all those beautiful plans in the mind with the wanting to get it realized, it is still worth the wait.

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We may lose hope, get frustrated, lose focus in our lives. But most humbling, whatever is happening to us now teaches us to preserve the creations from the heart. To be able to inspire still and influence, that is the most important. We become down and feeling desperate at one point in our life. Whether this pandemic ends or not, I am positive the heartfelt vision will prevail. There is always a way to find our inner peace in each one of us, and it starts by appreciating what we have in us, and what we have in our surroundings. When we do this, we become truly inspired—there is harmony in us, no conflict of the mind and heart. We achieve, whatever it is that we wanted. And we complete this by staying positive and take good care of our body. There is no weak body that takes care of itself and persevere.

When did you start painting professionally.: I’ve been painting since i was a child. I took up fine arts at UST in 1964.New doors of opportunity opened up that inspired me. I believed this is the natural calling of my profession as an artist. I saw the appreciation and enthusiasm of people that build my confidence. This inspired me to push and entered the realm of art.

I decided to finally focus on this field rather than engage in other business outfit.

When we do this, when we extend help to others, you imprint your name in history as one of the partners of such a monumental endeavor that would not only preserve legacies, but will continue to inspire!

Footnote: Tam P. Austria is the author of the philosophy book “RECREAMINDOISM ReNa—How to be inspired,” Written in 1999. Then another book follows, In 2015 the book “Zeal of Art—My Inspirer” was launched. It was written in collaboration with the late art critic-historian Alice Guillermo.

How do you view art and beauty as a whole: Viewing art and beauty as a whole is the bedrock solid foundation of humanity. The body’s spinal column where all nerves connects and supplies life with energy to function inspiring other parts like other artists derive their inspiration and determination to create a true to life called obra. The art that signifies the body that shows the pure strength in the eyes of the beholder that give joy, harmony between these inspired body and soul. These give one a sense of well-being. The objective is to portray reality to reflect absolute intelligence that links doubts, emptiness in the human world.

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Museum and Gallery of

Modern

and Contemporary

Art The Museum and Gallery 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 will 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

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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.

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

Awarding of certificates during the Freedom and Love Event 2019

Inside the Museum Artist from different countries looking around the museum Mr. Ray “Beng� Duque giving welcome speech to the artists delegates.

Artist working on a wall mural in the Museum wall

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Title : Prove of daily Size : 3ft x 2.5ft Medium : Mix of marker, crayon, water colour, sketching and oil painting

N

g Yi Shen is an imaginary artist. Born in Penang, Malaysia, he is a budding artist coming out strongly and surely out of his global delay developmental shell. When he was in primary school, he only drew in the classroom without paying attention to what the teacher was teaching. As he grew up, he slowly affirmed his interest in arts.

At the moment, he is pursuing a Bachelor degree, which allows him to have the opportunity to interact and communicate with more people. This has increased his courage and confidence, to approach and open conversations with friends, course-mates, visitors and even strangers. His participation in art exhibitions has enable him to develop more maturity and confidence.

When his first piece of art was collected, he was elated and it gave him great encouragement and motivation.

He loves animals very much, especially Disney animation and his works tend to dominate around the might of the lion, tiger and leopard. Subconsciously, this has improved his personal self-confidence. He has also successfully grasped the various human expressions, animal life characteristics, and in combination, reflected in his arts.

This work, I am expressing the multidimensional world of the senses of life. Now because of the social pursuit of a perfect visual perception, our idols, famous people, even high-profile people, lose their original appearances.

Some mothers are the goddesses that one admires, but in her eyes, the child is the angel in her heart. Many famous people and celebrities are subjected to harsh demands and vicious criticisms, hence, hidden inside the beautiful appearances, lies anger and unhappiness. Ordinary people sometimes wear beautiful evening clothes, and on seeing something as simple as a merry-go-round, they will spontaneously ride the merry-go-round although risking getting the dress dirty, but it brings back beautiful memories of their childhood.

Ng Yi Shen

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Title : Love of mother hen and chick Size : 2ft x 2ft Medium : Chinese water colour

Title : Combination of faces Size : 3ft x 3ft Medium : Mix of Acrylic, marker and sketching

Title : Goddess beauty Size : 3ft x 3ft Medium : Mix of watercolour, marker, charcoal and sketching

Title : Grey heart Size : 2ft x 2.5ft Medium : Charcoal

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Roland Rosacay "'Myriad or Fishes"

By Eugenie Galeon

“There are many fishes in the ocean".as the saying goes... but there is truly one brilliant artist in the name of Roland Rosacay who paints and portrays series of fishes in full artistic beauty, illuminating optical brilliance of colors and transparency.

The Olden Chinese and Modern Feng Shui believe in fishes as symbol of Good Luck and Good Vibes in any given pace and time.Needless to say that everyone seems to be drawn and atracted to collecting pieces of artworks portraying fishes because of its many symbolic meanings and its element of bringing Good Luck to anyone who collects and possesses it.

Tracing back to Biblical Tirnes when Christ fed a host of people with loaves of bread and fishes. leaving to mind that fishes also symbolize wealth and Good Health.

Humans have not only proven the health benefit of fish oil. but most importantly have appreciated the highest aesthetic appeal of “fishes" in the field of Visual Art. Roland as an artist has really have the talent and power to attract anyone to fall in love with his Art. An artistic person full of love and compassion in his heart.

Roland's Art captures also the beauty of Floral Blooms in soft and soothing colors. He is a very good-natured person with a fine and sincere personality hailing from the picturesque and natural beauty of Rizal town.

Roland Rosacay has joined countless Group Art Shows and has staged several Solo An Exhibits. He also has gained recognition and awards. No wonder this very talented Artist continues to draw and collect Myriad of An Collectors as time goes by.

Fish Fish series / 36in x 36in / 2020

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Fish Fish harmony series 2 48in x 36in / 2020

Fish fish series 2x4ft' 2020

Fish Fish series / 24in x 30in / 2020 / Collection by Philip john Bornay

Fish fish series 3 / 48in x 24in / 2020

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POWER CHOCOLATES (The making of "Once Upon a Time")

By Arnaldo Mirasol

After I completed the illustrations for "The Brothers Wu and the Good-luck Eel", I again had a meeting with Tahanan Books publisher Reni Roxas. She had another project for me. No, not just one, but three book projects. These books, their so-called fairy tale trilogy, were retellings by author Fran Ng of the fairy tales of Hans Christian Andersen, the Brothers Grimm, and Charles Perrault.

It was an exciting project, a dream come true for me. Ever since I bought books on the fairy tale art of Edmund Dulac and Kay Nielsen--- two of the leading lights of the so-called golden age of children's illustrated books, a period dating from 1880 to the early 1900s---I began to entertain the ambition of being able one day to do similar fairy tale Illustrations.

The first book I'll illustrate will be the compilation of ten Andersen fairy tales. Reni made it clear that they're going to pay me not only for the publishing right but also for the copyright. That's the reason why I got a pretty substantial amount for this project. I don't remember the exact amount, but I think I was paid 66 thousand pesos. I retain ownership of the original illustrations of course, which I can exhibit and sell later on.

Since the rights to the illustrations were already bought outright by Reni, I'm no longer entitled to any royalty from the sales of the book and subsequent reproductions of the images. But Reni was very generous. When Tahanan Books received a grant from the World Bank for their Library Hub Project, and three of the books I did for them were chosen for reprinting and distribution to school libraries nationwide, Reni shared what she got from the World Bank. She paid me hefty royalty fees even if I'm no longer entitled to them.

It took me five months to complete the illustrations for "The Brothers Wu and the Good-luck Eel", which I thought then was quite a long time to be working on a book. I was wrong. This Andersen book, titled "Once Upon a Time", took me longer to finish---one year more or less.

Reni Roxas was very exacting. She knew precisely how the illustrations should look. Before starting on an illustration for a certain story she would first asked me to read it closely and then submit a pencil study. Of the ten stories, the studies for "The Farmer and his Wife, "Thumbelina", "The Wild Swans", "The Nightingale", "The Little Match Girl", and the Emperor's New Clothes", got by without incident, so to speak. The rest she rejected. I was asked to make minor revisions like removing or changing certain elements in the picture, or major ones like drawing an entirely new composition.

In the original pencil drawing for the "Little Mermaid" I drew the sea witch with her right hand forefinger pointed at the mermaid as if scolding her. Reni said that it is OA: no need to show the pointing finger. So, I revised it and just show the sea witch's hand caressing the head of the oarfish.

For the "Princess and the Pea", I submitted a pencil study showing the prince and the princess inside a room. In the room was a four-poster bed on which were placed on top of one another more than a dozen mattresses. Propped against the side of the mattresses is a ladder which the princess is about to climb. Reni didn't like this. She had a better composition in mind. She took out her pen and made a sketch on a small piece of paper. What she drew was a rough line drawing of a princess atop the mattresses. The scene was depicted frontally, with the bedposts curtains drawn aside to show the princess. The scene she had in mind was magical. It reminds one of a theater or a puppet show scene. I admit that what she sketched was superior to the study I made.

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Reni said that she can't draw, but what she drew revealed the artist in her - her instinctive grasp of composition and eye for beauty.

The "Traveling Companion" is the longest story in the book, that's why I was asked to do two illustrations for it. The study for the first illustration was rejected. I drew there a princess going down a concrete staircase on both sides of which were lined-up skulls of her murdered suitors. At the bottom of the stairs waiting for her is her king father and the hero of the story. Reni asked me to remove the two men. The emphasis she said should be on the princess and the skulls alone, with the beauty of the princess in stark contrast to the gruesomeness of the skulls.

My study for "The Ugly Duckling" underwent the most number of revisions. I first submitted a scenic but rather bland lake scene showing swans gathered around the once ugly duckling now turned into a lovely swan. But Reni wanted an interior scene. So, I depicted in the second study the housewife in the story and her two children chasing the duckling running on the floor. This was rejected again. Reni told me what scene she wanted exactly. I drew it, and the study I submitted showing the duckling jumping out of the cauldron hanging inside the fireplace and the startled mother and children was finally approved by her.

I painted the final illustrations using acrylic on Canson Montval paper. The illustrations are quite small, with nine of them measuring just 10 X 12.5 inches. Since the illustrations for "The Emperor's New Clothes" and "The Farmer and his Wife" were double page-spreads, I have to make them bigger.

The first illustration I did was for "The Farmer and his Wife", which she bought together with "The Wild Swans" when I exhibited them with the rest of the artworks in 2001. While I used a palette of mostly bright colors for my previous books, I adopted a rather somber color scheme here of earth hues in imitation of the works of Gennady Spirin.

Before starting this project, Reni lent me several picture books illustrated by foreign artists. The one that caught my fancy was the book "Once Upon a Tree", written by Natalia Romanova and illustrated by that celebrated Russian illustrator Gennady Spirin. Spirin's illustrations were truly after my own heart, with all their "kutkutan", or obsessive depiction in minute detail of even the littlest elements of the pictures.

I spent three weeks working on the Farmer and His Wife. But it was worth everyone's wait. When I submitted it, Reni sent me a note saying, "if the illustrations you'll submit next are as beautiful as this, we're on our way to producing a world class picture book." She sent with this note a can of imported chocolates which she hoped would give me the energy to continue producing such amazing work. She called those chocolates, "power chocolates".

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TAN KAY NGUAN

?泇元

（新加坡 SINGAPORE)

新加坡杰出??家 - ?泇元 。 留?英?伯明翰中央大??美??士?位、澳洲墨?本 大??美??位、南洋???院水墨?系。 ?泇元曾?行?63次?展及百余次?展于新加坡、? 洲、英?、法?、?洲、中?、?南?等世界各地。 作品??得大??行机构全?美?比?大?（新加 坡）、?之初博士美?比?首?（新加坡）、新航

CAAS 机构美?比?首?（新加坡）、日本大阪市? ?、日本大阪府教育委???、北京????博??金 ?、??文化??交流???、北京????最具影? 力??家?、日本大阪府知事?、?安特?卓越??家 ?等殊???。

TAN KAY NGUAN is an internationally established artist honoured with Master of Arts,UCE,United Kingdom,B. A.from RMIT Australia and Diploma from Nanyang Academy of Fine Arts.

TAN KAY NGUAN has held 63 solo exhibitions and more than hundreds of joint exhibitions all over the world,namely United Kingdom,France,Italy,Japan,Korea,China, Taiwan,Thailand,Indonesia,Malaysia,and Singapore,and had won many top prizes and awards in art tournaments in Singapore and overseas.His awards include the Grand Prize in the UOB Painting of the Year Singapore ( ), 1st Prize in the Dr.Tan Tsze Chor Art Awards -Singapore,1st Prize in the CAAS Painting Competition Singapore ,The Beijing International Art Exposition Gold Prize Award, Japan Osaka Governor Award,Japan Osaka Mayor Award,Japan Osaka Educational Art Award,Top Influential Artist Award,Ngee Ann Artist Of The Year Award,Gold Arts Award 2019 etc.

Description of work?作品感言: 走近??的殿堂，?造魅力?限的?想，??的...?? 必?使人快?，使世界快?！ The majesty of art creates a boundless dream of fascination.Art can simply make one happy and make the whole world merry!

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Country 国家 ： SINGAPORE 新加坡 Name姓名 ： TAN KAY NGUAN 陈 ｖ元 Title作品题目 ： Dance of Millennium 鹤舞千年（ 3） Material 画作种类 ： Acrylic on canvas Size尺寸 ： 76cm X 61cm Production year创作年代 ： Year 2020

Country 国家 ： SINGAPORE 新加坡 Name姓名 ： TAN KAY NGUAN 陈 ｖ元 Title作品题目 ： Dance of Millennium 鹤舞千年（ 5） Material 画作种类 ： Acrylic on canvas Size尺寸 ： 76cm X 61cm Production year创作年代 ： Year 2020 Country 国家 ： SINGAPORE 新加坡 Name姓名 ： TAN KAY NGUAN 陈 ｖ元 Title作品题目 ： Dance of Millennium 鹤舞千年（ 1） Material 画作种类 ： water－ colour Mix Medium水彩混合媒介 Size尺寸 ： 57cm X 75cm Production year创作年代 ： Year 2020

Country 国家 ： SINGAPORE 新加坡 Name姓名 ： TAN KAY NGUAN 陈 ｖ元 Title作品题目 ： Dance of Millennium 鹤舞千年（ 4） Material 画作种类 ： Acrylic on canvas Size尺寸 ： 76cm X 61cm Production year创作年代 ： Year 2020

Country 国家 ： SINGAPORE 新加坡 Name姓名 ： TAN KAY NGUAN 陈 ｖ元 Title作品题目 ： Dance of Millennium 鹤舞千年（ 2） Material 画作种类 ： water－ colour Mix Medium水彩混合媒介 Size尺寸 ： 57cm X 75cm Production year创作年代 ： Year 2020

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WawangGeni

Indonesian artist Untung Yuli Prastiawan, also known as Wawan Geni (“geni” in Javanese means fire), has purchased more than his fair share of those coils―but not for warding off mosquitoes. He uses them to create detailed works of art. Prastiawan is from Magelang in Central Java, Indonesia, and is a graduate of the Indonesian Institute of the Arts. He started his career as an oil painter. In 2003, he had the idea of creating images by burning them on drawing paper. Initially, he worked with incense, burnt sticks, and blackened firewood as his “brushes.” Dissatisfied with those results, he continued experimenting and discovered that the glowing embers from mosquito coils and cigarettes accorded him the precision and control he was seeking from a combustible medium. His unusual painting technique has garnered Prastiawan many awards, including special recognition by the Indonesian World Records Museum in 2006.

Videos available on the Internet offer a glimpse of Prastiawan at work. He starts with a blank canvas or sheet of thick drawing paper, a stack of mosquito coils, and numerous cigarettes piled pell-mell. After soaking the coils in water, Prastiawan snaps them apart, lights a section, and darkens the canvas by using the smoldering tip of the coil like a charcoal pencil and the cigarette like a miniature blowtorch on the tip of the coil. As he blows on an ember, he balances finesse and fire until detailed sepia-tinged shapes and images emerge. The artist cautiously and continually gauges how much heat he is applying and even heeds subtle shifts in wind direction throughout the process.

''Pertempuran Belum Usai, Bung!.''

(Super Hero Series #04), 140cm x 180 cm Burning Technique on Canvas (use cigarettes and mosquito coils to burning) 2013, Collection by Mr. Jeremy Goh, Singapore

Traditional Market 107, 5 x 78 Cm Burning Technique on Paper (2005)

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''Romansa'', 80cm x 100 cm, Burning technique on canvas (using cigarettes and mosquito coils to burning), 2019

Completing each drawing, depending on its size and complexity, typically requires months of work, thousands of exhales, and, according to the artist, typically around 18 packages of mosquito coils. In a sense, Prastiawan's unusual approach to art embodies the notion of surrealist painter and sculptor Joan Miro that “the works must be conceived with fire in the soul but executed with clinical coolness.�

The realist painter who is familiar with the nature of life and the socio-cultural environment around his residence in the Borobudur Temple area, Magelang, Central Java, presents a portrait of beauty about the life of the village community, human figures, animal figures, activities of residents in the fields, rice fields , the market crowd, and others. His works are worked photographically, imitatively, with the addition of his unique creativity in the form of fuel techniques using cigarette embers and anti-mosquito repellent.

In his works, Wawan does not only present beauty.

But, it also shows its technical expertise in 'playing' cigarette embers and anti-mosquito repellent on paper and canvas. Apart from the choice of subject and object theme of his interesting painting, the brownish monochrome color that appears and looks like that classic nuance, is so lively and not bored to be looked at.

Unique Painter in Art /107.5cm x 78cm / Burning Technique on Paper (2007). ''Ceramics Maker'', 70 x 60 Cm, Burning Technique on Canvas (use cigarattes and mosquito coils to burning), 2013. Collection by_ Mr. Jan Peers, Singapore

Homecoming / 107.5cm x 78 Cm / Burning Technique on Paper (2007)

Dialog Bathin, 107.5cm x 78 Cm / Burning Technique on Paper (2005).

''Corn Harvest'', 60cm x 70 Cm, Burning technique on cancas 2014

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Ampang Community Gallery Ampang Community Gallery is a community platform that helps provide artist & other creative with physical gallery space to show their works physically and connect with the community and potential buyers. We are situated in Ampang Jaya, near SPCA Ampang. To find us, you can get our directions directly from Google by searching for “Ampang Community Gallery”. For further information, you can contact us directly on our Facebook page & Instagram page at “Ampang Community Gallery”.

Iranian Artist , Maedeh “Maia” Hosseini Ampang Community Gallery is glad to host Iranian artist, Maedeh “Maia” Hosseini to be our resident artist of the month. She needed a quiet space to work on her art and we are glad to be able to provide such space for her.

Maedeh is from Iran and has been living in Malaysia since 2012.

She graduated with a mathematic degree and had pursued a career in mathematics; Until a few years back where she decided to paint professionally and focus on her art. Born in Iran, some of her fondest memories are seeing the ancient and historical monuments in Iran. This heavily inspired her works which are based on Tezhib art.

“Tehzib Art” or “Gilding Art” is a traditional art form that is used to illustrate and beautify religious books, poetry collections, calligraphy and a popular design choice for royal palaces. Maedeh's intricate personal works involve merging traditional Iranian Tehzib style with local traditional art. She is passionate and heavily inspired by local Batik and Peranakan design – which at first glance you might not realise it until you look South East Asian 48 Artists Magazine

closely and realized it uses traditional Malaysian motifs.

Maedah recently had herself interviewed and her works documented professionally at Ampang Community Galley. It was a collaboration with the Malaysian Advanced Photography Team ( MAPG) and her video and photos will be available soon. The video tells -Maedeh will be working in our space for a few months to prepare for her solo exhibitions with us. For more information, you can contact us at Ampang Community Galley.

AIDS Social Worker, Yusrall Yusoff Yusrall Yusoff is not a professional artist. Yusrall is part of the Malaysian Aids Council that help local NGOs fight prejudices and raise awareness on AIDS among all members of the society. Apart from working with an artist, Ampang Community Gallery also works with social organisations to provide a physical connection for an organisation to reach out and connect to the community.

We had a meeting with Yusrall to discuss further on creating an event for the Malaysian Aids Council and we decided to host an art event to help raise awareness. To our surprised, Yusrall paints in his spare time as a hobby. We saw his works and

persuaded him to show his works to the public. Yusrall was very shy about sharing his arts but “leading by example�

Yusrall agree to showcase his works as it would help inspires other members to showcase their works to the public in support of the AIDS awareness.

Showcasing 9 pieces of works and organising the events for 4 days. We are glad to have great positive outcomes on the events, gathering exposure for AIDS Awareness and even selling his works to an international art collector. A great surprised for an individual that rarely shows his paintings to even family and friends.

Ampang Community Gallery provides a space for artist regardless of their levels. We accept all type of arts and we do not take any commissions for any arts sold. All profits go directly to the artist or organisations it belongs too. Ampang Community Gallery will also be hosting more future art exhibition to promote AIDs awareness in the community.

Further information will be informed on our FB and Instagram page.

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NGUYEN DUC HUNG

I am currently working on a series of artworks about emotional vibrations, inspirations and and recollection sparked by the environment and surrounding life. I express my thoughts through Surrealism with a mixture of real and unreal ingredients. By familiar images in Vietnamese life such as folk paintings or motifs carrying cultural breath like patterns, textures of images of the ancients, I want to discover new and diverse aesthetic effects in these works.

The inspiration for this series is drawn from Vietnam traditional art. My works are an combination of ink pen material and watercolor on paper, expressed by varying thickness and density of pen strokes to create a sense of space. Thousands of thin lines are employed to form a realistic impression displayed by the inner look combined with external feelings, which evoke bold and unique associations from the viewer.

Through these works, I would like to express the cultural elements of East Asian aesthetic conception combined with the technical handling of Western art, wishing to bring a change of perspective in aesthetic effect as well as public perception of my works.

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Echo from nature / ink pen on paper / 120cm x 84cm / 2016

Memory / Ink pen on paper / 120cm x 84cm / 2016

Body and the remains / Ink pen on paper / 120cm x 84cm / 2014 Compassion / Ink pen on paper / 120cm x 84cm / 2018

Lights of mind / Ink pen on paper / 120c0 x 84cm / 2016

Old time / Ink pen on paper / 120cm x 84cm / 2017

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I would largely attribute that to my patience, perseverance and constant encouragement from my family. There has been times when I have literally waited for weeks for an art enthusiast to walk into my gallery and take one work home.

But my life mission to take this ancient and dying art form to the larger world and to continue in my quest for its due recognition keep me going during such down spells. as for recognizing influence on my artistic career, I would say that these are rural womenfolk from the Mithila region who, despite being working at a subsistent level, continue in their love and passion for Madhubani. There are many such inspirational names who I count and salute 4. What, in your opinion, are the problems faced by vernacular artists?How are they/ galleries/ historians/ government combating it?

SwetaJha �I represent the glorious ancient culture of Mithila, the land of Goddess Sita and Lord Buddha. My life mission is to take my legendary, legacy and rich heritage to the world and enrich people's lives “.

Sweta Jha 1.In what ways have you been introducing variations and new developments within the traditional themes of Madhubani painting?How have these been accepted?

The fine lines of my works have been pulled from the deep and long tradition of the Madhubani/ Mithila art.

And then I marry it to modern metaphors and contemporary themes.

Over the years though, my works mark a departure from its pure traditional form.

To its rich legacy, I have added newly and widely imagined themes, but have also brought to this form an entirely new idiom of tone and tenor.

Monotones and pastels, for instance, have rarely been infused into the Madhubani art form before I began to experiment with them.

Neither have human figures which, in my eyes, become a fascinating fusion of race and geography.

This is an entirely novel line of work from my varied portfolio.

Moreover, I took it upon myself to express my Madhubani on every imaginable surface – be it fabric, paper, ceramics, glass, leather, wood, wall etc

India in general and Mithila region of Bihar in particular from where this art originates, there is a lack of proper ecosystem needed for the art and the artists to thrive.

Government too is not playing their due part in preserving and promoting this art form. Apart from financial support, the artists also need sustainable channel to market and sell their products to a critical mass. In such a scenario, most of the talented and worthy artists unfortunately simply fade away.

5. What are the greatest changes that have taken place in the art world over the last decade or so that have had an impact on the artists working with folk idioms? (please speak of positive and negative impact).

The biggest enable has been the social media and web based channels which is making arts and artists'

2. In what way have you dealt with the challenges of entering into the urban art gallery space?

Mostly my journey has been that of a loner who has been incessantly struggling to get her work noticed in a country like Singapore where my traditional folk art has had nil acceptance when I started my small gallery way back in 2012.

Until today, the trend has not changed much, despite numerous awards and accolades that came along my way.

The challenge gets further compounded by very high cost of sustaining a business in the city state of Singapore 3. What have been your greatest problems and your greatest support systems? Please give an example of any experience(s) that have influenced your artistic career.

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accessibility easier, economical and quicker. Thanks to this, my works too have gained much wider support and recognition all over the world.

Sweta Jha is an internationally acclaimed Madhubani/Mithila (Indian Folk Art) artist based in Singapore. She is the founder and director of “Ttitli Iterations Pte Ltd�. Her organization is on the forefront of propagating products and services related to Madhubani art with focus on all over the world.

Her key activities include promotion and sale of Art and paintings, Facilitating Art Exhibitions and shows, Event Management and organizing training, International exhibitions and workshops.

She is an International Art Curator as well.

Sweta Pursues her passion using brushstrokes and myriad colors, exhibiting them on various objects and art medium such as canvas, handmade Paper, handicrafts, fabric, personal accessories, wall etc.

She has held many art exhibitions, Symposiums and workshops in Singapore and abroad.

Her work has been widely recognized and appreciated in both corporate sector and the grassroots level community events organized by government agencies.

Ms Sim Ann, Senior Minister of State, Ministry of Communications and Information, Mdm Lim Sue Luan president of WAA, Singapore and president of Singapore Federation and Art Mr Stephen Leong Chun Hong

Singapore Art Society President Dr Ho Kah Leong

Collection of office of the Prime Minister Singapore

With H.E. Mr Nathan Wolf, Ambassador to Mexico Singapore

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Nani Reyes

Play and nostalgia in Nani Reyes' art

By Edgar Allan M. Sembrano

Coming from the Southern Luzon town dubbed as the "Art Capital of the Philippines," Hernani "Nani" Reyes has undoubtedly established himself as an artist to reckon with.

He pioneered a reinvented form of cubism, an art movement that started in the early 20th century by world-renowned visual artists Pablo Picasso and Georges Braque and in the Philippines by Vicente Manansala.

Reyes' style is best described as a pulsating form of cubism as he uses vibrant, striking colors which easily attract viewers and art connoisseurs. His works are novel, colorful, and full of life.

His favorite subjects include religious scenes and images as well as scenes from everyday life which evoke a sense of nostalgia and bring back its viewers to their childhood and to the time when life was without mobile phones and internet.

His "Mga larong bata (Children plays)" series best fit these descriptions. Basing it from childhood experiences, Reyes' wit and imagination are well executed in a number of his works such as the games of tug-of-war and sungkâ, the afternoon past time of kite flying, spider play, luksong tinik, and other children plays and activities.

The emotions, expressions, and movements of his subjects are rendered perfectly to exactly show what is happening in a particular scene.

His penchant for the Filipino culture, coupled with his faith are definitely his assets, unconsciously elevating himself to the echelon of talented and well-grounded artists that his country is proud of. sarangola 36in diameter acrylic on canvas 2019

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New Normal 24in x 48in Acrylic on Canvas Arch Cecil Estanislao Padilla collection

Nakaw Halik 30in x 36in Acrylic on canvas 2019 Banez Gallery Collection

“Regalo ni Bunso” 30x36inc Acrylic on Canvas 2020 Collection of Mrs Zita DeVera

See no Evil, Hear no Evil, Speak no Evil / Triptych 12x16inc each panel / 2020 / Collection of Atty Adrian Dimalanta

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NINGJADA :

Cheryl Bucaneg Quejada - Canning is a Sydney / Lucena City based visual artist who started painting at Tracey Moffatt Sydney studio. Ms. Moffatt is an internationally renown photographic artist and filmmaker. Cheryl attributes Tracey's influence as being foremost in her growth as an artist. At that time Cheryl was being treated for Diabetic Retinopathy. This inhibited her movements, so she took to brush and canvas. Due to her then eyesight problems Cheryl painted by feel, a method retained when her sight improved. Her journey of art has led her to a love of the vibrance and textures of oils and colours. As an artist, she is passionate about creating works that provoke thinking and emotional responses in her audience. Her works are not solely about the creation of art, she uses this meduim as a journey of the spiritual self and an insight to social awareness.

Cheryl has a wide range of works and has been exhibited in Sydney and the Philippines. In her works Cheryl merges Traditional Filipino styles in a contemporary setting, referring to it as fusion art. Her works also take on a social commentary on vital issues such as identity and gender placement within both traditional and today's societies. She collaborates with her husband author Ken Canning/Burraga Gutya to produce multi layered artworks. Cheryl paints under the name of Ningjada, this being the last 4 letters of her single name and the last 4 letters of her husbands name.

"Ningjada is an artist exploring deep connections to her traditional lands of the Tagalog and Ilokano Peoples. Her abstract and figurative works voice a contemporary matriarchal and cultural heritage. It's a strong and resilient voice . . . one that demands to be heard. In her most recent work, strong motifs of foliage, shapely vessels or seedpod like forms are centred as valuable objects. In one piece this form sits in front of a faceless domineering 'nun' . . . in another, pushing back a blackened vail. Both hold sound in the presence of these ominous powers at once proud, full and fertile . . . readying to burst, a symbol and celebration of Earth Woman."

- Kristina Tito, Arts & Cultural Producer/Artist and Director Forest Man ( Ang Tao sa Kagubatan ) 24 x 30" ,Oil on Canvas, 2018

Recently Cheryl was invited to the 50th founding anniversary of The Humanist Society New South Wales, Australia to give an art talk and art exhibition. Her open and honest talks regarding her works were met with enthusiasm by the audience. On returning home to Lucena City, Philippines, Cheryl was asked to present art talks and workshops to students ranging from elementary through to college students levels. In this respect she feels privileged to give something to our youth and to the community of her own youth. In June 2020 Cheryl was to have collaborated with her author partner to feature their works at the 28th Pacific Palm Arts/ Writers Festival in Australia. During the festival it was planned that Cheryl would feature her latest Artwork, "Baliktanaw: Baibayin" ( A look in the Past) . Unfortunately, due to Covid19 this festival was cancelled. However, it is planned to go ahead in 2021, featuring Cheryl's paintings.

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These collection of paintings entitled Aligned (Nakahanay) are the pathways , travelled bynour ancestors who are deeply rooted in culture and spirituality guiding us through generations to our places of belongings.

Holy Crap ( Banal na Aso) 24 x 36" , Oil on Canvas, 2018

Unmask ( Hubaran o Magbagong Anyo) 18in x 24in, Oil on Canvas, 2019

Mother Earth (Inang Kalikasan) 26 x 34" Oil on Canvas, 2019

Generational Fusion ( Pagsasanib Lahi ) 8 x 24" Oil / Acrylic on Canvas, 2018

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Artphile and Espacio Manila is located at the 2nd level of Festival Mall’s Expansion Wing, Alabang, Muntinlupa City.

For more information, email us at galeriecmg@gmail.com or reach us at 8 829 0831, 0998 964 0832 or 0917 829 3961.

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ESPACIO

Espacio Manila and Artphile Gallery are twin spaces that foster the artisanship of Filipino virtuosos ranging from conventional to contemporary visual masterpiece. These two galleries celebrate the intricate beauty of Philippine art, cultivating both fledging and prominent creators who significantly contribute to the local art scene. Albeit both serve as an avenue for various aesthetic sensibilities, Espacio Manila ventures as an exploration for the new media and contemporary expressions; while Artphile promotes the perennial pursuits of traditional artistic works. These two galleries continuously thrive since the inauguration in 2018, successfully hosting group exhibits by various artists as well as the Cebuano artists group lead by Orley Ypon, and the known contemporary art group, the KUTA Artist Group. They also held an exhibit for a cause by a three-man show between Bangladesh Pervaj Hasan Rigan and Nabila Nabi and the Philippines —Roy Espinosa. Espacio Manila also hosted Freedom and Love 2019 Plein Air Live Sketching with the visiting artists from all around the world. The twin galleries have been actively participating in ManilArt where they showcase the works of Roger San Miguel, Jean Govinda Marquesto, Mayi Peñaflorida, Pope Dalisay, Chito Borja and talents of their home-grown artists.

GAL E R I S HAH ALAM YAYASAN SENI SELANGOR

HISTORY Galeri Shah Alam was founded under the management of Selangor Darul Ehsan Art Foundation on 26th January 1991 and was perfectly officiated by Duli Yang Maha Mulia Sultan Salahuddin Abdul Aziz Shah on 6th July 1991.

Selangor Darul Ehsan Art Foundation was inspired by Duli Yang Maha Mulia Sultan Sharafuddin Idris Shah Alhaj Ibni Almarhum Sultan Salahuddin Abdul Aziz Shah Alhaj when he was the Duli Yang Teramat Mulia Raja Muda Selangor, where he himself has deep interest and fond of painting.

To realize the inspiration, a discussion between Duli Yang Teramat Mulia Raja Muda Selangor, YM Raja Zahabuddin Raja Yaacob (Prof. Dato’), Syed Ahmad Jamal (Datuk), Tuan Haji Mohd. Musa Ideris and Encik Kassim (Dato’ Dr.), the expert in paintings and design, museum and law was done in order to help implement Duli Yang Teramat Mulia Raja Muda Selangor’s inspiration, in planning the outline of Galeri Shah Alam function and establishment under Selangor Darul Ehsan Art Foundation.

This former Selangor’s Cultural and Tourism Office building with a traditional Malay design, was designed by Puan Maimunah Deraman in the early 1980s. Then, Shah Alam City Council renovated the building to facilitate the art activities in Galeri Shah Alam.

Other than that, the building was designed with traditional Malay design and carving precisely demonstrated Galeri Shah Alam foundation objectives. Therefore, it was in line with the efforts made to the awareness, understanding, and appreciation toward art and integration of plural society in Selangor to popularize the nation’s visual and liberal art.

Galeri Shah Alam as an art centre and tourism attraction in the Klang Valley, is located in the middle of Shah Alam city core. The beautiful building with exquisite traditional Malay art and design surrounded by the lake and recreational park added the ‘art’ value. Besides the peaceful and cosy atmosphere, it can attract more people to visit Galeri Shah Alam.

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 logo was inspired from a combination of soft elements of metaphoric and typography. The logo was made from a combination of the letters “SS” which means ‘Seni Selangor’, invented in abstract formation to highlight the art and aesthetic features. It also mirrors the functions and roles of Selangor Art Foundation in encouraging the visual and liberal art development.

To specifically make Shah Alam as an Art City to popularize the nation’s visual and liberal art.

To be the driving force of visual art and development activity, also variety of liberal art studies especially in Selangor and Malaysia in general.

To be the art reference for students of school, public and private institutions of higher education, and also to share experiences with the art activists especially the young generations.

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

Islamic Art Exhibition, Khat Caligraphy 2018.

To be the centre of exhibition for the painters and designers, besides as the tourism attraction.

To be the art heritage centre for the future generations.

To develop appreciation of cultural art through exhibition, poetry reading, discussion and more.

Roles of the Galeri Shah Alam • To Establish the Gallery Permanent Collection To acquire visual art works (drawings, paintings, sketches, sculptures, textile photography and others) from nation’s renowned artists from the early days until South East Asian 60 Artists Magazine

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

now as the permanent collections. The acquisition of foreign works is also made to enhance the Gallery collections.

• To Organize Exhibition Organizing periodical exhibition by inviting nation’s artists either solo or in groups. Exhibitions by foreign artists and art institutions also being held especially to give chances to the local community to evaluate and as a reference on art development globally.

• To Organize Competition Art, photography and print art graphic competitions at school, institutions of higher education, district, state and national level are always held as one of the ways to develop skill and new talents in visual art.

• Art Education Programs like painting class, sculpture, print, textile and photography for children, teenagers and adults are held in line with main role of Galeri Shah Alam in its effort to provide art education to those who are interested.

• Research and Reference Provides reference materials for research such as books, magazines, exhibition catalogs, photos and slides, brochures related to local and foreign local art.

• Collaboration Programs Organize collaboration programs with National Art Gallery, National Museum, State Art Museum, local art galleries, local and foreign art institutions, government and private departments, local and foreign institutions of higher education and also foreign countries to ensure art programs can be done successfully.

Clients Charter Always ready to entertain, assist and give information to the artists, painters, art activists and art lovers, To give feedback to enquiries regarding the collections and collections information within seven (7) working days.

Always alert to the appropriateness of the needs to exhibit, To organize Galeri Shah Alam Open Exhibition as a permanent annual activity.

Besides additional programs such as drawing competitions, workshops, drawing classes, related seminars, symposiums, conferences, talks and talk shows also take place.

Please follow us at: www.galerishahalam.com for any info about Malaysia Art scene

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

South East Asian 61 Artists Magazine

S'Kaki Art Residency + Art Gallery #skakiartgroup #skakiartstudio #skakiartresidency #skakiartgallery

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

South East Asian 62 Artists Magazine

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

South East Asian 63 Artists Magazine

Hongkong’s renowed artist Eddie Lui’s artwork 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.

Dorothea Fleiss artist residency at Palm Artspace 2019

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.

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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.

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

Singers and traditional music performances in the opening art exhibition The Art of Zhen Shan Ren, March 2020

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

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 South East Asian 65 Artists Magazine