senikini#17

MALAYSIA EMERGING ARTIST (MEA)-AN INTRODUCTION HENRY BUTCHER'S YOUNG CONTEMPO ART AUCTION EXCERPTS FROM 'KALEIDOSCOPE' MEMOIRS OF P.G LIM WHO WAS CHAMP AKA JENG KUASA, TANAH DAN HARAPAN-LEAVING TELL TALE MARKS JENNIFER P. LINGGI AND THE NEW SABAH STATE GALLERY

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Salam Sejahtera dan salam 1Malaysia!

Selamat bertemu kembali dalam

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Balai Seni Visual Negara (BSVN) terus mengekalkan momentum dalam memainkan peranan memacu industri seni visual tanah air. Pelbagai aktiviti pameran dan program sokongan seni telah dianjurkan untuk memastikan keberadaan seni visual di dalam membantu pembangunan negara sentiasa disedari.

Maklumbalas dari khalayak mengenai program-program dan pameran kami adalah baik. Saya bersikap terbuka di atas apa-apa komen-komen yang membina. Saya percaya, komen-komen positif akan membantu BSVN meningkatkan lagi prestijnya dan memberi inspirasi kepada kami untuk berusaha dengan lebih gigih.

Dalam usaha untuk meningkatkan hubungan baik diantara BSVN dengan pihak galeri dan pelukis, saya sering menerima jemputan untuk merasmikan pameran seni atau programprogram seni yang berkaitan sama ada oleh pelukis ternama mahu pun pelukis yang sedang meningkat naik. Saya percaya ini merupakan peluang terbaik untuk kami berkongsi pengalaman, ilmu dan mencurah idea dalam merancakkan aktiviti seni visual tempatan.

Saya juga melihat perkembangan yang sihat dalam seni visual tanah air apabila pelbagai program seni dianjurkan oleh pihak swasta, persendirian mahupun institusi awam. Program ”Art Expo Malaysia 2012 (AEM 2012)” yang akan diadakan di MATRADE Exhibition and Convention Centre (MECC) bermula pada 27 hingga 30 September 2012 misalnya merupakan salah satu program yang berpotensi untuk menjana ekonomi melalui industri kreatif dan menjadikan Kuala Lumpur sebagai Hub Seni Budaya di rantau Asia. BSVN sekali lagi menjadi penganjur bersama dalam acara ini. Penganjuran programprogram sebegini telah membantu menjana ekonomi negara sekaligus memupuk kesedaran kepada khalayak.

Dalam pembentukan seni moden dan kontemporari Malaysia, BSVN sentiasa berusaha mempamerkan pameran yang berkualiti. Karya-karya yang dipilih beserta tema yang sesuai akan dikaji dan diperhalusi sebaiknya oleh pasukan kuratorial kami agar pameran kami sentiasa relevan dengan perkembangan ilmu seni moden dan kontemporari Malaysia.

Wacana-wacana kesenian, perdebatan ilmu dan pemupukan kesedaran tentang Hak Cipta karya pula merupakan aktiviti sokongan yang amat penting dalam membentuk minat kepada pelajar, pensyarah, pendidik dan penyelidik seni serta memberi kesedaran kepada setiap pengkarya tentang kepentingan mendaftar apa jua karya seni. Sehubungan itu satu sesi ceramah telah diadakan pada 7 September 2012 lalu oleh Perbadanan Harta Intelek Malaysia (MyIPO) di Auditorium BSVN bersempena dengan pelancaran pameran “Kuasa, Harapan dan Tanah” sebuah pameran yang berkisar tentang kemerdekaan tanah air.

Pameran-pameran terbaharu kami termasuk “TERBAHARURecent Acquisitions” yang mempersembahkan 100 buah karya terpilih dari 370 buah karya pelbagai disiplin seni yang julungjulung kalinya dipaparkan kepada khalayak. Para pengunjung akan dapat melihat karya-karya terbaik oleh pelukis tempatan yang baru dibeli oleh BSVN. Proses perolehan karya merupakan satu proses yang panjang dan karya yang benarbenar berkualiti sahaja dipilih untuk dijadikan khazanah negara.

Lain-lain pameran memberi penekanan terhadap aliran-aliran dalam ilmu seni seperti pameran fotografi “Waktu dan Ketika”, pameran “Kartun TULEN Malaysia” dan pameran “Saksi dan Bukti” yang menekankan kepada proses penghasilan karya sebelum karya akhir dipersembahkan kepada khalayak.

BSVN juga telah menerbitkan sebuah buku berjudul “GRAFFITI KL” sebuah dokumentasi mengenai gerakan kumpulan pelukis seni graffiti di Malaysia. Buku yang pada awalnya diinspirasikan oleh mendiang Jeng atau lebih dikenali sebagai ‘Champ Teh’ memaparkan sejarah penubuhan kumpulan pelukis seni graffiti tempatan yang boleh dijadikan rujukan atau panduan kepada mana-mana penyelidik yang inginkan maklumat tambahan mengenai seni graffiti di Malaysia.

Kesemua yang saya sebutkan diatas hanyalah sekelumit kecil tanggungjawab saya amnya dan kakitangan BSVN khususnya.

Kami akan terus berusaha untuk memberi perkhidmatan yang terbaik kepada seluruh rakyat Malaysia dan memastikan aspirasi kerajaan melalui seni dapat dicapai dengan jayanya. Saya juga tidak lupa untuk mengucapkan terima kasih kepada Kementerian Penerangan, Komunikasi dan Kebudayaan (KPKK) diatas sokongan yang diberikan selama ini. Semoga kita terus maju dan bergerak seiring dalam menuju sebuah bangsa yang berjaya.

Ambassador Dato’ Mohd Yusof Ahmad Editor-In-Chief

Greetings of peace and 1Malaysia greetings!

We meet again in

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The National Visual Art Gallery or Balai Seni Visual Negara (BSVN) continues its momentum in its role to expand the nation’s visual arts industry. Various exhibitions and sustainable artistic programmes were organised to ensure an awareness of the existence of visual arts in promoting national development.

We receive positive feedback from the public regarding our programmes and exhibitions. I am open-minded about any constructive comments with the belief that all positive comments will help BSVN to augment its performance and will inspire us to double our efforts more diligently.

In the endeavor to develop good relations between BSVN with the gallery and artists, I often receive invitations to perform official duties at arts exhibitions or related artistic progammes, either from renowned artists or those whose names are on the rise. I believe this to be the best opportunity for us to share our experiences, knowledge and to brainstorm ideas in stimulating local visual art activities.

I also observe a healthy development in the country’s visual art when a variety of art programmes are organised by the private sector, individuals as well as public institutions. The programme “Art Expo Malaysia 2012 (AEM 2012)” which will be held at the MATRADE Exhibition and Convention Centre (MECC) beginning 27-30 September 2012 will be one of the potential programmes to generate the economy through creative industry thus making Kuala Lumpur the Cultural Hub of Asia. BSVN will once again be the co-organiser in this event. Organising these programmes have helped in generating the national economy and at the same time in fostering public awareness.

In the formation of a modern and contemporary Malaysian art, BSVN constantly tries to hold quality exhibitions. Suitable works of art and themes chosen are considered and finetuned as best as possible by our curatorial team so that our exhibitions are always relevant with the development of modern and contemporary Malaysian art. Cultural discourses, knowledgeable debates and nurturing awareness on the copyrights of works of art are also important sustainable activities to inculcate the interest of art students, lecturers, educators and researchers and to provide awareness to every artist on the importance of registering whatever art work. Related to this, a talk was held on 7 September 2012 by the Malaysian Intellectual Property Office (MyIPO) at the BSVN Auditorium in conjunction with the launching of the “Power, Hope and Land” exhibition, which was about the nation’s freedom.

The latest exhibitions include “NEW-Recent Acquisitions” which showcase 100 arts chosen from 370 works of art from various disciplines to be shown for the first time to the public.

Visitors will be able to view the best works of art by local artists which were recently acquired by the BSVN. The process of acquisition of these works of art has been a long one to ensure only truly quality works are chosen to become national treasure.

Other exhibitions gave attention to the channels in art disciplines like the photography exhibition “Waktu dan Ketika” (Time and Moment), cartoon exhibition “Kartun TULEN Malaysia” (Malaysian AUTHENTIC Cartoon), and the exhibition “Saksi dan Bukti” (Witness and Proof), which stressed upon the process of producing a work of art before the final work is presented to the public. BSVN has also produced a book entitled “GRAFFITI KL”, a documentation of Malaysian graffiti artists. The book which was first inspired by the late Jeng or better known as ‘Champ Teh’, describes the history of the formation of the local graffiti artists’ group and can be a reference or guide to researchers who are seeking additional knowledge on graffiti art in Malaysia.

All that I have mentioned above are only a small part of my general responsibility and the BSVN staff in particular.

We will continue our efforts to render the best service to all Malaysians and to ensure that the government’s aspirations are successfully achieved through art. I would like to express my deepest appreciation and thank you to the Ministry of Information, Communication and Culture (KPKK) for its ongoing support. May we continue to progress and move together in achieving a successful race.

C O N T E N T S

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Malaysia Emerging Artist (MEA)-An Introduction | Tan Seihon

Charles Cham : The Man Behind the Painted Faces | Tan Seihon

Seni Ukiran | Siti Maisarah Bakar

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'Terima Kasih Daun Keladi'-Nuriman Amri | Tan Seihon

Dialog Seniman Kontemporari-Arca (1) | Kamariah Abdullah

Waktu dan Ketika-Pameran Fotografi BSVN

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Excerpts from 'Kaleidescope' Memoirs of P.G Lim

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Ordinary People, Extraordinary Artistry (Pt 2) | Tan Seihon

Art for All 2012 | Tan Hui koon

Introducing Jiet Wong | Tan Hui Koon

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'Dialogue 2'-Bringing Southeast Asia Closer

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0809 09 Rogue Art presents: Narratives In Malaysian Art Who was Champ aka Jeng | Joanne Teh

Chin Kon Yit Revisited | Shelby Switzer

G A L L E R Y

Portraits of Malaysians about Malaysia

COMING SOON

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Henry Butcher's Young Contempo Art Auction

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Zainal Abidin Musa-Painting at His Own Happy Pace | Anis Rozalina Ramli

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2021 Tiga Artis di Pameran Societe Nationale des Beaux Arts 1861-2011, Paris 22

Kuasa, Tanah dan Harapan-Leaving Tell Tale Marks | Qasim Riza Shaheen

| Rahimidin Zahari

Jennifer P. Linggi and the new Sabah Art Gallery | Jerome Kugan

Alism-Ali Nurazmal Yusoff | Azzad Diah

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BSVN Sana-Sini

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PUBLISHER Balai Seni Visual Negara (BSVN) National Visual Arts Gallery Malaysia (NVAG) Ministry of Information, Communications and Culture Malaysia No 2. Jalan Temerloh Off Jalan Tun Razak 53200 Kuala Lumpur MALAYSIA P : 603 4026 7000 F : 603 4025 4987 W : www.artgallery.gov.my

www. ar tg aller y. gov. my

| EDITOR-IN-CHIEF Ambassador Dato’ Mohd Yusof Ahmad l EDITOR Tan Seihon | ASSISTANT EDITORS Hasimah Nyok, Osmihamidy Osman, Norsharzeela Shaharuddin | HEAD DESIGNER Shamizar Rahim | DESIGNER Norhaslina Ahmad Kamsin | PHOTOGRAPHY Mohd Khazrul Sharuddin, Mohd Yuzaini Ahmed, Mohd Adzim Abd Wahab, Intan Idarina Mohammad Kusaiirry & Mohammad Hisyamuddin Ramli | Translation of Editor's Notes by Zuriyadi Sarpin senikini is designed by Nuzaihan Mustapa can be accessed at

senikinibsln.blogspot.com

Any feedbacks and comments please email to us at : sharzeela@artgallery.gov.my and hasimah@artgallery.gov.my The publisher, National Visual Arts Gallery Malaysia, holds the copyright to all editorial content.

SENIKINI (ISSN : 1985-7233) is published four times a year by the National Visual Arts Gallery Malaysia.

All Rights Reserved.

Copyright © 2012 SENIKINI Malaysian Art Now Printed in Malaysia.

COVER ART for #17 is a mural by Aisyah Baharuddin, They & Rat. 'Untitled' paint, spray paint & stencil (2012)

MEMBERS ONLY.

PA M E R A N | E X H I B I T I O N

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Closer Through Dialogue G13 Gallery & Gaya Art Space presents 'Dialogue II', a collaboration exhibition that brings Malaysian and Indonesian artists together in an environment of exchange and discourse.

The aim of 'Dialogue II' is to hope that the neighbours will get to know one another a little better and that the art flourishes as a result. With the works in ‘Dialogue II’, you will gain the privilege of looking at the differences or similarities of the artworks produced in two different Southeast Asian countries. Beyond the visual feast, what’s more important is to talk about it, engage in the dialogue itself, and to learn a little bit about the person next to you. Art is a vehicle that breaks down the barrier.

The Malaysian artists participating in the show includes EH Chee, Stephen Menon, Jeganathan Ramachandram, Calvin Chua and Faizal Suhif.

They are joined by four Indonesian counterparts Nyoman Sujana Kenyem, Putu Sudiana Bonuz, I Wayan Sujana (Suklu) and I Made Arya Palguna.

All four artists are based in Bali & Jogja, one of Indonesia’s chief creative hubs.

All nine artists have achieved considerable success in their own countries and with 'Dialogue II', they will have the opportunity to share their experiences with each other, as well as to learn more about what life as an artist is like in their neighbouring country.

'Dialogue'’s format is unique. Whilst each artist has produced works in their own homeland, the artists themselves came together prior to the exhibition in the spirit of ‘dialogue’, where they exchange ideas, experiences and communicate about their works and lives as both Malaysian and Indonesian artists.

As part of the exchange,the artists will conduct studio and gallery visits, meet local collectors as well as conduct an open workshop and group discussion.

The goal is to foster regional ties as well as to bring our barriers down, making regional art more accessible to both those in the art community, and the general public.

'Dialogue II' is the second leg of two periods of exchange. The first took place last year in Malaysia from 12 November-4 December 2011.

The Indonesian leg of 'Dialogue' took place on the 21 July-21 August 2012.

Artworks on show include paintings and mixed media works.

Gaya Art Space is located at JL Raya Sayan, Ubud Bali, Indonesia, 80571.

Tel : +62(0)361-979252/979253 Fax : +62(0)361-975895 Email: artspace@gayafusion.com For more information, please visit the gallery’s official website : www.gayafusion.com For all media inquiries, please contact: G13 Gallery Kenny Teng-HP : 019 - 2114697 +603 7880 0313/info@g13gallery.com

Champ was born a boy with a heart of art.

During his school years, his bags, books and stationary items would have his very own customized artwork. As he grew up, his drawing skills spread on to furnitures, doors, walls and in locations that upset adults, sometimes. He first saw graffiti on the album cover of LMF (Lazy Mutha Fucka), a canto rap group from Hongkong. So, he started carving the band's logo on school tables and tagging it on the school facilities. By then he was pretty immune to scolding and warnings.

Starting into graffiti, the first tag he did was ‘Northpark’ back in Alor Setar, and his first piece was ‘NPK’, a name created together with his hometown buddies. He studied the graphic nature of graffiti and experimented with the font styles as well as techniques such as spray painting and stenciling. He had an eye for words on labels or signboards, and always managed to make boring advertisements interesting. I would be his favorite little follower and was always amused with what he did or said. Where did he get all those crazy ideas that I had never thought of?

After high school, he went off to study at Dasein Academy of Art, Kuala Lumpur (KL). He did a piece in the unit which he was renting at the time, over the wall and door entrance. I wonder if the landlord appreciated that. His college lifestyle was pretty quiet. Nevertheless, he hung out with friends at times and enjoyed going to indie music gigs.

The live performances and musicians inspired him through their passion for music and it was an exploration for him to see art in a different way.

When it was time to go to Wanganui, New Zealand to further his degree, he was terrified and excited at the same time. Throughout the year at Wanganui School of Design, he spent time exploring various art forms and mediums, at the same time keeping an ardent interest in graffiti. He even wrote to a local newspaper to voice his stand when there was a public outcry on graffiti as vandalism. He was so proud to see his comments being published. His graffiti work became more conceptual as time went by, moving away from writing his name in block letters or semi wild style, to adopting a very graphic approach towards graffiti instead.

Champ observed people and society through a different structure and perspective and came up with a graffiti project called Rich Ill Punks (R.I.P.) with two artists over there; the concept was based on existentialism. “Rich” is a metaphor for people who exist for others, “Ill” is a metaphor for people who have no idea why they exist whereas “Punks” is a metaphor for people who exist for themselves. I found that an interesting point of view on social values.

Another self-initiated project he put together was the Infinite Hope Project to promote non-violence and to stop racism among the public, as his friends and himself had received racist remarks while in New Zealand. The project title was inspired by the quote “We must never lose infinite hope” by Martin Luther King. He spent a fine day at Tepapa Skatepark in Wellington, producing the mural and chatting with passers-by about their beliefs, dreams, and hopes. “Kia Kaha”, he said to me. It means stay strong in the Maori language.

After completing his studies, he came back to Malaysia and became more and more active in the local graffiti scene. His favourite line "Jeng jeng jeng!" was a trademark expression. JENG was his tag.

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It was an interpretation of a Chinese word “精”, which when pronounced in Cantonese is “Jeng”, meaning 'very good, top notch'.

Graffiti in Malaysia was still young at that time but there were already mad talents throwing up pieces on walls along the riverbank in KL. He was chilling with the TLG crew, namely They, Snozze, Bibichun and a few others, spending late nights creating their masterpieces while the city was sleeping.

At one point, he liked using cigarette boxes as graphics in his works. Slowly after, he moved away from spray painting and explored the use of a 10 inch paint brush and household paints for portraits.

He painted huge portraits of people on the streets to highlight the value of each individual, thus giving importance to empathy.

In 2008 when the news of Yasmin Ahmad’s sudden passing broke out, he felt the loss. He had been following her work since Sepet, which he watched about seven times. It unfailingly evoked the emotions and optimism he had for Malaysia. Off he went to the Klang riverbank and painted a mural as his personal tribute to Yasmin Ahmad. It took him over 3 hours to complete the painting of Yasmin, while Kioue, another artist, painted a wailing Indian boy to compliment the portrait. In Champ’s words, Yasmin's works have always been a reflection of herself and speaks of harmony, forgiveness and humility. Yasmin Ahmad will live on in the hearts of anak-anak Malaysia as the talented and loving story teller. The painting received much acclaim

| JOANNE TEH

leading to a front page coverage in The Star.

I was amazed that he had managed to produce such a huge portrait which captured her heartfelt expression.

By 2009, when I came back to KL city, it was buzzing with graffiti emerging around various corners. I was very excited when I got to go on a ‘bombing’ adventures by the Jelatek riverbank with my brother and his friends. Is it illegal? Well, depending on how we see it, I call the act beautifying. KL city would be such a lovely place if there are wonderful, and powerful art in public spaces. It’s a gift from our local talents to the society. My brother did a brush-painted portrait of me that day. I was there, indulging in the moment of painting along a riverbank in Malaysia for the first time ever. We did a collabo, and it was a celebration of that tingle of happiness a little girl felt, to know that her artist brother found her cool enough to be painted.

Later that year, as local graffiti artists came together to initiate a graffiti jam, the KL City Council (DBKL) decided to step in to host the event. It seems that the graffiti artists’ efforts were swallowed by the media and promotion agenda of having the City Council showing support and acknowledgement towards youth culture. That aside, the pieces on the wall were amazing and it was all from the hardwork and sweat of each artist who were there to make their mark.

They took to the walls along the Klang riverbank near Central Market and the public had the opportunity to feast their visual senses on the huge, wonderful pieces that had been created on what before were just plain, empty spaces. It was the biggest graffiti jam in Malaysia at that time and a milestone marking the rising interest in graffiti culture among the youth.

The idea of documenting all graffiti artists and their work popped up, and Champ contacted the National Visual Arts Gallery (NVAG) to discuss the idea. He was really happy that they were supportive. He started off on a mission to compile details and artworks of those who were making their mark in graffiti at that time. Eventually, he left his full time job as a graphic designer to focus on his projects and the book. Over the period, he preferred to spend time alone and stopped keeping in touch with friends. Not known to many, he was suffering from Bipolar-disorder. He attempted counseling sessions and medication to help him get back on track. However, very sadly, he left us on 15 December 2010.

After his passing, my aunt Chrisie and uncle John helped to finalize the compilation of the book.

Unfortunately circumstances forced them to move overseas and the book production was stalled for about a year. I finally met up with Seihon from NVAG to push through the final production of the book. It is to complete Champ’s mission to document graffiti art in the year 2009, with an

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Kuala Lumpur, 7 July 2012-In supporting the development of Malaysian visual art, RogueArt today unwrapped the first of the four-volume 'Narratives in Malaysian Art' publication, titled Imagining Identities. The ‘not for profit’ publication,which has brought together leading and emerging figures in the art scene, gathers knowledge and perspectives on the history, practice and infrastructure of visual art in Malaysia.

Narratives in Malaysian Art Volume I: Imagining Identities highlights the ways in which art has provided artists with the means of imagining themselves and our nation. It features a collection of 19 essays comprisingfive reprinted seminal texts from the 1970s to 90s and newly commissioned essays by writers across different generations. The articles discuss art developments in relation to changing expressions and experiences in Malaysian social and cultural life from late colonial to contemporary times, while 140 illustrations create a parallel visual narrative.

Speaking at the launch hosted by the National Visual Arts Gallery (NVAG), Beverly Yong, Director and Co-Founder of RogueArt who is also one of the two Editor-in-Chiefs of the book said, “It is important to document the rich and diverse art history and practices of Malaysia. That is why we brought together a group of passionate editors and writers to develop Narratives in Malaysian Art, so readers can find out more about the evolution and significance of local visual art.”

Graffiti KL

-Essays by Champ Teh -Featuring works by selected graffiti artists based in Kuala Lumpur - English

insight into the thoughts of the graffiti artists who were featured. We have kept the content as original as Champ would have liked it to be.

Graffiti KL is a showcase of the works and thoughts of graffiti artists back in 2009. Some stayed, some disappeared. Over the years, there were international events initiated by local graffiti artists, and writers from other countries were invited to exchange ideas, in an effort to promote graffiti art as a whole. Looking at the scene today, we can see how graffiti has evolved through the hard work and talent of artists who stayed true to their passion. Recognize that.

I would like to take this opportunity to express my upmost gratitude to each and every one who has rendered help and contributed to the process of compiling and producing this book. For those who had crossed paths with Champ, may the memories of the good times warm your hearts.

“We hope that this project will cultivate understanding and appreciation among Malaysians for the nation’s visual art as well as serve as a referenceforresearchers, practicing artists, and the overall art community,” she added.

This first volume includes writing by renowned Southeast Asian art historian T.K. Sabapathy who is also the consulting editor, as well as leading artist figures Syed Ahmad Jamal, Redza Piyadasa and Sulaiman Esa. Various cultural writers, curators, artists and academics such as Anurendra Jegadeva, Beverly Yong, Adeline Ooi, Chai Chang Hwang, Emelia Ong, Izmer Ahmad, Kelvin Chua, Laura Fan, Ooi Kok Chuen, Rahimidin Zahari, Safrizal Shahir, Siti Zainon Ismail, Tengku Sabri Ibrahim, Yee I-Lann, Zakaria Ali and Zainol Shariff have also contributed existing and new writing to the volume.

The remaining three volumes of Narratives in Malaysian Art, which aim to cover art practices, infrastructure and discourse, will be launched in phases over the next 18 months.

Co-Editor-in-Chief NurHanim Khairuddin expressed her heartfelt gratitude to all who supported the project. “We are immensely grateful to our corporate, institutional and individual supporters for making the project possible, and to the art community for their enthusiastic encouragement in our journey towards creating a publication that documents our country’s artistic heritage for today’s generation and generations to come.”

“Our country boasts a rich and diverse visual art history and practice that we should all be proud of. We are glad to be able to share this with all Malaysians,” she added.

The publications are made possible by the funding and support of various corporations and individuals, namely-Khazanah Heritage and Art Initiative, National Visual Arts Gallery, Bangsar Village (EngLian Enterprise), GudangDamansara, Malakoff Corporation Berhad, TenagaNasionalBerhad, Libra InvestBerhad, Helu-Trans (S) Pte Ltd, theKrishenJit-ASTRO Fund, Kenneth Tan, Rosemary and Steve Wong, and the 30 Art Friends, as well asFriends and other supporters of the project.

Narratives in Malaysian Art Volume I:Imagining Identitiesis priced at RM 35 and is available in both English and Bahasa Malaysia at selected bookstores nationwide.

All profits from sales of books will be re-channelled into the development and promotion of the Narratives in Malaysian Art project.

About RogueArt RogueArt are Southeast Asian art specialists based in Kuala Lumpur focusing on the creative, strategic and organisational management of art and cultural projects, exhibitions, collections and publications. RogueArt believe that existing cultural institutions and the private and corporate sector have much to give, and to gain, in supporting contemporary cultural production. At the same time, the company explores alternative modes of presenting, thinking about and looking at art and culture in the regional context.

| SHELBY SWITZER

Exhibition on through August 15, 2012 : SHALINI GANENDRA FINE ART@Gallery Residence 8 Lorong 16/7B, Section 16, PJ Selangor Te l: +603 7960 4740 Hours : Tues -Sat : 11am-7pm www.shaliniganendra.com FB : SGFA

It

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would be easy to say that stepping into the 'Chin Kon Yit: Revisited' exhibition at Shalini Ganendra Fine Art is like stepping back in time. Each of the original 62 watercolors gives a glimpse of Kuala Lumpur as it was in 1998, Penang in 2001, or Malacca in 2003, the last remaining originals of Chin’s acclaimed Sketchbooks. He presents each subject, be it a colonial building, a suburban townhouse, or a Malacca trishaw [see images], with such loving precision and detail that you know he is aiming to record every inch of these places and objects for posterity. Indeed, it is these sketchbooks which made Chin’s name synonymous with heritage.

For many, heritage suggests retrospection, nostalgia, elements of the past, yet underlying these glimpses of nine, eleven, fourteen years ago, is a timelessness that not only has made this exhibition a success but also keeps Chin Kon Yit relevant in the current decade and will for decades to come. Heritage is not fixed, and in these watercolors Chin shows us the ever-changing and culturally diverse heritage of his Malaysian homeland.

He presents this simply and directly in “East & West, Penang 2001,” focusing on two attached buildings, one with a traditional, bright Chinese façade and the other in the stately, Colonial architectural style indicative of Malaysia’s long-standing Western influences. More recent developments in Malaysia’s changing culture can be seen in watercolors like “Jalan Dormaisamy, KL, 1998,” in which Chin depicts brick suburban townhouses with impressive detail. The interesting signs of modernity are the Washington Apple truck parked in front of a house and the more subtle chainlink fence, only noticeable to the careful observer.

In “Malacca Trishaw, Malacca, 2003,” he presents a well-known, brightly colored symbol of Malacca, but with-unusually for Chin-a human figure sharing the spotlight. Chin has said that such images are, in part at least, sentimental reflections on his childhood, but this sensitive treatment of the driver, who stares out at us in a lumpy t-shirt, contrasting so much with the shiny perfection of the trishaw, immediately makes us ask-who is this driver? Where is he today? Just like all of the paintings in this exhibition, “Malacca Trishaw” presents us with questions not only of the past, but of the present and future.

The pieces in the exhibition cover a range of subjects with a focus on architecture, demonstrating Chin’s interest in the entirety of Malaysian culture evident in the country’s varied buildings: mosques, churches, townhouses, boats passing houses on stilts, and more share wall space without discrimination based on architectural style or import. He includes less identifiable and perhaps, at first glance, more mundane scenes, as in “Jalan Doraisamy,” often choosing his subjects for their architectural content and their real representation of Malaysian life, rather than for their historical or landmark value.

These scenes, characterized by Chin’s accuracy of proportions, adept control of watercolor, and clean lines, emerge from the blank page without frames or parameters, like dreams or memories within the mind. Chin considers buildings themselves to be “gifts of time,” but many of the ones documented here are fast disappearing, making this exhibition at SGFA seem at first like a monument to the past. But at the same time, it carries messages for the present and creates dialogue about the future.

| TAN SEIHON

Bagai Menanti Bulan Jatuh Ke Riba..,2012, Ball point on canvas, 136 x 90 cm

pg/11 The Hand Awakening, 2011, Wood, 104 x 48 x 65 cm

Portrayal of Develofment Series #7, 2012 Acrylic on canvas, 105 x 122 cm

When did the first MEA started?

It started back in 2009; it’s a bi-annual competition.

Who were the original initiators? How were the program formulated and what needs did it aimed to fulfill?

The original initiators were Bayu Utomo Radjikin of House of Matahati (HOM) and Mohammad Nazli Abdul Aziz of Galeri Chandan. It is simply an event that is devoted to the discovery, introduction and promotion of emerging artists. The program was not formulated to fill any needs. Both HOM and Galeri Chandan are advocates of affirmative action in the Malaysian Visual Arts Industry.

Affection, 2012, Oil on canvas, 124.5 x 168 cm

What were the motives or objectives of the competition (long term implication for the art scene)?

As mentioned, we started it based on a simple objective of discovering and promoting emerging artists. However, some industry observers have seen it as a platform for emerging artists to be recognized by the industry. We prefer to remain true to its original intent although we also see it as an important eco-system for the industry.

What are the criteria, guidelines? How does one define ‘talented’ (in terms of concept, technical skill, etc) and prizes?

Submissions are open to all Malaysian artists of 35 years old and below. Works have to be new and exclusive and has not been exhibited before.

The submissions are not judged purely on talent or any such definition, but the ability of the artist

in expressing the visual narrative of his/her chosen medium and the depth of their techniques and composition. There is no one winner; it is more towards identifying the top 5 emerging talents and providing them with a conducive platform for them to discover their true potential.

For this reason, our prizes are aimed to be nurturing in nature. The awards are given to 5 artists and each will receive a cash prize and a voucher for art materials. As a group, they will be given a travel grant to a South East Asian city and the opportunity for each artist to showcase their works in an exhibition after that. The travel grant is organised to include visits to artist studios, art collectives, museums and private collections, and contemporary art galleries in the city of travel. This is to give the winners the exposure from various perspective of the industry outside Malaysia and at the same time provides them a valuable networking potential.

What were the challenges faced in organizing the competition?

We are fortunate that there has not been any that was not able to be solved.

Since the competition involves encouraging and giving opportunities to the younger generation, what are some of the challenges faced in the process?

There has not been any of major significance, fortunately.

The normal response from the public is that they are pleasantly surprised to see such quality homegrown creativity and expressions, and as for the judges, their responses are usually direct assessment or responses from the exhibited works within their areas of expertise.

Art Awards are an important component for the industry. It stimulates the industry and increases its exposure. Whether it is privately run or institutionally led, it is in celebration of new developments in contemporary art.

We at HOM and Galeri Chandan believes that the Malaysian Emerging Artist Award serves the needs of this particular segment of the market. We are also humbled by the support of 30 Artfriends (a loose collaboration of 30 art collectors in South East Asia). Their support signaled the importance in cultivating young talents for the industry. Apart from the available art awards in the industry, other industry players and institutions can play a part in recognising and honouring the various other segments of the industry, so that the industry is developed as a whole.

For a complete list of past winners and history of the MEA, please visit http://matahati-meaa.blogspot.com.

Who are involved with the judging? How are the judges themselves selected?

The judges come from the industry itself; it is a balanced mix of artists, curators, collectors and academicians.

How are the public and the also the judges response to the MEA?

Both of Us, 2012, Acrylic on canvas, 102 x 122 cm

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Tan Seihon (TSH) : Where and when were you born?

Anything particularly interesting that you would like to share about your background?

Tan Seihon interviews Malaccabased International artist, Charles Cham.

Charles Cham (CC): I was born in Malacca in 1962.

When I was 5 years old, I watched a movie in the old Savoy cinema (which has since been demolished) in Malacca about an artist in ancient China with a magic brush. Everything he painted became alive. He painted fish and they swam away in the river. He painted birds and they flew away. Finally he painted a woman, she became alive, the movie ended, and the magic started for me. I went home and immediately started to draw portraits of the artist on the floor. These were my first portraits.

I think when you were 5, you'll believe everything that you see and luckily for me, my first movie was not The Godfather… I wanted to be like the artist with the magic brush. I think it was a movie based on the ancient Chinese folklore of "Ma Liang and The Magic Brush" but it wasn't a cartoon. It was a costume drama.

TSH: Where did you study art formally and when? Who were you initial influences back then?

CC: Ever since the movie, art (or rather drawing) became my central preoccupation when I was growing up. My school books were filled with sketches and cartoons at every little spaces available. I did not have many artists to look up to then as information was pretty limited, but I was never really interested in painting landscapes or still life in school. My love was painting people, basically figures and portraits.

I've always considered myself "self-taught in France", because that's where I started to paint seriously.

I believe art cannot be taught but can be learned by one's self. In art institutions, it is the craft of making paintings, drawings etc that they are teaching, not art really. You are either born an artist or you are not. You can sharpen your skills in an art institution or by yourself, which is of course a longer road to take, but by doing so, you are yourself and real, and not having to paint in a certain manner or school. You don't have rules to adhere to. I was with the École des Beaux-Arts de Toulon for some time but after a while I realized that it was just a waste of time for me and my money, so I went back to Aix-en-Provence and painted with the Association des Artistes Indépendants Aixois. I painted with them during my stay in France and exhibited in their annual Salon des Indépendants.

Blue on Blue on Blue, 122 x122 cm, oil on canvas, 2012

In France, the two painters I was most connected with were Modigliani and Toulouse Lautrec. I was also very inspired with the presence of works of Matisse, Cézanne and Picasso. I used to track up Mount Saint Victoire immortalized by Cezanne in his paintings and to Vauvenargues where Picasso's body was buried in the Chateau de Vauvenargues.

TSH: Why did you choose to go to France?

Which part of the country specifically?

CC: The truth is that I just followed my heart. One day, while still working in The Star, I was lying down and suddenly I told myself "I must go to France". So after more than a year I did just that, quit my job and went to France, to Aix-en-Provence. I did not know where Aix was and why I chose it. I just know that I had to go there.

Even after I've landed in Paris and needed to take a connecting flight to Marseille before going to Aix, I still did not know where Aix was until I reached there.

I remember vividly, in one evening in autumn, in a street filled with leaves from the platane trees, I was sitting on the only suitcase I had, thinking and asking, "what do I do next?"

That was the beginning of my life as an artist.

I first went to France in 1988 and stayed till 1991.

I went to Aix-en-Provence, and stayed just a few doors away from Paul Cézanne's studio (now Paul Cézanne Museum). I was so intrigued to see the apples that he painted a century ago were still lying on the table and shelves.

In 1994-1998 I was living mostly in New York. There I discovered artists from the Action Painting group like Jackson Pollock, and of course graffitti and Keith Haring and Jean Michel Basquiat. What I love most about this group of artist is that everything is done in such a casual manner.

In 2003-2006 I was living in Szentendre, just north of Budapest by the Danube bend. I had another Orangutan House there during that time but closed when we return to Malacca.

TSH: Your paintings have strong characteristics that recalls of Primitivism. Can you elaborate on this and why did you adopted this approach? Who were your favorite painters at that time?

CC: I did not choose to paint in this manner or subject.

Somehow it just happened. When I was a kid, my strong point was portraiture and cartoons. I could do caricatures very well. Later, when I went to France, painting with the members of the Association, we had models almost daily for the nudes and portraits. When I returned to Malacca, I could not get models to pose nude for me, only for portraits (even then, they were more interested in their own likeliness than the artwork) So, I turned to my collection of wooden masks, figurines and totem poles which I had been collecting from around the world and mainly from Borneo.

I love the simplicity of the tribal masks and primitive sculptures from around the world. They all looked pretty similar and yet they are all very different at the same time. It's good to see tribes from different places which have never met, eg Borneo and Africa, making very similar work.

The Writer, 76 x 55.5 cm, oil on canvas, 2012

I think this is because it's instinctive and it is therefore real. We all try to achieve that.When I was in France, I was definitely inspired by Cézanne, Gauguin, ToulouseLautrec, Picasso, Matisse and Modigliani.

TSH: What was special about France that had a lasting impact on the way you approach and make art?

CC: Freedom and Passion.

TSH: The Orangutan House (OH) is a landmark for those in the know. Your designs on the merchandise sold at OH are also very popular. Can you share with us the motivation behind the setting up of OH? CC: While in France, I had this idea about setting up an art studio in Jonker Street Malacca, where I could paint and show my work and at the same time a place to exchange ideas with local and foreign artists. When I came back to Malacca with a bunch of nude paintings and sketches, I wanted to exhibit them but was rejected by all. So I decided that the only way I was going to exhibit them was to set up my own place. So it was out of necessity that The Orangutan House was born. It was really just for art and not for tourism. But, it wasn't easy to pay the rent even though it was a mere RM600 per month then. And then, there were the very costly art materials to think of, imported oil paints, canvases, stretchers etc. In the end I decided to reproduce some of my paintings on t-shirts and thus Orangutan T-shirts was born.

TSH: How is the art scene in Malacca nowadays? What do you think can be done to uplift that scene to make it more vibrant? Suggestions : CC: I believe Malacca now has more than 20 artist studios cum galleries. When I first started I was the only one in the Jonker Street area, with Jehan Chan on the outskirt of town. Sooner, more artists from Klang and KL came to set up studios here. Now we also have a handful of foreign artists living and painting in Malacca.

But setting up studio is one thing, being an artist is another. Artists need to exhibit. We can't just open a shop and sell our works like a souvenir artist otherwise we will end up having the same problem like in Ubud.

"Career guidance" is perhaps something that artists here needs to get to move ahead if they are serious about art and move on from the "souvenir art" that they are selling. A proper artists association will be of great importance for the promotion of art in Malacca.

Exposure, by having group and solo exhibitions in other towns and especially overseas will help to see what others are doing elsewhere and to challenge and improve.

Government support and participation will definitely have the biggest impact on the success of artists in Malacca. Until now, art is still invisible to the government.

Everything that has been done for art in Malacca has been the effort of individual artists and the private sector. The government has a responsibility to get involved in it as it is our culture, our heritage and a necessity in life.

TSH: I believe your works are more readily accepted overseas and you continue to receive invitations to exhibit abroad. What do you think makes your work popular among collectors abroad as compare to here?

CC: I don't know. Maybe they like what I do whereas locals don't.

TSH: Symbolism, elements of primitivist art approaches and the concept of Yin-Yang are prominent in your works. Can you confirm and elaborate why these discernable elements are important to you?

CC: I enjoy the simple things in life. As it is, life should be simple, but modern day needs make it such a big mess.

Simplicity is the most advance stage one can achieve in any field, be it in art or in life. I consider myself a spiritual person, more interested in the symbolic meaning of things and happenings than what is clearly seen. I have been living this way since secondary school and that has helped me look at life in a more spiritual way.

Art is symbolic. It is not something real, and at the same time it is something essential. Art is about self expression and symbolic representation.

It is autobiographical whether you like it or not. An artist puts himself into his work, whether it's a drawing, painting or sculpture. One should not try to copy nature, no matter how wonderful the sunset or waterfall is.

It is a futile action. One should be inspired by it to do something else.

Make Art, Not War!

The Yin and Yang are just an equation to explain what life is, the ups and downs, the lighter and darker sides of life, and the circle of life that has been in existence since the beginning of time. What we are experiencing now in the world is nothing new, nothing too sophisticated.

We've had much better sophistication before. We're merely catching up with lost knowledge of the past.

In my work, the Yin and Yang concept is made in a more visual way, where a painting can be viewed in a different direction or directions, just like in life. You see things the way you want to see it or the way you know it. But things are much deeper than that. Subject-wise, I like to use faces to illustrate and express what I want to realise on canvas.

It is sad to see that while local art patrons prefer something more cliché like a Warhol or Lichtenstein print, local art is flowing out of the country into foreign homes and institutions. By the time we realized it, it'd be too late. This is what happened to the city of Aix-enProvence where Cézanne was born and yet all his major works are found elsewhere because Aix rejected him, and eventually the city of Aix had to pay millions of Euros just to acquire a Paul Cézanne painting.

Charles Cham had just concluded his 4th solo exhibition entitled 'Selfless Portraits' at the Karin Weber Gallery in Hong Kong (24th July 2012) His next solo exhibition will be at Art-2 Gallery, MICA, 140 Hill Street, Singapore.

It will be open for viewing on the 3rd Oct 2012.

The local government should set up a panel to collect works about Malacca or by Malacca artists for future generations. This act can also be a good investment for them if they have an eye for it because art prices in general just increase and very rarely go the other direction. We can have them on permanent exhibition in one of the existing government galleries. This, I think will be a hit among tourists visiting Malacca rather than the present half-backed exhibits.

For More Information about Charles Cham, please visit: THE ORANGUTAN HOUSE 59 LORONG HANG JEBAT 75200 MALACCA MALAYSIA. +606-2826872 orangutanhouse@hotmail.com www.charlescham.com www.facebook.com/orangutanhouse www.absolutearts.com/charlescham

The increase in real estate prices around the Jonker Street area is killing art. Most artists do not own the buildings where they work and the ever increasing rent will drive them "out of business" sooner or later. This is not a good sign for Jonker Walk as artists are driven out of the area or they will resort to making something which is easier to sell.

If we could do like what France is doing, that is to allocate one percent of the total cost of new buildings to the purchase of art, art will definitely bloom here.

They say, every face tells a story, but whatever the story, the importance lies in the moment I was painting it. After that, it is not that important anymore. What remains after the process is just a canvas. Good or bad, excellent or purile, expensive or nothing, it remains just as that.

Negaraku, 150 x 150 cm, oil on canvas, 2009

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Shafiq Ali'am-Replacement, 2009, 80 x 40 x 98 cm, fiber, mechanical parts, metal, hose tube, stainless steel, electronic LED and cast iron

Henry

Butcher Art Auctioneers is excited to launch its new initiative - The Young Contempo Auction (TYCA) - where works by young and contemporary Malaysian artists will go under the hammer on Saturday 29 September 2012 4pm at MATRADE Exhibition and Convention Centre. Part of the 1Malaysia Contemporary Art Tourism (MCAT) Festival, this inaugural auction will showcase trends of very active new generation of local creative talents. As an effort to encourage these budding artists, the proceeds will be awarded to programmes and organisations that support and promote emerging artists in Malaysia.

There will be up to 40 lots on offer, showing great variety and spanning all forms of media from works on canvas and paper to mixed media sculptures, prints and photography, as well as fantastical themes that display the young imagination at its best. Most pieces are estimated at an affordable price range - well below RM10,000 in order to encourage art collecting in Malaysia, while all artists featured are exceptionally promising young artists who are steadily garnering attention in the Malaysia art scene.

One such artist well known for his intricate out-ofthe-world creations with intertwining surrealistic and outlandish elements is Haslin Ismail, who was awarded the Grand Prize for In Print: Contemporary British Art from the Paragon Press in 2006 and the prestigious Young Contemporary Award in 2010. Representing the artist at his best is one of his largest paintings depicting a fabricated futurist world materialised using inventive use of mixed media, titled 'The Very Extraordinary Voyage' (2010-11). Measuring over 3 metres by 3 metres, it envelops the viewer in an exploration of the world we live in today and a consideration of what may be in stored for the future.

Another artist known for whimsical works based on fiction is Khairul Azmir Shoib a.k.a. Meme. Combining strange and otherworldly characters with text, his works are perfect examples of imagination running wild. 'Silent Night' (2006) is a window into Meme’s world of mystical creatures and enchanted forests. Playful and fanciful, his paintings reside in a place where childhood imaginative innocence is preserved, allowing audience to revisit and be entranced. Major awards for such as the 2004 Young Contemporaries Juror's Award and the Incentive Award from Shah Alam Gallery in 1999 are testament to Meme's promising future as a contemporary artist in Malaysia.

Admirers of figurative works will be delighted with exceptional work by another past MEAA winner, Gan Chin Lee. Known for his narrative portraits that are classically inspired, Gan's works address the issues that govern the Malaysian socio-political condition and are ongoing "conversations" about the Malaysian Identity.

'Status Anxiety VI' (2010) is a masterful portrayal of Malaysian society today done in painterly realism.

An experimenter of new media and photography, Roslisham Ismail a.k.a. Ise is represented with 'Superfiction 8' (2008), a stirring piece that was featured as part of his solo exhibition in JFKL Gallery, Japan in 2008. Using photographs he took of Tokyo, Ise created a scene with skyscrapers, fighter jets, superheroes and monsters that expresses his interest and love for the Japanese urban condition while embodying the melting pot of life and particular energy of modern urban environment.

Widely exhibited in the region, Ise's works were shown at biennales in Singapore and Yogyakarta, while he

Gan Chin Lee-Status Anxiety VI, 2010, 153 x 107 cm, oil on canvas

Poodien (Shaifuddin Mamat)-Long Live Death; Zero Point (Biting the Hand That Feed), 2010, 156 x 117 cm, oil, acrylic, silkscreen and collage on canvas

was also awarded fellowships to Tokyo in 2007 and Australia in 2006. New media abounds and in encouragement of the compelling new direction the young artists are embarking on, there are many sculptures going on the block, by artists such as Mat Ali Mat Som, Ali Azraei Bebit, Syafiq Ali'am and Rozana Musa. Diverse in their approaches to sculpture, the quirky and varied objects on offer are sure to captivate the audience.

'Toh Gajah' (Unsung Heroes Series), 2011 by Mat Ali is a mesmerising piece accentuating the physicality of silat. More than sculptural narrative, the detail and dramatisation of anatomy and muscle display the artist's absolute understanding of forms. Ali Azraei and Syafiq on the other hand, incorporates recognisable machinery and contraptions that are used today, pairing it with human elements, in turn questioning the relationship humanity has with machines on a daily basis. Injecting a feel of lightheartedness and fun, Rozana's ceramic works that use the subject matter of food are colourful and appealing, with witty remarks inscribed commenting on female neuroses and issues of dietary obsession.

Haslin Ismail-The Very Extraordinary Voyage, 2010-2011, 305 x 305 cm, mixed media collage on canvas

Stephen Menon-The Studies of me & mao-Tok Dalang, 2010, 40.6 x 93cm, mixed media on paper

TYCA will also include works by Ch’ng Kiah Kiean, Cheng Yen Pheng, C.K. Koh, Donald Abraham, Fadly Sabran, Fauzul Yusri, Latif Maulan, Lok Kerk Hwang, M. Shafarin Ghani, Meor Saifullah, Mior Rizzuan Rosli, Mohamed Razif bin Mohamed Zakaria, Najib Ahmad Bamadhaj, Renny Chong, Raduan Man, Shaifuddin Mamat a.k.a. Poodien, Samsuddin Lappo, Siund Tan, Stephen Menon, Tan Chee Hon, Tang Yeok Khang, Wong Chee Meng and more.

The works on show will not be the only excitement on offer as Henry Butcher Art Auctioneers is working together with Interpr8 to hold a series of stimulating fringe events that will capture audience beyond the usual suspects of collectors and avid followers of art. In an effort to not only support Malaysia's fledgling artists, but also to educate the masses about art investment and the expanding contemporary art scene, talks facilitated by eminent collectors and gallery owners will be held while a number of exciting shows involving performance art and art for kids will be taking place in conjunction with the event.

For more details, please contact Henry Butcher Art Auctioneers at 03 2691 3089/012 227 5325, email leoni@hbart.com.my or visit www.hbart.com.my

Fauzul Yusri-Grey Park, 2006, 107 x 107 cm, oil on canvas

| ANIS ROZALINA RAMLI

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Batu Rakit-Tengkujuh 53 x 42 in, oil, 2011

If

you visit Zainal Abidin Musa’s home studio, don’t be offended if he doesn’t invite you in. He’d much rather entertain you outdoors, under the cherry tree in his garden.

His easels and paints – even dinner table and television – are set up in his garden, which he fondly describes as a “jungle,” where he spends most of his days, making his art.

His long, wavy hair, relaxed approach, soft voice and youthful looks seem to have grown from a lifetime career as an artist. But this is not so, for Zainal has only been painting for about ten years.

Prior to that, he had spent more than 20 years running his own advertising business – a period in his life which he says was very stressful.

“I would visit the east coast beaches on weekends just to break away from the stress,” he says. It was these very trips that reconnected him with his long-abandoned painting. With fellow artist friend, Suhaimi Abdul Wahab, the two would set off for a short road trip over the weekend, and in the style of the Impressionist artists of the 19th century, set up camp somewhere remote to paint plein air. Those visits turned out to be the turning point that would bring him full-circle to his childhood love for art, which took root early on.

Fortunately, the incident did not break his spirit for art – Zainal went on to study fine art at the MARA Institute of Technology in Dungun, then Shah Alam, graduating in 1983. One of his most prized memories was of receiving the National Art Gallery’s Young Contemporary Art award for his etching in 1983.

From the small sketches drawn during his weekend travels, he produced full-scale oil and acrylic paintings of the Terengganu landscapes, which he later showed at “Weekends,” a self-funded solo exhibition at the New Straits Times’ Balai Berita.

There was little fanfare at the opening, but the response and comments from visitors encouraged him to finally quit his day job and focus on his paintings. From a casual weekend painter, Zainal turned to full-time painting in 2002.

“Painting the monsoon has taught me new lessons.

I can't look at the landscape like I used to when I was doing the sunrise and sunset. The colours are not the usual " “Sometimes it's wet, no sun. Then, in some cases, like in 'Penarik', it's bright and sunny and you get the colours and contrast and clear forms. I have to do something to show how different the light, colour and ambience are during this monsoon period. Maybe I will show this through the subject matter. I'm not sure yet.”

For the first time, his paintings include human figures as the subject matter. The colours, now, are muddy; his strokes, more spontaneous. He paints the daily scenes, the slices of life in a time of monsoon – an old fisherman looking out to sea, contemplating his next fishing expedition; a group of men resting at a wakaf, feeling restless with nothing to occupy their time; a rubber tapper sitting out the year-end showers to mend her clothes; a man braving the rain on his motorbike, with one hand holding an umbrella.

Yet, even among these paintings of men and women in the idle times of the monsoon on the east coast, one can still find Zainal’s signature themes of landscapes -- the wet beaches, the rainsoaked trees, the somber colours of a storm, the coolness of a deserted beach after a good, long downpour – conveying the romantic scenes of the monsoon.

Sunrise at Pulau Besar Mersing, 23 x 30 cm, acrylic, 2007

Having been out of the artistic loop, so to speak, for many years during his advertising days, Zainal had no pre-conceived ideas of the goings-on in the art world. Without the pressure of conforming to current artistic trends, he simply resumed painting for the enjoyment of the act alone. He says, “I just wanted to paint whatever struck my fancy, and at that time, it was landscapes. I was happy to be doing that, to go at my own pace, to be carefree and unconcerned about what other artists were doing.”

His peers from MARA’s School of Art and Design who pursued a career in art from the beginning, may have carved a name for themselves by then, but Zainal has no regrets of being a “late bloomer.” “Everyone takes their own paths and this was mine. In a way, the years I spent in advertising were necessary towards making me the artist I am today.”

Besut#3-Tengkujuh 63 x 41 in, oil, 2012

These days, though, Zainal’s works display a slightly different quality about them. In his latest series, 'Tengkujuh', he presents a pictorial journey of his travels to the east coast during the monsoon season. He writes about the painting process in his blog www.zainalabidinmusa. blogspot.com:

But now, he is.

He recalls a memory when he was a child of eight, “When I was young, I knew that I wanted to be an artist. I had made myself a simple easel out of some tree branches. Using crayons, I would draw on the back of old calendars – we were so poor we couldn’t indulge in buying papers – the kampong landscape where I grew up, Batu Gajah and later Parit, Perak.

“One day, I came home from school and found the easel missing. To my horror, I found out that my mother had chopped it up and used it as firewood to cook my lunch! I was so devastated, I couldn’t eat the meal!”

Going through his works, one gets a sense of the artist’s development in art. His early works in the 1990s, the 'Weekends', 'Lazy Sunday', 'Water lilies', 'Sunrise and Sunset' series, were noticeably “silent,” light and airy, and devoid of any human figures.

Even in places where the tourist traffic was high, he chose to paint deserted scenes. His colour palette was sweet, and his brush strokes had a delicate quality about them, that one could not help but feel the tender love the artist had for the subject matter. Looking at his paintings, it’s easy to imagine Zainal on an island somewhere, enjoying the tranquility of the moment, in total wonder of the light and shadows before him, and relishing the act of dipping brush to colour, sweeping colour to canvas.

“This is my interpretation of the monsoon, the feelings I got during that time, the atmosphere of a place, a time, a special location. And I paint them so that I will always remember them when they are long gone,” he says.

While it’s clear that he will always take delight in painting landscapes, the stacks of chopped up wood piled around his house and studio gives an indication of Zainal’s next venture. With his basic carpentry skills – he makes furniture for his wife – Zainal already has some ideas sketched out to make wood sculptures. In his studio, some of these ideas have taken shape in the form of what could be described as part furniture-part sculpture – the main centre-piece in his studio is a long table with a comical character from a famous wayang kulit tale; in another corner is a pair of mythical creatures fashioned into a bench; while somewhere else is a three-legged figure that began life as a salvaged stool.

But Zainal is in no hurry to complete them. For now, he is happy to paint as he pleases under the shade of his cherry tree.

S ENI

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Ukiran Kayu

Dalam masyarakat kita di Malaysia, seni ukiran kayu bermula sejak dari zaman keagungan kerajaan Kesultanan Melayu Melaka lagi.

Masyarakat Melayu dahulu sangat memberi perhatian kepada seni ukiran kayu terutamanya pada ukiran rumah kediaman dan istana. Pada zaman dahulu, ukiran kayu yang terdapat pada rumah seseorang melambangkan status kedudukannya. Semakin banyak ukiran yang terdapat pada rumah kediaman, semakin tinggi status seseorang dalam masyarakat.

| SITI MAISARAH BAKAR

Seni

telah dirujuk kepada, “Skill in performance, acquired by experience, study or observation or to the results produced by such skill.”1 Franz Boas pula menyatakan bahawa kesemua seni membawa implikasi kemahiran teknik.2 Kemahiran yang dimaksudkan oleh kedua-dua sarjana di atas membawa erti kebolehan yang tidak dapat diperolehi secara automatik dan sama rata oleh kesemua manusia tetapi lebih kepada satu kebolehan yang dimestikan oleh seseorang individu.3 Max Vermorn pula menyatakan bahawa seni ialah, “The faculty to express conscious by means created by the artist himself in such a manner that they may be perceived by our sense ergans.

In general sense, language, song, music and dance are art, just as well as painting, sculpture and ornamentation.”4 Seni juga dapat didefinisikan sebagai usaha untuk menciptakan bentuk-bentuk yang melahirkan rasa kesenangan hati. Jadi, dalam menilai satusatu bentuk seni, akan wujud dalam diri individu itu perasaan suka, senang atau sebaliknya dan selalu menegaskan perasaan yang mengalami keindahan.5 Munro pula memberikan penerangan yang lebih kurang sama apabila menerangkan seni itu sebagai; “Art is skill in making or doing that which is used or infended as stimulus, the meaning if suggests or both are felt as beautiful, pleasant, emotionally as objets of direct experience in addition to any instrumental values they may have”.6 Bentuk-bentuk seni adalah banyak dan termasuklah aktiviti-aktiviti utama seperti ‘pictocial’ dan ‘representional’. Di antaranya ialah lukisan dan pengukiran, seni sastera (lagu, cerita dan lain-lain) seni yang berkaitan dengan drama dan perhiasan. Secara ringkasnya, kesenian dapat dikatakan sebagai keseluruhan yang meliputi aspek-aspek seperti seni lukis, seni ukir, seni bina, seni pahat, seni anyaman, seni tenun dan sulam menyulam, seni foto, seni lakon, seni sastera, seni tari, seni nyanyian dan lain-lain lagi.7 Warisan khazanah budaya lahir dalam pelbagai bentuk seni dan rantau ini banyak menghasilkan karya seni seperti tembaga, perak, anyaman buluh, ukiran kayu dan lain-lain lagi. Ukiran kayu tradisi Melayu adalah merupakan reka bentuk tradisi yang menjadi warisan turun temurun.

ukiran Melayu tradisi telah wujud sejak 500 tahun dahulu melalui catatan sejarah terutama dalam catatan karya-karya lama seperti Sulalatus Salatin dan Misa Melayu.

Berbagai bentuk dan corak ukiran ini terdapat di rumah-rumah, istanaistana, masjid, pusara, peralatan senjata, pintu gerbang, alat-alat muzik tradisi, perabot, kepala perahu dan sebagainya. Sesungguhnya, ukiran kayu tradisi ini mejadi milik masyarakat yang memiliki pemikiran dan falsafah yang mendalam.8 Seni ukiran kayu adalah seni kraftangan yang telah lama wujud dalam kalangan masyarakat Malaysia terutama bagi masyarakat Melayu, masyarakat etnik Sabah dan Sarawak serta masyarakat Orang Asli. Seni ukiran yang dipersembahkan melalui bahan kayu ini sama seperti seni ukiran yang lain, cuma berbeza dari segi cara dan teknik pengukirannya.

Seni ini begitu berkembang luas kerana Malaysia merupakan sebuah negara yang mempunyai hasil kayu-kayan yang banyak iaitu terdapat kira-kira 3000 spesis kayu-kayan di negara kita. Di samping itu juga, kayu adalah bahan alam yang sangat sesuai untuk diukir dan boleh dipelbagaikan kegunaannya.

Menurut kamus Dewan, seni ukiran dapat didefinisikan sebagai; “Lukisan yang dibuat secara memahat, menguris, menoreh dan lain-lain pada bahagian-bahagian tertentu manakala ukiran itu sendiri mewujudkan sesuatu yang telah diukir”.

Ukiran itu adalah hasil yang terbentuk dari kesan mengukir dengan menggunakan alat-alat tertentu seperti pisau, pahat atau benda-benda tajam pada sesuatu permintaan lalu menghasilkan suatu lukisan atau gambaran sama ada berbentuk cengkung, cembung, tenggelam atau timbul.9 Kepandaian mengukir dalam masyarakat Melayu bermula sejak zaman manusia menduduki gua lagi. Pelbagai kajian atau penyelidikan yang dibuat mendapati banyak kesan-kesan sejarah yang ditinggalkan. Dari tinggalantinggalan yang ada, ukiran dari zaman itu bolehlah dikatakan dalam bentuk simbol dewa-dewa dan kuasa dalam kepercayaan masyarakat pada masa itu. Bentuk-bentuk ukiran wajah ‘kala’ dan ‘dewata’ menjadi motif ukiran yang utama.

Sejarah awal seni ukir tidak dapat dipastikan secara jelas. Namun, hal ini dipastikan melalui catatan sejarah dari jumpaan ukiran pada zaman Neolitik di Asia Tenggara yang terdapat pada belanga, gelang, kendi, gong dan pinggan mangkuk. Di Tanah Melayu, dikatakan bahawa seni

Kewujudan seni ukiran kayu tradisi dapat dibuktikan melalui karya-karya agung sejarah Melayu. Misalnya dalam Sulalatus Salatin yang dikarang oleh Tun Sri Lanang, mencatatkan keindahan seni bina istana Sultan Mansur Shah (1459-1477). Istana tersebut digelar sebagai ‘Istana Hawa Nafsu’ oleh rakyat jelata. Misa Melayu juga turut menggambarkan keindahan seni ukir istana di Pulau Indera Sakti yang terletak di Kuala Sungai Kinta, Perak semasa pemerintahan Sultan Iskandar Zulkanain (1755-1780).

Hal ini menunjukkan bahawa, Raja-raja Melayu pada zaman dahulu memainkan peranan penting dalam memperkembangkan seni ukiran kayu di Tanah Melayu ketika itu.

Seni ukiran telah melibatkan keahlian para seniman tempatan dalam mengolah bahan yang diselaraskan dengan kecekapan teknik dan kegairahan emosi cipta.10

1. Richard L. Anderson, 1979, hlm. 159.

2. Franz Boas, Primitive Art, Dover Publication, New York, 1940, hlm. 535.

3. Powzi Bin Muda, Kertas Projek, “Bentuk dan Corak Ukiran Kayu T Tradisi Melayu”, Jabatan Pengajian Melayu, Universiti Malaya, 1988/1989, hlm 6.

4. Maz Vermorm, 1920, hlm. 8.

5. Powzi Bin Muda, Kertas Projek , “Bentuk dan Corak Ukiran Kayu Tradisi Melayu”, hlm 7.

6. Munro Thames, The Arts and Their Inter Relations, The Liberal Art Press, New York, 1969, hlm. 107.

7. Ibid.

8. Powzi Bin Muda, Bentuk dan Corak Ukiran Kayu Tradisi Melayu, hlm 1.

9. Kamus Pelajar Bahasa Melayu, Dewan Bahasa dan Pustaka, Kementerian Pendidikan Malaysia, Kuala Lumpur, 1989, hlm. 755.

10. Siti Zainon Bin Ismail, Tulisan Sebagai Seni, Dewan Budaya, September, 1982, hlm. 42.

pg/18

Boleh perkenalkan diri saudara?

Nama penuh aku Nuriman Amri Bin Abdul Manap.

Lahir di Petaling Jaya Selangor, pada tahun 28 Ogos1978. Anak ke 6 dari 8 adik beradik.

Berkecimpung di dalam dunia penerbitan buku sejak tahun 2005 dan kini sepenuh masa sebagai artis seni halus. Isteri aku seorang penjawat kerajaan berkhidmat di PTPTN. Beliau tabah menemani aku.

Sejak bila saudara mula berminat dengan seni visual?

Segalanya datang dengan minat dan kawankawan. Masa sekolah rendah juga suka melukis corak pada batang ais krim, kereta tiup, lukis Airwolf, buat model Jambatan Pulau Pinang , kereta dan rumah menggunakan bahan kayu terpakai untuk pameran kat sekolah. Aku tusyen kat Pusat Tusyen Emkay, Taman Melawati. Depan bangunan ada studio sculpture pelajar-pelajar Malaysian Institute of Art (MIA). Setiap kali ke kelas aku lalu tengok abang-abang dan kakak-kakak student MIA menyiapkan kerja. Dengan radio kuat mereka memakai topeng tutup hidung bila spray dan macam-macam bentuk kimpalan besi.

Bagasi 49-constructed with zinc roofs from the National Art Gallery in conjunction with the 49th anniversary of the National Art Gallery 2006.

Air Mata Dunia- functional sculpture made from discarded materials.

Masa tu aku pendek dan kecik lagi baru tingkatan 3.

Bila tengok bendabenda yang mereka buat semuanya besar-besar belaka.

Sekitar 1995 lepas SPM, aku bekerja sambilan di Mouth and Foot Painting Artist Sdn. Bhd. sebagai pembantu am menyusun lukisan kad ucapan yang di hasilkan oleh golongan istemewa serata dunia.

Semua lukisan cantik-cantik belaka. Lukisan yang abstrak yang aku tak paham pun aku suka simpan sebab bagi aku cantik.

Bila saudara graduate?

Aku masuk Universiti Teknologi MARA (UiTM) pada tahun 19962001. Dapat belajar fine art, major painting. Belajar guna oil paint, dan aku tak mahir lukis figure.

Living City- Mini Clubman door, mixed media. 2001

Selangkah demi selangkah aku belajar pulak buat mix media. Masa belajar dulu pun cari duit jual kraftangan kat art school . Pernah juga joint pertandingan dan pameran terbuka. Pada tahun 2001, aku dipilh sebagai antara pemenang finalis Nokia Art Award Asia Pasific. Kira gembira tak ingatlah masa tu‌ Siapakah pengaruh seni saudara?

Semua penggiat seni menjadi inspirasi aku. Mereka bersusah payah menterjemah kemampuan yang ada sebaik mungkin. Mereka merendah diri bila berbicara seni yang mereka hasilkan tidak sombong mengutarakan hak. Yang banyak berkorban demi kebenaran yang ditegak masing-masing. Aku join Kem Sonneratia yang dianjur oleh BSVN pada tahun 2003. Disitu bermula turning point aku untuk mula berkarya.

Berpameran dan eksplorasi bahan terbuang bermain dengan sampah dan bahan terpakai sampai sekarang.

Sudah berapa lama saudara berkecimpung dalam dunia seni tempatan?

Sejak 1996 aku berpameran di Galeri Shah Alam sempena pameran Townscape pelajar Uitm. Lebih kurang 13 tahun jugak.

Apa anugerah yang pernah saudara menangi?

Nokia Art Award Asia Pasific pada tahun 2001 dan Bakat Muda Sezaman pada tahun 2006.

From DBKL to BSLN-performance art with artist Ngiam Thiang Tze. 2003

| TAN SEIHON

Wall piece sculpture with mirror. Various sizes, mixed media. 2006

Apa konsep disebalik hasil karya saudara?

Aku cenderung kepada kraftangan maka aku lebih rapat dengan objek siap dan dunia kosmetik yang mengharapkan puji-pujian. Dari situ aku mengenali mimik barang siap dan konflik kesedaran persekitaran. Aku adjust diri aku dengan dengan bahan buangan yang dikutip dan dijumpa. Satu terapi bagi setiap yang aku ambil.

Pengalaman mengutip bahan terpakai membuatkan kita berendah hati. Ia berlaku secara halus menerbangkan ego diri dan mendekatkan perkara yang asas dalam banyak perkara.

Paku karatSatu tindakbalas terhadap fungsi terpakai. Dominasi persekitaran yang palsu. Inginkan kesempurnaan menggagaskan kita menolak unsur-unsur yang mempunyai kelemahan. Kita lupa kekuatan sebenar terletak pada diri sendiri bukan bergantung kekuatan orang lain sebagai julangan. Maka matinya besi kerana karat dan lurusnya paku bila tajam menikam.

Namun tidakkah itu juga simbol kasih sayang dan mengambil berat? Maka inilah tindak balas tulen kerana menerima hak kejadian dan bukan dibuat-buat.

KotakBeza pula dengan kotak. Satu bahan ringan dan keras tapi lembik. Kalau digantikan semua barang harian menggunakan kertas kotak, mampukah barang itu berfungsi seperti asal.

Mengapa saudara memilih found objects dan bahan yang boleh dikitar semula?

Keserasian di antara bahan dengan sifat lemah yang aku cari sebagai elemen penting kerja aku, membuatkan aku lebih terdorong untuk memperbetulkan kesilapan. Semua bahan yang tak digunakan akan dijadikan sampah. dan aku mengangkat sampah itu kembali. Aku amalkan perubahan dalaman melalui reduce, reuse dan recycle. 3R bukan saja pada objek bahkan jiwa seseorang.

Fried! sculptures. Flour and plate, figurine sculpture and sneaker. 2007

Apa cabaran yang saudara hadapi sebagai seorang penggiat seni di Malaysia? Apa yang perlu dilakukan untuk menambah baik situasi seni tanahair kini?

Paling susah, berada di tempat yang tiada kedudukan. Bermodalkan kepayahan kita beroleh pengetahuan. Keuntungan itu kira bonus sampingan dan itu lah makanan pembangunan. Mata kasar seperti menjulang kejayaan dan kekayaan. Sebab kita didesak begitu oleh peminat-peminatnya yang glamour dan keriuhan kelas.

Proses seni yang aku cari dan sering terbantut kerana jerubu kota ialah untuk kurang bising, dengan galak, dengan pujian melampau. Sebaliknya lebih menghayati nikmat diam. Cabaran sebenar bila mana tampak kurang minat penglibatan pakarpakar pelbagai bidang lain untuk merencanakan senirupa kita. Ramai pihak sedia berganding bahu menzahirkan kesedaran ini melalui usaha-usaha dokumentasi seni sepertimana yang kita lihat saban tahun diharap ia terus berkembang. Usaha-usaha yang jelas berkesan seperti penganjuran residensi, ruang kolaborasi dan penerbitan sangat penting bagi menyimpan rekod-rekod proses. Cuba berkembang melalui lebih banyak penerbitan buku .

Apakah projek seni terbaru saudara?

Buat masa sekarang aku memotong dan mengoyakkan kotak berselerak. Cuba mengurus kecelaruan. Proses ini penting kerana kita tidak akan tahu siapa kita sebenar. Selagi belum bertemu penamat dalam menghayati rejection. Sejak dari itu aku berpindah keluar bungkusan rupa dan membungkusnya dengan kesudian umum..Membuat fotostat peranan dan rupa-rupa tanggapan.

Sedang menyiapkan huraian baru juga berbentuk arca. Namun aku tidak mendesak untuk pameran tertentu. Selagi berkesempatan dan diketahui, maka aku akan terlibat.

'..bila paku aku pun berdiri...' (an oversized hammer made from rusted nails) 2007.

| Qasim

Riza Shaheen Creative Consultant, UK

Power, Hope and Land consists of outstanding works from NVAG’s permanent collection including prolific names such as Datuk Syed Ahmad Jamal, Dato Ibrahim Hussein, Patrick Ng Kah Onn and Robert Rauschenberg. Although eclectic, all works have a strong connection to Malaysia and a universal struggle for independence by either the origin of the artist or the thematic content of the artworks.

The exhibition narrative begins with Zakaria Ali’s 'Once upon a time in a far away land of Mexico there were the rich and the poor' (1974) leading us into the illustrative and satirical world of Noor Azizan Paiman. At the end of his trail we find Wong Hoy Cheong’s provocative matriarchal tale 'She was married at 14 and had 14 children' (1994). The portrait of Sir Henry Gurney K.L.M.G (1953) in Harold Speed’s rather romantic depiction of colonial transition is coupled with untold stories of freedom fighters from Amir Zainorin’s 'The Stamp Series' (2008). American artist Laura Popenoe’s haunting work 'Sebatang Lilin' (1965) sets a meditative tone by suggesting that ‘it is better to light one candle than to curse the darkness’. In the same illuminated space Zulkifli Mohd. Dahalan and Mustapha Ibrahim’s selected works remind us of their 1970’s collective and its humanist ethos. The accompanying photographs of their performance documents from the same period featured in this exhibition capture that quintessentially ‘anak alam’ exploration of the elements.

The aesthetic treatment, temperament and medium of the twentieth century Malaysian art movement extends to the new millennium bringing forth remnants for contemporary inter-disciplinary artists such as Aida Redza, Amir Zainorin and Ahmad Fuad Osman who continue to push the perimeters of personal freedom and develop new vocabulary in their own particular manner. And here lies the challenge - how does one reinterpret and rejuvenate such a range of eclectic works from the NVAG collection in a way that it resonates with our visitors for the Merdeka celebrations?

The notion of somehow interlacing the exhibition with familiar yet diverse artworks and reposing their prevalent identity politics -both past and present- seems an effective way of celebrating the cultural groups that make up the demographic of Malaysia. Issues of diversity and cultural inclusivity are high up on the list of priorities at NVAG and it is vital to re-address the balance within this 55th Merdeka exhibition. These selected works reposition the viewer to the artworks allowing communicative access to real and imaginary lands through different periods and callings. We have the pleasure of including Suhaimi Fadzil’s work which combines imaginative visual narratives with a fine sense of structural consideration illustrating at best a symbiosis of art and politics.

pg/21

Our commissioned artists Aisyah Baharuddin, They and Rat generated on-site works in order to enrich the visitor experience of seeing the principle artworks as well as highlighting urban politics through the contemporary genre of street art.

These new works allow for visceral responses to be generated through the culmination of the tell-tale marks left on our gallery walls before engaging with the principle artworks. Notions of mapping journeys and cultural sites were significant inquiries for our chosen artists when making decisions throughout their creative process. The temporality of these invoked interpretations serves as a frame of reference through which one can begin to reengage with the exhibited collection with fresh eyes.

What emerges from Aisyah, They and Rat's applied art is a dialogue which questions the politics of representation and the status of the original work of their chosen artist (Zulkifli Mohd. Dahalan, Wong Hoy Cheong and L.IIjina respectively). Thereby, the appropriation of the principle works (through these ‘grass root’ interpretations) reveals the dynamic instability in the distinction between the original and the generated art. The painted murals, stencils and graffiti artworks were created with the hope of constructing a plane for new forms of cultural interaction within and alongside the original artworks. On the peripheral walls of our 2B gallery we strive to subtly address the geo-political issues of globalisation as a framing device for understanding the pattern of cultural formations within our evolving demographic.

One of the most striking features of this exhibition is the adoption of a more self-conscious and interventionist curatorial practice. We understood our role as not only overseers of the artworks but as surveyors over cultural terrains and ideologies which surface in spaces between the works.

Curatorially there was a strategic re-thinking of structural questions that affected the mode of participation and the forms of interpretation that would be made available within the exhibition.

Power, Hope and Land features intergenerational and eclectic works which evoke both a personal and emotional response. In trying to understand the ways in which to bridge the gap between the artworks and our audience there is an attempt to reposition the cultural meanings within the works by allowing them to speak to the visitors in their respective ‘languages’, thus, revealing the complex relationships between place and influence, location and tradition. The exhibition title ‘Power, Hope and Land’ becomes suggestive of the production of potential connections and disconnections that could resonate within the gallery space.

Seven chants of ‘Merdeka’ in the spirit and memory of Tunku Abdul Rahman.

The exhibition 'Power, Hope and Land' curated by Intan Rafiza marks the 55th independence day of Malaysia in 2012 at the National Visual Art Gallery in Kuala Lumpur.

| RAHIMIDIN ZAHARI

pg/22

Tiga

artist Malaysia ke “Salon 2011 de la National des Beaux – Arts” yang berlangsung pada 8 hingga 11 disember 2011 yang lalu di Carrousel du Louve Paris dengan dinaungi oleh Presiden Prencis, Nicolas Sarkozy. Sebuah katalog cantik yang mewakili pelbagai artist pilihan dari seluruh dunia diterbitkan dengan judul “Societe Nationale des Beaux – Arts 1861-2011”. Di dalamnya terdapat tiga karya pelukis Malaysia yang diundang menyertai pameran tersebut.

Tiga pelukis yang dimaksudkan itu terdiri daripada Prof. Dr. Mohd. Najib Ahmad Dawa dengan “Retro”, Chong Hip Seng dengan “I’m bellow the pyramid” dan Abd. Rani Majid dengan karyanya “Fisher in abstract river”. Sebelum ini, pelukis bertiga tersebut pernah mengadakan beberapa pameran bersama di beberapa negara luar yang lain. Antaranya melalui siri pameran “Foot Bariedge” di Tokyo, Jepun (2002), Hatyai, Songkhla dan Bangkok, Thailand (2002, 2006 dan 2010), Bali, Indonesia (2009), Guangzhou dan Zheijiang, China (2009) serta banyak lagi.

menjadi guru sekolah, mengajar Bahasa Melayu dan seni lukis. Beberapa tahun mengajar, beliau mendapat tawaran untuk mendalami seni halus di Maktab Perguruan Ilmu Khas di Cheras.

Perjalanan keilmuan tidak berhenti di situ, dia meneruskan perjalanannya ke Universiti Sains Malaysia (1985-1989) untuk Ijazah pertamanya. Seterusnya meneruskan pengajian sarjananya dalam Textile Design dan menyelesaikan PhDnya dengan mengkaji Symbolism In Tradisional Arts. Dia kembali ke tanah air dan menjadi pensyarah di Universiti Sains Malaysia.

Beliau kemudian menjadi Dekan di Pusat Pengajian Seni, USM , Ketua Pengarah BSLN dan Rektor ASWARA.

Meneliti ‘Stupa In Progress’ haruslah dengan mata batin, kerana Najib tidak memberikan lapis yang pertama yang mudah dan tersurat. ‘Stupa In Progress’ sebuah karya batik beliau yang kembali ke masa silam, menelusuri Nusantara pada masa lampau. Dia nampaknya terkenangkan kepada Srivijaya, Majapahit, Langkasuka, dan Katahar jauh. Kalau gurunya, Abdullah Mohamed Nakula melalui ‘Falsafah dan Pemikiran Orang-orang Melayu’ dengan merujuk kepada lambang bunga teratai, dan Najib pula nampaknya telah melakukan transformasi pemikiran gurunya itu dalam bentuk lukisan batik. Najib menghidupkan kembali tradisi silam melalui sebuah karya seni yang merakamkan nilai bersifat sejarah dan nostalgik.

‘Retro” Dr. Najib telah memindahkan kepala kain ke dalam sebuah karya batiknya memberikan sebuah dunia pucuk rebung dengan pelbagai nilai tradisi, flora dan faunanya itu.Tentunya ini juga ada sebuah siratan yang harus diterjemahkan maknanya oleh mata. Mata biasa akan melihat yang tersurat, tetapi mata batin akan merenungi yang tersirat. Di sanalah tersirat dan dan berkilaunya pantulan ibarat dan kias.

Pencarian bertahun dengan perjalanan beribu batu, tak menghilangkan haus sehari. Pucuk dan pohon tumbuh menerjah gelap, dan di sebalik gelap itu ada titik cahaya. Cahaya di dalam dan di luar diri.

Di sanalah tersembunyi Alif yang dicari. Kecil kerdil tenggelam dalam lautan hayat, tetapi cekal yakin akan menemukan bunga makrifat.

Chong Hip Seng, pelukis yang dilahirkan pada tahun 1950 dan menetap di Taman Bersatu Kulim, Kedah ini menerima pendidikan seni, khususnya bidang Lithography di Switzerland pada tahun 1973. Hip Seng telah mengadakan 4 kali pameran solonya sejak tahun 1973 lagi yang diadakan di Penang State Art Gallery.

Seterusnya pada tahun 1983 di Galeria Penang, 1995 di Takashimaya Shenn’s Fine Art, Singapore dan pada tahun 2007 dengan “1483 Prints” di Penang State Art Gallery.

Dato’ Prof. Dr. Mohamed Najib Ahmad Dawa telah mengadakan pameran solo pertamanya di Galeri Seni Mutiara, Pulau Pinang (2008). Ini adalah pameran solonya yang pertama di Malaysia, dan pameran solo ketiga selepas pameran solo pertama di Martin Van Ranselaar Gallery, Cornell University pada tahun 1993 dan pameran keduanya di tempat yang sama pada tahun 1996. Mohamed Najib yang menggunakan tiga medium kegemarannya, arkilik di atas kanvas, batik canting dan juga kertas buatan tangan dan kain batik.

Dalam diri pelukis ini bercantum kepelbagaian.

Sehingga sukar untuk kita melihatnya. Dia sebagai pelukis, sebagai sarjana atau sebagai birokrat?.

Tetapi sosok yang multi bakat sebegini, akan mencambahkan benih kepelbagaian. Di lahirkan di Karak Setia, Karak, Pahang pada 7 Jun 1954.

Menerima pendidikan rendah dan menengahnya di Bentong, Pahang. Kemudiannya mengikuti pangajian di Sultan Idris Teacher Training College (SITC) di Tanjung Malim (1975-76) dan kembali

Untuk melihat perjalanan panjangnya itu maka, proses merenung beberapa buah karya terdahulunya wajar diperincikan. Karya-karya awalnya selepas pulang dari luar negara dan beberapa karya beliau yang lain seperti ‘Stupa In Progress’ (1991), ‘The Growth’ (1994), ‘Pi Mai’ (1997), dan ‘Campasawk’ (1997) dan beberapa buah karya lagi. Melalui ‘Stupa In Progress’ Najib benarbenar memanfaatkan kajiannya melalui Symbolism of Malaysian Textiles (Manchester Metropolitan Universiti, 1995). Tiga ‘stupa’ yang diatur sebaris dengan yang tengah meninggi dan diapit di kiri dan kanannya. Di dada tengah berkembangnya sekuntum teratai, di sebelah kanan sekuntum yang baru memutih dan di sebelah kiri pula kelopak yang telah gugur, dan yang tinggal hanya kun yang tersimpan biji di dalamnya. Di belakangnya daun-daun teratai menghijau dengan bunga yang berkembang dan baru menguntum serta berputik. Teratai itu berkembang, dan berapungan di dalam kolam batini sehingga meriak gelombang yang melambung separas langit.

Hip Seng membawa karya dengan identitinya yang tersendiri. Hubungannya dengan alam dan kehidupan begitu dekat dan akrab. Dan kerana itu dalam sejumlah karya seni tampaknya, dia sentiasa tidak memisahkan dirinya dengan alam dan kehidupan. Bahkan penyataan menariknya dalam “Utara After 3 Decades” amat menarik sekali.

Hip Seng menyatakan: “Saya telah menghabiskan sebahagian dari kehidupan yang bermakna dalam hidup saya dui lading, di keliling oleh alam semulajadi, paku-pakis, kehijauan, kelapa sawit, pondok kayu, sungai dan perasaan ketenangan.

Apa yang ingin saya sampaikan dalam lukisan saya samalah seperti penyair yang melihat seluruh dunia di dalam sebutir pasir.”

Karya-karya seni Hip Seng menjadi koleksi tetap di Universiti Utara Malaysia, Balai Seni Visual Negara, Singapora National Arts Museum, Siam Art Museum, Hatyai, Daiichi Modern Art Gallery dan pelbagai institusi dan orang perseorangan dari dalam mahu pun luar negara.

Karya Hip Seng “I’m bellow the pyramid” jelas membawa ciri dan gaya tetapnya sebagai seorang pencinta keindahan alam dan kehidupan manusia sejagat. Kecintaannya kepada alam flora dan fauna begitu jelas dan nilai persahabatan begitu menebal sekali. Dan Hip Seng mengajak kita untuk berkongsi ingin dan harapan tersebut melalui karya-karyanya.

Selepas Salon 2010 de la National des Beaux-Arts pada 16 hingga 19 Disember 2010 dengan karyanya, ”Itik Pulang Petang”, pameran kali ini merupakan kali kedua buat pelukis Abd. Rani Majid. Abd Rani merupakan pelukis self trained artist, kelahiran Raub, Pahang pada 20 Mac 1959 masih meneruskan kecintaan kepada tradisi bangsanya. Pameran solo pertamanya di luar negara telah berlangsung di Municipal Art Gallery – Malcolm de Ghazal, Gurepipe Mauritius dari 26 Oktober hingga 2 November 2007.

Dalam pameran tersebut, beliau tetap dengan tradisi Wayang Kulit yang amat dicintainya. Beliau telah melukis puluhan karya yang bertemakan warisan budaya yang mengambil imej dan motif dalam tradisi Wayang Kulit. Bahkan siri inilah yang paling laku apabila beliau membuat pameran di luar negara. Kolektor di Mauritius mahupun di Reunion Island amat meminati dan menyanjung karya yang menggambarkan motif budaya tradisi ini.

Manakala pameran solonya yang kedua berlangsung di Kepulaun Reunian tajaan Reunian Arts Envol dan Kementerian Kebudayaan Perancis, dengan judul ”A. Rani la Malaisie se devoile...” di Mediatheque de Saint-Pierre pada 3 hingga 28 Ogos 2010. Dia masih kekal dengan siri wayang kulitnya, tetapi kalinya bentuknya mula disamarkan dengan memberikan imej yang lain.

DIALOG SENIMAN KONTEMPORARI: SENI ARCA (1) | KAMARIAH ABDULLAH

Balai

Seni Visual Negara telah mengadakan Siri Dialog Seniman Kontemporari: Seni Arca (1) pada 14 Julai 2012 yang lalu bagi merancakkan lagi program penghayatan dan pembangunan seni visual.

Siri Dialog ini menjuruskan pendekatan yang berbeza iaitu penyertaan pesertanya adalah terpilih di kalangan individu yang terlibat secara langsung dalam bidang seni visual seperti sejarahwan seni, pengkritik seni, kolektor seni, pemilik galeri dan pengarca secara tertutup. Sumbang saran mereka didokumentasikan sebagai satu usaha melestarikan perkembangan seni visual di Malaysia. Seramai 30 orang peserta telah menghadiri dialog ini yang mengisahkan berkaitan seni arca. Seterusnya siri ini akan diteruskan untuk kategori seni visual yang lain. Siri Dialog Seniman Kontemporari: Seni Arca (1) adalah untuk ; Membincangkan isu-isu semasa dalam seni kontemporari Malaysia Menggalakkan budaya wacana keilmuan sebagai kegiatan percambahan ilmu Mengenalpasti lompang ruang informasi dalam pengisian susurmasa seni lukis di Malaysia Menyuburkan dan merancakkan lagi aktiviti pengumpulan maklumat berkaitan seni visual negara untuk dijadikan sumber rujukan seni lukis negara dimasa akan datang Di antara isu yang dibincangkan adalah seperti Seni arca dalam akar peribumi, perlambangan dalam seni arca, falsafah pemikiran tradisi dalam seni arca, paradigma dalam seni arca, seni arca di alam siber dan dalam pendidikan, seni arca dalam konteks global ,Seni arca sebagai sosial komen dan public art.

Lain-lain isu yang sempat diutarakan adalah; Dunia entertainment yang lebih menguasai, cadangan untuk ditubuhkan Art Council ataupun Persatuan dan mengadakan Dana untuk projek khusus untuk seni arca serta Art Education for All Keseluruhanya sesi dialog ini tidak hanya melorongkan isu berkaitan seni arca sahaja tetapi juga sebaliknya. Secara langsung pengisian dialog ini diharap dapat dikongsikan perkhabarannya dengan khalayak yang lain dan tersangatlah bagusnya sekiranya mendapat respon daripada pihak lain yang ingin berkongsi. Penjernihan tindakan yang sewajarnya perlu diambil oleh semua pihak yang berkaitan yang mahukan seni ini pemihakan dan penguasaannya dimiliki oleh semua.

“Fisher in abstract river” merupakan kesinambungan kepada siri Itik Pulang Petang yang melakukan pemiuhan bentuk-bentuk dan imej ikan yang telah disebati dengan ciri-ciri budaya dan kehidupan Melayu yang sangat menebal. Imej-imej itu diapungkan, seolah-olah ikan yang sedang berpusar dalam satu pusingan kitaran sungai. Kalau ingin mencari subjek wayang, ia tidak dizahirkan secara nyata, tetapi cara dan teknik A. Rani menyelit dan menyembunyikan imej-imej ikan dalam fantasia yang direkanya, menjadikan ia indah dan meninggalkan kesan estetika. Di situlah terserlahnya kecintaannya yang mendalam terhadap seni warisan bangsanya.

Kehadiran tiga orang pelukis Malaysia ini, Dr. Mohamed Najib Ahmad Dawa, Chong Hip Seng dan Abd. Rani Majid ke pameran Salon 2011 de la National des Beaux-Arts ini menjadi satu bukti bahawa tanah air kita mempunyai bakat luar biasa/ tanah air yang sentiasa berkesinambungan.

Datuk Mohd Yaman's paintings

jennifer at the Victoria National Art Gallery

| Jerome Kugan

Jennifer

P. Linggi, a native Sabahan, studied architecture at Oxford Brookes University, England,U.K. Upon graduation, she worked as an architect in London and Brunei Darussalam before returning to her hometown of Kota Kinabalu, Sabah in 2004.

Once back on native soil, she divided her time between teaching architectural design and documenting the traditional crafts of Sabah. A fascination with the intricate design of Sabahan handicrafts prompted Jennifer to visit many ‘kampungs’ (villages) where she would spend long hours quizzing the residents and detailing the construction of their baskets and other woven artifacts. Jennifer’s visual documentation inspired her to exhibit her work with Sabah Art Gallery (SAG) and to become an active member of the Sabah Visual Art Society (Persatuan Seni Visual Sabah) where she served as both Secretary (2007-2008) and President (2008-2009).

In June 2009, Jennifer was appointed as the Curator of the SAG and in July 2012 took over as Director from Datuk Mohamad Yaman Ahmad Mus.

Jerome Kugan (JK): How are the preparations for moving to the new Sabah Art Gallery (SAG) going so far?

When will it be ready?

Jennifer P.Linggi (JPL): Although Sabah Art Gallery was founded in 1984, it has not had a permanent home until now. For more than two decades the gallery has had to share facilities with the Museum and utilize exhibition space at a variety of venues in and around Kota Kinabalu.

This year Sabah Art Gallery will finally have a home. Our building has recently been completed and it is an exciting time for us. We will be ‘moving house’ in October and plan to open to the public in November of this year.

JK: As the new Manager and Curator of the Gallery, is there a specific direction you wish to take it in?

Will you be continuing the work of Datuk Mohd.

Yaman Ahmad Mus, your predecessor?

JPL: Datuk Yaman’s contribution to art in Sabah has been immense. His relentless drive to motivate artists and work with the Government to promote art is hard to match. I believe my mission now is to elevate Sabah art to a different level. Having our own building is a plus, as we are able to organize a variety of activities which previously may not have been possible. I hope to attract more artists from abroad, run art forums and symposiums and to generally create more opportunities for local artists to interact and learn from artists outside Sabah.

Another important goal is to have more educational programs related to art and to reach out to a wider audience, particularly the rural communities. Art in general is associated with the middle and upper classes, but I believe art should be accessible to all. Art strengthens our powers of observation and helps us pay attention to our lives.

Therefore, by reaching out to a bigger audience, we are able to raise awareness of the preoccupation of local artists and hopefully at the same time encourage greater appreciation of art.

JK: You are also responsible for designing the new Gallery. Can you tell us some of your aesthetic considerations for the new space?

JPL: Coming from an architectural background helped me with the concept for the design of the building as well as most of the details. I was also fortunate enough to be able to work closely with the consultants and the contractors throughout the construction of the building.

The octagonal plan was inspired

by Datuk Yaman’s fascination for geometry as evident in his early art works, while the central circulation space was a response to his request to make it easy for visitors to walk around the building.

The main function of the building is to house our art collection as well as to provide gallery space. Consequently, the four levels contain galleries, a conservation zone, a library and an office. Initially the building was designed with the largest floor, i.e. the conservation zone, on the lower floors and the office - the smallest space - at the top.

Jennifer's early sketches of SAG based on Dtk Mohd Yaman's geometric art form

Upon the suggestion of our Minister for Culture, the design of the building was inverted to create more interest, leading to its present form. This has resulted in the walls tapering outward from the base at an angle of 30 degrees giving the Gallery a most distinctive appearance, which some have described as like a ‘basung’ (a type of traditional basket made of sago frond).

Being passionate about our traditional crafts and patterns, I was keen to incorporate traditional elements throughout the building: the most obvious of these are the four decorative panels on the external walls, based on a motif that is an integration of common patterns used by the Murut, Dusun, Irranun, Bajau and Rungus ethnic groups of Sabah.

Jennifer's sketch of traditional Sabahan motif which became a distinctive feature of the Sabah Art Gallery building.

Basket drawing by Jennifer P. Linggi

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JPL: The answer is probably all of the above and more. One reason that comes to mind is the lack of spending power of the people in the State which means art is at the bottom of their priorities. This also means that a career in art is rarely the first option for the younger generation. I wonder too whether the inability to communicate in another language, English for example, could be a hindrance to artists when promoting themselves abroad. There are also not many private galleries that are able to represent artists here in Sabah.

Having said that, Sabahan artists such as I-Lann, Bayu Utomo and Awang Damit Ahmad, - internationally acclaimed artists based in West Malaysia - have made important contributions to Sabah in terms of their willingness to share their experiences with our local artists, for which I’m truly grateful.

JK: Who are some of the Sabah arts practitioners that you think deserve wider attention? And what kind of a role do you think that the federal or state government, or Balai Seni Lukis Negara, could and should play in promoting their work?

Jennifer's studies of SAG design

It should also be noted that the Sabah Art Gallery building was recently awarded a Silver classification from the Green Building Index Assessment Panel. It is the first officially recognized green building in Sabah and the first green public gallery in Malaysia, complete with passive design, solar panels, movement sensor lights and rain water harvesting system. This unique and special building will hopefully give more prominence to the role of art in Sabah culture as well as being a talking point and an attraction for art lovers and tourists alike for years to come.

JPL: Arthur Siowou, Azlan Dulikap, Rosmaini Sunarjo, Harold Eswar, Crig Roynno, Anddy Romeo, Chua Yuen Chang and Asnedi Maduni are among a few of our up and coming artists with a lot of potential.

Given the right exposure and opportunities, I believe these young artists will go far.

We absolutely need funding for programs such as art residency. Residential exchange programs are important for boosting the artist’s confidence as well as broadening and sharing their experience.

Our local artists would benefit greatly from this program through interactions with visiting artists or being involved with residency programs outside of Sabah.

JK: How do you view the state of the arts in Sabah as stands now, from an Art Curator’s standpoint and also personally?

JK: What are some of the programmes or exhibitions you have planned for the Sabah Art Gallery in the near future that art lovers shouldn’t miss?

JPL: With the exception of a very few, Sabahan artists has been producing work that is beautiful, but perhaps too ‘safe’. There is a need to give more exposure to our local artists so they will be more questioning and more daring in exploring and expressing their feelings and approach to art.

Of course, there is the issue of what type of art sells particularly for artists who make a living solely from the sale of their art, so one has to consider the needs of the buyer. As most customers are tourists, the most popular subjects are landscapes, flora and fauna. Portraits are quite popular too.

JPL: Apart from our annual exhibitions namely, New Talents, Invitational Artists, Patterns and Colours of Sabah, Women Artists and Sabah Annual Art Award show, we hope to organize art workshops, symposiums and forums. We are also looking at future collaborative programs with Korea, Japan and Australia.

We still have quite a way to go in terms of getting the local community to appreciate art. This is where the Sabah Art Gallery must play a role by organizing more interesting activities and exhibitions to popularize art.

JK: What are some of the new developments in Sabah’s arts scene that you think are interesting?

JPL: In recent years, with the emergence of some young artists I feel there is a shift towards contemporary ideals. The works that are coming out are more experimental and bold in terms of subject and approach. They are also more naïve, abstract. This is refreshing and important to acknowledge. We have to be aware of the issues that our younger generation is facing. I hope, however, that they will continue to draw inspiration from their cultural backgrounds so as to be able to provide a uniquely Sabahan perspective on life.

JK: With the exception of a few like Yee I-Lann, the majority of Sabahan artists find it difficult to promote their work both within the state, nationwide and internationally. Why do you think this is? Is it a reflection of a lack of public appreciation for the arts or perhaps it’s because of the technical/ cultural limitations of the artists’ work? Or does it really boil down to geographical isolation and funding difficulties?

Sketch plan-2- SAG

Jennifer with Sabahan veteran artists Benedict Chong, Robin Lo & Richard Lim

Imitation Master After Caravaggio II, 168 x 352 cm, Oil on Canvas, 2012, Alism Exhibition

| AZZAD DIAH

Early formative years

UiTM) Shah Alam. “I didn’t understand why they kept me out although I have surpassed the minimum requirements to be accepted into the Fine Art department. I am the only one among all the students with a portfolio, but I was the only one ended up being rejected”. Determine to pursue his ambition, he sought reconsideration from the lecturers to include him in the list of Fine Art students. “ Badrolhisham Tahir asked me, ‘what is the complimentary color to blue?’

It was hard to contemplate the question at that time.

So he failed me in that interview”. This brought Ali to the importance of understanding the fundamentals of art in formal art education.

For Ali, it is a mixture of talent, comprehensive learning and commitment reflecting what he is today. The long years of educational journey illuminate the direction of his artistic career. Working in the various formalistic approaches, it took years of research, practice and experiments to reach a state of becoming; the liberation of ideals.

Since childhood, Ali was exposed to the local art scene through competitions and exhibitions. Blessed with talent, he marked his way with a distinctive manner. Consistently active through art competitions, regularly winning numerous competitions both local and international while he was still in primary school. Since winning the Switzerland Olympic Art Competition in 1993, Ali has consistently produce art pieces with different styles with each participated exposition.

Though Ali did not receive a formal art education in school, what was once a hobby turned to became a necessity. An essential part of Ali’s character is his prodigious curiosity and his persistence to surmount the impossibilities. It is normal for a young boy to savor a world of imagination and fantasies.

Self Taught Through Central Market Yet, one takes time to mature. It is a long and difficult journey to possess skills and techniques. In the light of eagerness and will to progress, Ali began to wandered his way in search of knowledge. Frequent visits to Central Market somehow led to the meet up with Aris Aziz, potrait artist and Abdul Ghani Ahmad, landscape artist. “I would insist they check and comment every time I showed my work,” recalling his apprenticeship under both. “I am personified by his skills in using water color. He’s the first to teach me how to used the medium. Most of the artist here build their career through painstaking commitment,” more precisely - self-taught. “It inspired me to work hard on my technical skills in order to achieve higher quality in producing an artwork”.

The Search for Identity

Supplier, 153 x 153 cm, Oil on Canvas, 2011, Cirque du Freak Exhibition

UITM and Formalism Perhaps, it is a vital for an artist to developed a style.

Style indicates a maturity of an artist pertaining his formalistic attitude. It distinguished the artist from another. Style is derived from the activities of the artist regarding his experiences and his environment. One could easily differentiate between a Rembrandt and Picasso as they both possessed different particular styles and approaches to their work. Style can be identified in the expressive use of media that gives an artwork it's individual character. It also refers to specific artistic character or dominant trend or form noted during a period or during an art movement.

Ali received his formal art education from ITM (now

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Networking, 122 x 304 cm, Oil on Canvas, 2012, Alism Exhibition

Ali's aesthetic approach to his representational medium are not particularly exclusive. Looking at his early practice, he was capable of producing works of a different character in its representations. His approach to the current style is seen as a technical breakthrough to his understanding, or the preferred technique, evaluated by effectiveness of its medium to provide a meaning.

Ali Nurazmal tend to produce large scale, figurative and realism paintings. Most of his work are subjected to address his personal views of his environment. “I like to be up front, to take the lead. I like to be in control of myself”. The recurring image of self-portraits, depicted in an utmost dramatic composition, somehow projects a sense of narcissism. However, it is not the case for Ali. “Painting is a tool to communicate my views of the world”. The depiction of himself is a sort of a mediator, the main actor in his paintings. One cannot escape the natural trait of human - to take control over his destiny.

pg/27 Imitation Masters Series The nature of mimesis plays a central role in creative development. Often we see a reproduction of the artworks of late master artists. The objective varies, for instance, 'Women Crossing Stream - after Rembrandt' (1968) by Ismail Zain deliberately borrows the European art historical sources, namely, an image made famous by Dutch painter Rembrandt, in his reinterpretation of it within contemporary context . The same tendencies are shared by Ali in his Imitation Master - After Caravaggio (2008). The painting is the mimic of Caravaggio’s Cardsharps (1595) with a new twist.

He collapses history and style into a uniquely contemporary vision. He describes his approach as interrogating the notion of the master painter, at once critical, throughout the art history discourses.

Caravaggio, the well known 16th century Italian painter is famous for the employment of low light to create values of lights and shades or tenebrism. The technique struck a strong contrast, in highly dramatic and even theatrical feelings in his biblical subjects during the Baroque era. Ali’s interest in Caravaggio’s technical ethos inspired him towards achieving such high level of proficiency. Application of colors to the flat surfaces is presented with meticulous handling. Each layer resonated the intricacy between blended pigments.

The Imitation Master series is seen as cerebral rather than emotive. For Ali, finding the problem was the most exciting aspect of the act of painting and such an outlook was guided by essentially detached and non-emotive vision of artistic engagement. This attitude towards artistic creativity, emphasising detachment and rationality, already formed during his art student days, remained with him. And, in a sense the approach to painting that he had adopted certainly complemented his own complex, inquiring personality.

Pengenalan Pameran Fotografi : Waktu dan Ketika ini menonjolkan karya - karya fotografi yang dihasilkan dari dahulu hingga ke hari ini. Ia juga diadakan bertujuan untuk memberi kesan nostalgia kepada pengemar seni fotografi hitam putih dan memberi imbauan kepada khalayak khususnya kepada penggemar fotografi kini untuk mengetahui dan mempelajari teknik atau kaedah penghasilan karya foto hitam putih. Karyakarya foto yang diperagakan di dalam pameran ini adalah dari himpunan tetap BSVN seperti Koleksi Dato Loke Wan Tho, Soraya Yusof Talismail,Tara Sosrowardoyo ,Simryn Gill, Nadiah Bamadhaj dan termasuk artis jemputan seperti Ismail Hashim, Eric Peris, Dennis Lau,Yee I Lann juga tidak ketinggalan memperkenalkan artis muda seperti Joe Ghazali, Sue Anna Joe dan J.Redza untuk bergabung menjayakan pameran tersebut.

One in a Million, 153 x 153 cm, Oil on Canvas, 2011, Cirque du Freak Exhibition

Mohd Khazrul Sharuddin -Kurator

Dalam potret piktorialis, subjek biasanya terdiri dari orang-orang tua, orang perempuan dalam lagak aksi yang mengghairahkan dan kanak-kanak yang mempamerkan luahan tidak tersekat yang polos.

Paparan yang tersebar dalam rata-rata tema ialah keinginan untuk menyampaikan perwatakan si pemodel. Tambahan lagi, penghasilan bentuk yang dianggap berlaku secara tidak sengaja dan kebijian gred warna menyebabkan emosi yang ditonjolkan nampak lebih realistik. Dalam genre fotografi ini, sususan gubahan adalah penting dalam menyampaikan maksud yang terpendam. Bahasa gerak-geri adalah amat peka, contohnya, cara bagaimana badan dan anggota disusun berbanding dengan kepala. Bergandingan dengan ekspresi muka, tangan merupakan satu lagi lapisan makna yang mempertontonkan emosi. Selalunya adab tertib kehidupan tidak ditonjolkan melalui ekspresi atau luahan terus, tetapi melalui ciri-ciri pahatan cahaya dan bayang. Pekerja yang sedang berkerja, orang yang sedang menjalankan tugasan harian dan keadaan sekeliling yang biasa, dipaparkan dalam konteks yang baru dan segar; dipertingkatkan nilai estetikanya agar wajar disebut sebagai seni halus di samping masih mengekalkan kebiasaannya supaya ia tetap dapat dikenali oleh orang kebanyakan.

Alex Moh Penulis Jemputan

Bidang-bidang kesenian tradisional, seperti lukisan, telah dilepaskan dari memikul tanggungjawab dan peranan menghasilkan gambar-gambar realistik setelah penciptaan fotografi kerana medium baru ini dikira mampu memainkan peranan ini dengan lebih baik daripada lain-lain medium.

Ini membolehkan pengkarya-pengkarya bebas meneroka kaedah-kaedah representasi baru, justeru menatijahkan gerakan-gerakan kesenian seperti kubisme dan ekspresionisme abstrak yang mengungkap lain-lain bentuk realiti atau pemikiran.

Fotografi tidak melenyapkan praktis seni lukis tetapi membebaskannya. Namun begitu, isu-isu berkenaan proses representasi menerusi fotografi sedang melalui anjakan-anjakan serupa dalam dunia kontemporari hari ini. Apabila pemandangan atau subjek yang dirakam secara fotografik dimanipulasi dan dipinda, maka terciptalah realiti-realiti baru, khayalan-khayalan baru, cara-cara melihat yang baru. Perbezaan di antara proses mengambil dan mengolah imej-imej fotograf telah membolehkan pengguna membentuk dan mengawal isi imejimej tersebut. Realiti yang serba jelas lebih rela dikesampingkan, dan apa yang dipersembahkan kepada kita ialah satu pendapat, satu pandangan, yang mungkin lebih menepati proses ‘perakaman’ dan pembikinan makna yang dihasratkan oleh jurugambar. Campurtangan jurugambar yang semakin dominan ke atas imej membolehkan beliau memiliki lebih kuasa untuk mengawal medium yang digunakannya. Fotografi dari dulu sering dikaitkan dengan pengendalian ‘real’ dan teknikal kamera, namun bila kita bergerak keluar dari situasi lazim ini, jurugambar mengambil peranan yang lebih bersifat ‘authorship’ menerusi sejumlah peralatan yang tersedia untuk kegunaan mereka.

Yee I-Lann Penulis dan Artis Jemputan

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pg/28

SIRD Strategic Information and Research Development Center, better known as SIRD, is an independent scholarly publishing house in Malaysia. We cater predominantly to the needs of academics; and occasionally, to a wider audience of activists and policy-makers. We are working towards expanding links between Malaysian and regional/international publishers with the aim of making non-mainstream writers more accessible to a local/international audience and vice-versa. For more information about their publications, please visit www.gerakbudaya.com

| Tan Seihon pg/30

Creative individuals who did not have any formal or academic art training are common. In fact, many of them have contributed and enriched the history of art by bringing a vision of originality and innovative use of materials. In Malaysia, even though many of our early artists did not receive formal academic training or only briefly, their contributions in developing a uniquely local as well as personal visual vernacular cannot be underestimated. Some have produced works that we cannot categorize under the art brut, outsider art or even naïve art category proper though we do recognize in their works distinctive traits that separates them from professionally trained artists.

Their works encourages one to look at art and its practices in contemporary times from different angles and approaches. Furthermore, their non-specialists background and their (sometimes) eccentric expressions also challenged the hegemony of conservative art and culture specialists’ monopoly of ideas in the field of art. Unlike most professionally trained artists, these autodidacts or informally trained individuals make works out of urges or necessities that mirrors their psychological states and social conditions.

It is inseparable with the context from which they create and serves to address/ offset the imbalances of inner turmoil of the psyche or as a result of freely following their inner voices. The unmediated expression of their impulses through visual means had produced some of the most startlingly original and mindboggling works of art.

This article is a second part of the 'Ordinary People, Extra Ordinary Artistry' series, where I introduce three informally trained artists to the readers. I hope a brief coverage of their background history and motivations behind their labor of love will serve as an eye opener and inspiration. By acknowledging and celebrating their artistry, we also celebrate our own personal narratives, eccentricities, dreams, beliefs and world views.

Wan Jaafar Wan Derahman or Waja was born in Bunga Mas, Perlis in1955 into a family of farmers. He came to Kuala Lumpur (KL) after completing his secondary education and worked in various capacities before leaving for New Zealand to work with a company that supplies goat meat to Muslim countries. After completing his contract, he returned to KL and worked as a technician at a local Telco company before leaving to pursue art full time.

Waja remembered that he was always drawing and doodling since the age of 7 but the motivation to pursue art ‘seriously’ was only kindled when he befriended Aris Aziz, the well known portrait painter who, under the tutelage of the late

Datuk Mohd Hoessein Enas from the Angkatan Pelukis Semenanjung (APS) days, still works from his studio at the Central Market (CM).He was further encouraged when another informally trained portrait and landscape painter, Amran, gave him a space in his studio to work. Amran’s prophetic words “Mu Buat!” (You just do it!) in his thick Kelantanese Malay dialect 10 years ago still resonates powerfully with Waja till today . Since then Waja has not stop drawing and painting even with the many challenges and obstacles in his uneventful life. When he was at CM, surrounded by informally trained painters of portraits, figures and realistic images, Waja’s naïf like art was both vilified and ridiculed (his ‘loud’ and critical personality too exacerbated the situation!) It came to a point where he was ‘barred’ from painting(!) but all that changed when a tourist from Sweden spotted his works and bought some RM 8 000 worth of unframed paintings. That gave him the confidence he needed to pursue his own artistic vision regardless of all the uncalled for hostilities and oppositions. To avoid further unnecessary hassles, Waja moved to various public locations to paint and sell his works.

The first was the artists’ colony at Jalan Conlay under the purview of the National Craft Agency (where the painters Yusof Ismail@ Yusof Gajah (formally of the Anak Alam collective) and Asmadi Asri @Adeputra became his friends and supporters), later he did a short stint at the old Keretapi Tanah Melayu’s (KTM) Kuala Lumpur railway station located opposite of the former site of the National Visual Arts Gallery (NVAG) before he was given a small studio space to work at NVAG’s ‘Peti Seni’ (Art Cabin)for a duration of one year, with art materials provided through the Gallery’s Artist Art Fund in 2010.

Waja’s output is both astounding and mind boggling.

His works and sketches numbered in the hundreds, though countless pieces were lost when he was forced to vacate numerous times. His brightly colored paintings, unsophisticated, crude and ‘raw’ depictions of peoples, places, buildings and animals as well as his ‘design’ works are produced spontaneously from his imagination. His bold use of bright and loud psychedelic colors could be read as ‘expressionist’ though he simply applies them based on a sense of what feels right without any forethought for meanings (psychologically, cultural or what not) to the colors used.

Simplistic and lackadaisical though not callous but innocuous (earnest even), Waja’s oeuvre is reflective of his disposition and individuality.

In his approach, there are no hints of cleverly disguised cynicism or irony. There is not even any effort of deliberation to win collective approval. His fertile outpourings are the products of a child-like awe, deriving much amusement from what was observed and gratefulness for what had been experienced.

To Waja, there is nothing peculiar about the way he draws or paints. He enjoys working on his paintings and accepts his abilities, well aware that the many self appointed culture and art philistines’ predictable penchant for the photo realistic figurative paintings, generic concepts of beauty and banal or perceived ‘alternative’ expressions current or limited to its milieu does not ‘get ‘what he is doing.

her works, Shantamathe is perfectly open to different interpretations of her subliminal outpourings, “who knows, someone else may see or perceive something in my drawings that just may never have occurred to me”.

What are most striking and distinctive about her works are the meticulously rendered and varied patterns, swimming harmoniously within fluid organic forms. It was noted in an interview elsewhere that she is able to produce these complicated patterns with greater ease and speed after recovering from a near fatal illness. This observation however does not do justice to her artistry.

Shanthamathe, whose interest in art began since her lower primary school days, did not choose the path of an artist. Though she remembers having fond memories of times when she was given papers and colors, she would sit quietly alone drawing freely and fascinated by the spiral like-patterns that emerged, she did not thought that her works were exceptional when compared to her peers in those nascent years.

During her teens, she used to watch her cousin Ambimathe draw and sketched beautiful detailed figures during her pastime. This shared love for art eventually led to both of them having a joint exhibition at a hotel in Seremban in 1986.

On the ideas behind his works, Pyanz is inclined towards highlighting the relationships between various aspects of life’s journey and its interpretation by each individual. The human soul is given to flights of fancies and constantly shifts between fantasy and reality.

That is why he uses the Malay Awan Larat motif that is commonly found in traditional woodcarvings and decorations as symbols in his works. Other motifs that have found its way into Pyanz’s works include ‘native contemporary’, psychedelic as well as tribal designs, which came by way of exchanges of ideas with a fellow henna artist from Thailand. Back then, the black henna that was used in body art was not widely available. Pyanz had to travel to Bangkok to procure supplies from this artist. It took Pyanz about a year before he transferred the motifs and designs for body art, combining it images from his imagination onto canvas.

However, Shantamathe decided to go fulltime to pursue her passion for art after quitting her job four years ago, where she had worked in various professional capacities in the corporate world for many years, due to health reasons. The transition was perhaps not difficult as she never gave up drawing even when she was then leading a hectic life. She would spend time till late nights after work, with pens and markers diligently drawing patterns in exercise books or sketchpads. This is her way of de-stressing and relaxes after all the hustle and bustle at the office.

Sometime late this year, she had her first solo exhibition of 20 or more pen and ink drawings.

Entitled ‘MindSong: Rhapsody of an Awakening Soul’, it was held at the Pentas 2 Foyer of Kuala Lumpur Performing Arts Center (KLPAC) 6th -19th August, and was extended for one more week to maximize the exposure of the works to the public.

Perhaps the artists whom she admired could shed some light on her artistic developments instead.

“When I was young I liked famous artists like Leonardo da Vinci, Vincent Van Gogh and Pablo Piccaso. I was truly inspired by them. I admired Leonardo for his versatility and the details in his artworks. Van Gogh’s art simply moved me. I could get ‘lost’ in his paintings.

I admired Piccaso for his invention of Cubism. But I Leonardo is my favourite artist. I remember watching a documentary on his life on television when I was little and was so drawn to the perfection of details he showed in all his paintings. Since then whenever I drew, I would try to give special attention to details”.

As of now, Shantamathe, who cites her sister in law, Michele, a sculptor-painter and her niece Xygarathma Lebibi as her main influences and supporters, is at a place and moment in her life where she is contented to just trust and follow the flow, to be led wherever her passion and artistic intuition will take her.

When asked to explicate the ideas or the motives behind her intricate works, she admitted that they were not based on any specific thoughts or philosophy though she had read more than a smattering of spiritual literature. She has no forethought or intentions of expressing anything through them, rather she says "it is like as if I just connected with my feelings and body and allow the ‘drawings’ to take its own shape".

The outcome of the works often surprises her as well as others. When alluding to the title of the exhibition, which connotes spiritual aspects, Shantamathe is of the opinion that ‘the titles given to my paintings are just what I personally “feel’ about them. As you can see, they are mere patterns drawn without an idea or plan in the mind. Sometimes when I gaze at them for a long time I just tend to feel that they could be an unconscious expression of something universal. I may be right or wrong about it. This is just my point of view”. Comfortable with non-objective readings of

Henna or Inai in Malay, is derived from the Henna tree and has been used for centuries in various parts of the world as medicine and in cultural practices as a dye for skin, fingernails, hair leather and wool. Motifs and designs as body decorations using this material are still popular during festive occasions especially during weddings as “Henna was regarded as having Barakah (blessings), and was applied for luck as well as joy and beauty”. His fulltime job as a financial consultant for a unit trust company with flexi-hours gave Pyanz much time to continue exploring and experimenting with this material in his works.

Sofian Sharifudin @ Pyanz's foray into visual arts almost 12 years ago began as a pastime. Born in 1973, Pyanz has always been interested in art since high school.

Though he worked in various capacities after leaving school, Pyanz kept his interest alive by drawing and painting. At that time, he was using conventional art materials that were available in the market. However, he began to experiment with Henna as an art material in 2005 when he saw how it was applied on the hands of brides, and the results fascinated him.

Pyanz also formulated the ingredients to strengthen the material and once applied on the canvas, the Henna is able to last for years. Once dried its textures contributes to the unique ‘look’ of this medium. Though ‘real’ henna is only available in the deep reddish brown, Pyanz overcomes the limitation of colors in this material by applying acrylic and other conventional media to enhance the overall effect.

As a self taught painter, Pyanz cites the late Datuk Mohd Hoessein Enas, Dato’ Syed Ahmad Jamal, Mazeli Mat Som and Datuk Chuah Thean Teng and others as art masters whom he admires greatly.

Though he has a healthy respect for these pioneers of modern Malaysian art, Pyanz’s approach is unique as he is currently the only painter working with this medium in the country today. Pyanz does not have any high any highfalutin ideas about himself or his art, his only earnest wish is to be able to produce works of the highest quality with its own merits whereby it can be accepted and appreciated by art lovers.

| TAN HUI KOON

and economic support. It is a long way to reach the whole awareness to accept the differences individuals among the society and the thoughtful development landscape play a huge role to make a perfect life for everyone.

This year, Zaihan Mustapa the son of the Anak Alam art group's veteran visual artists: Mustapa Ibrahim and Maryam Abdullah, who grew up in a silent world but his inherited visions has made Malaysia proud with his exceptional talents as a graphic designer at National Visual Arts Gallery (NVAG). Zaihan's charisma and optimism gives much encouragement and sparks inspiration to the participants.

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While some countries are still divided by racial boundaries, Thailand has gone way beyond the boundaries of human physical and mental disabilities.

Art For All >> ASEAN sends an invitation annually to every ASEAN country including India this year to participate in its art camp for individuals with disabilities. It has been 18 years since1998 that Professor Channarong Pornrungroj founded the Art For All Foundation and now, there are plans to build a village with art schools etc where soft skills and training are provided to those with physical and mental disabilities.

A farsighted founder, Professor Channarong Pornrungroj labeled 'ART' as something accessible, to be use to rejoice and as a tool to meet the challenges of our technological driven society, especially faced by those with disabilities. He hopes that his visions will be carried to the worldstage through the pillars of culture and social aspects of ASEAN, a coalition of countries, namely Brunei Darusallam, Cambodia, Lao, Malaysia, Myanmar, Malaysia, Philippine, Singapore, Indonesia, Vietnam and Thailand, which has long history of collaboration to convey each countries' culture.

The organizer has planned well the overall, intensive schedule, almost three hundred people including staffs, volunteers, guests and participants were transported from the capital, Bangkok to Nakhon Ratchasima District after the well received grand opening ceremony. The program is fully supported by H.E. Mrs. Sukumol Kunplome, the Minister of Culture in Thailand, the representatives from ESCAP (United Nations Economic and Social Commission for Asia and Pacific), ASEAN countries' ambassadors, supporting bodies and the press at the UNESCO building.

Everyday is a brand new experience through the immerse engagement with everyone in the camp.

The ASEAN and Indian delegates were given opportunities to present how ther respective countries' support their disabled communities especially through education, infrastructure, social

Alpana Nayak, is one of the founders of Association for Learning Performing Arts and Normative Action (A.L.P.A.N.A ) which hosts individuals with mental and physical challenges, students are exposed to different art forms especially classical dance.

Alpana teaches classical dance to students with

different abilities and helps them to improve their nerve system and biorhythm by practicing therapeutic yoga gestures and movements. At the art camp, the young disabled performing artists, Khushi Sagar and Ms. Rani won much applause from everyone with their stunning performance.

Both their cheerful appearances brought much joy and fun to the art camp.

Myanmar delegate, Aung Si Thu Hlaing is an artist who graduated from the National University of Arts and Culture Yangon and Tokyo Gakugei University with a masters degree in art education. Aung Si Thu Hlaing currently teaches art at the State High School of Fine Arts. Being an art practitioner, Aung Si Thu Hlaing found this trip to be an eye opener and found new ways of teaching which he would like to use to engage with students with different abilities through painting. Together with him is the youngest ASEAN delegate, Thi Ha Lin from the School of the Blind, Kyie Myint Dine.

The Very Special Arts Singapore Ltd is the only prominent special art school in Singapore and the institution representing Singapore every year in this event. This year, Jo Tan Li Hwa is to assist the young artist Daren Leslie who is currently pursuing his degree at the Nanyang Art Academy.

The Vietnam delegates, Nguyen Thi Hai Yen, Nguyen Hoang Tung and 15 year old Ngo Huyen Trang from Vietnam Youth Theatre amazed the participants with their performance. Huyen reads lips and speaks although she is deaf. She studied at the Vietnam Youth Theatre where both Yen and Tung are educators and performers.

Yen is a singer and composer for educational songs and Tung is a mime performer. Their jobs in Vietnam is to tour to suburban areas and teach disabled children who mostly are land mine victims through performances.

Most of the theme songs and the story of their performance are about life's journey, morality and world peace. Their performances are not only heartwarming but also consoles the souls. One of the famous pop songs shared between Vietnam, Lao and Thailand is "Sa Bai, Sa Bai" which mean 'everything will be fine.'

There were many invited Thai artists humbly sharing their artistic talents, conducting workshops and art demonstration. Dr. Suchart Vongthong shared his techniques with volunteers, educators and ASEAN delegates on how to paint with a sponge. One of the reasons of using sponges are because the material is not only suitable for people with different abilities but can be easily applied in different ways.

We were given a chance to paint with water color and chinese brush style by using sponge, tissue papers, cardboards, and stenciling techniques to create different textures and lines.

Rare and precious, the National Artist of Thailand in fine arts, Prof. Prayad Pongdam conducted print making workshop. He was one of the invited artist to the ASEAN Painting Symposium in 1990, organized by the National Visual Arts Gallery, Malaysia.

The concept of Art For All requires more from everyone so that we can assimilate, encounter and accept the differences among ourselve.

The process of being together definitely require for infinite compassion to each another. Not to mention, the art camp won't be success without the contribution from the commited volunteers.

Artist at work

Nuzaihan: "I felt happy to have different experience in Art For All art camp. I have never seen so many people with different abilities gather at one place like this.

I've learned so much from everyone and enjoyed sharing my expertise in the workshops, teaching the local participants how to design a poster. I've also experienced coffee painting, D.I.Y. fan decoration, the sign languages of different countries and dancing as well. The experience is refreshing and I felt free just being surrounded with postive energy, open hearted friends and the creativity in the making of art. " The enjoyable and delightful experience in Bangkok where a society celebrates diversities and allows colorful characteristics to blossom also encourages my desire to see a better living space and urban landscape in Malaysia. We need more landscape designs that encourages contemplation, allowing inherited histories and collective memories to be preserved so that people will keep their souls and allowed their identities to be told through their ways of livings.

As a developing nation, we should not let developments that leaves anyone behind.

Ironically, we Malaysian are repeatedly being told that globalization and pluralism are national threats, and while we saying this, we all are losing sight of who we are.

Bengkel SeniVisual

Peringkat Sekolah Rendah

15, 22, 29 Sept 6, 13, 20 Okt 3, 10 Nov 2012 2.00-5.00 petang Aras 1 Bangunan Galeri Balai Seni Visual Negara

Azmi Mambo

www.artgallery.gov.my

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Peringkat Sekolah Menengah

t 15, 22, 29 Sep 6, 13, 20 Okt12 3, 10 Nov 20

Sarah Joan Mokhtar

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www.artgallery.gov.my

Bengkel

Cat Minyak

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Pelukis Potret : Aris Aziz 15, 22&29 Sept 6, 13&20 Okt 3&10 Nov 2012 Sabtu 10.00 pagi - 01.00 petang Balai Seni Visual Negara www.artgallery.gov.my

| TAN HUI KOON

has something new to teach me. This easily translates into my artwork. The eagerness of my disabled students to learn is also greatly inspiring. So it is safe to say, yes, everything I do is worth the effort. Answering that question with a "no", would be quite ignorant of me, I believe.

Was the transition difficult from from doing design to fine art?

Being a designer is more of a mechanical job for me now. I know what to do, and what not to do. Being an artist is now finally a dream becoming a reality. As an artist I get to take my creativity to a whole new level, one where the only limits that apply are those that I set for myself.

There is something mystical and explosively intense in Jiet Wong’s figures. Similar with the late artist, Dzulkifli Dahalan’s funny crooked figures in his cityscapes though the young artist has created a scenery of alienation and the figures rely and interlocks with each other, as if to show that we were born to bond. Without knowing who the artist is, I found his artworks were made with much effort and is inviting, as though pulling its audiences to take part in the visual experience. After years of working in the commercial graphic industry, Jiet Wong is now begining to embark on his artistic journey.

Below is my interview with the young upcoming artist:

Can you share with us little bit about your background?

I was born on the 17th of November, 1984, I was born in the state of Perak, Malaysia. When I turned 18, I decided to go by the name of Jietwong. I graduated from the New Era College in the field of Visual Art Communication, I was ready to be a part of the Design and Advertising industry, bearing an Associate Degree in Art & Design. I yearned to go to Taiwan to further my education however, due to my lack of experience I decided to put that plan on hold temporarily. Time went by and I managed to accumulate a good seven years of experience as a graphic designer in the industry.

Finally I decided to put down the digital tools and replace them with something slightly traditional... an actual paint brush. This transition allowed me to return to one of my long forgotten interests which I did not have the opportunity to pursue at a younger age, namely to express my personal visual language through drawing and painting. My favorite 'tools' these days acrylics, ink, canvas, paper and my paintbrush.

My artworks can be seen on my Facebook page: facebook.com/ jietconcepts.

pg/34 Besides, I also work part-time as a lecturer at E-Nable Training & Management Sdn. Bhd. Here I have the opportunity to tutor disabled students who are actually quite good with computers and even basic graphics designing. I do this with the desire that as they grow up, they will be able to earn a living and be proud of the fact that their disabilities have not prevented them from becoming the best that they can be.

Jietwong’s Art Exhibition at New Black Coffee Lab, 12 August 10 September 2012

What informs your art practice and who are your main influences?

I have never had any prior technical training in the area of fine arts. To be honest, I never really knew how to draw on paper or canvas. As time went by, a lot of practice, trial and error brought me up to the level at which you can find me at today. Most of my inspiration came from the different experiences I had in life, some good, some bad, but each one had something new to teach me. As time went by, I realized that my art can be presented in anywhere, on any medium and at any given time and place, allowing my art to be quite flexible and adaptable.

Besides my artworks, I also believe that it is good for one to give back to society. Everyone have their own way of doing this.

So far, has it been worth it?

For something to be worth one's effort is quite subjective. To me, whatever I decide to invest my time in, I do so whole-heartedly. At times the end result is good and at times bad; however, each experience

Where do you see yourself in the next 5 years?

There is so much to do but not enough time. Would be nice if I had more of me in order to fulfill all of my dreams within the next 5 years!

One of my aspirations these days is to take my art everywhere with me and change people's perspectives on things in life. It’s all about breaking old boundaries and expanding one's horizon. Getting the chance to show off my artwork at various coffee shops is a start.

One thing that I know for sure is that nothing comes easy in life. We all need to persevere and take time out with genuine dedication in order to achieve our desired goals.

Following which, there is no way but up!

'Untitled’, a group exhibition at Findars, an artist collective and artist run space.

Besides art, what do you do after quitting your full time job?

Besides being an artist, my main bread and butter comes from being a graphic designer and the freelance jobs I get from clients from countries like the United Kingdom, France, Australia, and Germany, to name a few. Most of the freelance jobs that I tend to undertake revolve around branding designs and revamping existing brands.

I also have my own brand known as "Didimalao", which I am very proud of, as it enables me to create a character representing myself whilst spreading joy and a bit of cheekiness to people all around. My recent Didimalao collection can be found in stores, details of which are available on facebook.com/ didimalaofun.

Performance by Weijun Loh & Jietwong at Jietwong’s Art Exhibition launching at New Black Coffee Lab, 12 August - 10 September 2012

BENGKEL SENI BERSAMA MD.SANI MD.DOM Pada 3 Mac sehingga 21 April yang lalu, Bahagian Pendidikan Balai Seni Visual Negara (BSVN) telah mengadakan Bengkel Seni Cat Minyak bersama Pak Sani. Bengkel ini telah berlangsung di Aras 1 BSVN. Bengkel ini diadakan bersempena pameran “Perjuangan Pak Sani” yang telah berlangsung di balai yang lepas. Dengan adanya bengkel ini, orang ramai dapat mempelajari teknik-teknik lukisan cat minyak dengan cara yang betul.

KUNJUNGAN HORMAT DULI YANG TERAMAT MULIA RAJA MUDA PERAK, RAJA DR. NAZRIN SHAH IBNI SULTAN AZLAN MUHIBBUDDIN SHAH D.K., D.K.II (SELANGOR), D.K.S.A, S.P.C.M, S.P.T.S, S.P.M.P. (PERLIS), PH.D (HARVARD) BSVN menerima kunjungan hormat dari Duli Yang Teramat Mulia Raja Muda Perak, Raja Dr. Nazrin Shah Ibni Sultan Azlan Muhibbuddin Shah D.K., D.K.II (Selangor), D.K.S.A, S.P.C.M, S.P.T.S, S.P.M.P. (Perlis), Ph.D (Harvard) sempena pameran “Sulalatus Salatin: Empayar Kesultanan Melayu Melaka” yang telah berlangsung di Galeri 1A, BSVN

BENGKEL PENULISAN DI LEMBAGA PEMBANGUNAN SENI VISUAL NEGARA BSVN telah mengadakan satu bengkel penulisan bertempat di auditorium BSVN pada 18-19 Jun 2012. Seramai 30 orang peserta telah menyertai bengkel yang berlangsung selama dua hari ini. Penceramah yang telah dijemput ialah Prof. Dr. Sufean Hussin dari Fakulti Pendidikan, Universiti Malaya.

Bengkel ini diadakan bagi memberi pengetahuan dan kemahiran peserta dalam membuat sesuatu penulisan agar lebih berkesan.

BENGKEL SENI VISUAL SEKOLAH RENDAH DAN MENENGAH DI BSVN Bengkel Seni Visual ini telah diadakan bermula 31 Mac sehingga 27 Mei 2012 setiap hari Sabtu dan Ahad bertempat di aras 1 BSVN. Bengkel ini dibuka kepada murid-murid sekolah rendah dan menengah.

Pelukis jemputan ialah Thangarajoo dan Zuzila Zain.

Kita juga ada mengadakan aktiviti ‘Outdoor’ ke Zoo Negara dan juga Sasaran Kuala Selangor. Sebarang pertanyaan mengenai program Cuti Sekolah, sila hubungi Bahagian Pendidikan di talian 03-4026 7169 (Puan Anis)

MAJLIS PEMBUKAAN PAMERAN “KUASA, TANAH DAN HARAPAN”

MAJLIS PELANCARAN BUKU “NARRATIVES IN MALAYSIAN ART” Rogue Art telah mengadakan majlis pelancaran buku “Narratives In Malaysian Art” di BSVN pada 7 Julai 2012 pada jam 11.00 pagi. Buku ini memaparkan himpunan sejumlah esei yang menyorot bermacam-macam cara bagaimana seni rupa menyediakan kepada para artis pelbagai sarana dan wadah buat mengungkap dan menanggap tentang diri mereka serta negara kita. Esei-esei pula membicarakan ekspresi-ekspresi dan pengalaman-pengalaman yang berubah-ubah di sepanjang perkembangan kehidupan social dan budaya di Malaysia sejak dari zaman selepas Perang Dunia Kedua sehingga sekarang.

Bersempena sambutan kemerdekaan yang ke55 pada tahun 2012 ini BSVN telah mengadakan Pameran KUASA, HARAPAN DAN TANAH bermula pada 07 Ogos-19 November 2012 di Galeri 2B. Sehubungan dengan itu, satu majlis pembukaan telah diadakan pada 7 September 2012 jam 3.00 petang di Aras 2 BSVN. Majlis ini telah dirasmikan oleh YBhg Dato’ Mohd Yusof Ahmad selaku Ketua Pengarah BSVN. Pameran ini adalah eksposisi dari karya koleksi BSVN dari pelbagai medium penghasilan karya dari pengkarya-pengkarya seni visual dalam ruang, masa dan pengalaman masing-masing.

PELANCARAN FESTIVAL 1M CONTEMPORARY ART TOURISM 2012 Kementerian Pelancongan Malaysia telah mengadakan Majlis Pelancaran Festival Pelancongan Seni Kontemporari 1Malaysia pada 11 Julai 2012 jam 10.00 pagi bertempat di Kuala Lumpur Convention Centre. Balai Seni Visual Negara (BSVN) telah dijemput untuk menghadiri majlis tersebut. BSVN juga telah mengadakan pameran semasa program tersebut dan Puan Intan Rafiza Abu Bakar telah dipilih sebagai penceramah semasa majlis pelancaran tersebut.

MALAM MESRA BERSEMPENA PERTARUNGAN AMRON OMAR DI BALAI SENI VISUAL NEGARA BSVN telah menganjurkan Majlis Malam Mesra bersempena pameran ‘Pertarungan Amron Omar’ yang sedang berlangsung sehingga 27 Ogos 2012 di Galeri 3A dan 3B BSVN. Bagi memperlihatkan keunikan seni pertahanan diri masyarakat melayu di samping menterjemahkan secara visual sebahagian proses pertarungan yang terdapat dalam karya-karya Amron Omar, satu persembahan silat oleh Pertubuhan Seni Silat Cemande dari Kampung Bukit Kapar Klang telah dipersembahkan kepada orang ramai. Para pengunjung yang hadir pada malam tersebut juga sangat bertuah kerana pelukis Amron Omar sudi untuk mengadakan demonstrasi lukisan secara langsung kepada orang ramai yang ingin menyaksikan sendiri bagaimana sebuah lukisan itu dihasilkan. Turut hadir pada malam tersebut adalah Dato’ Mohd Yusof Ahmad, Ketua Pengarah BSVN.

MAJLIS MALAM MESRA BERSEMPENA PAMERAN “KARTUN TULEN MALAYSIA” DAN “FOTOGRAFI:WAKTU DAN KETIKA” DI BALAI SENI VISUAL NEGARA BSVN telah mengambil inisiatif untuk menganjurkan Majlis Malam Mesra bersempena dua buah pameran yang sedang berlangsung di BSVN iaitu pameran “Kartun Tulen Malaysia: Era Perintis ke Era Pluralis” dan “Fotografi: Waktu Dan Ketika”. Majlis ini telah diadakan pada 17 Julai 2012 jam 8.00 malam di BSVN. Majlis ini adalah sebagai satu majlis untuk menggabungkan beberapa penggiat seni dari dua genre yang berbeza selain menghimpunkan khalayak seni yang sangat meminati kedua-dua bidang seni ini. Majlis dimulakan dengan ucapan aluan oleh Ketua Pengarah BSVN, Dato’ Mohd Yusof Ahmad dan diakhiri dengan persembahan Jazz oleh Fynn Jamal. Majlis ini turut bertujuan untuk menghargai penglibatan dan usahasama yang diberikan oleh para penggiat seni kepada BSVN.

pg/37

PERASMIAN PAMERAN SOLO AIism DI CORE DESIGN GALLERY Pada 2 September 2012 jam 8.00 malam, Core Design Gallery telah mengadakan pembukaan perasmian pameran Solo ALIism. Pameran ini telah dirasmikan oleh YBhg Ambassador Dato’ Mohd Yusof Ahmad, Ketua Pengarah Balai Seni Visual Negara. Ini merupakan pameran solo Ali Nurazmal buat kali ketiga dimana beliau melalui perjalanan dan halatuju dalam mencari ‘ism’ untuk memecahkannya kepada satu bentuk stail baru dimana beliau percaya akan tiba satu masa dapat dikecapinya.Pameran ini diadakan di Core Design Gallery, Subang Jaya dan akan berlangsung dari 1 Ogos sehingga 30 September 2012.

ARTISTS@KLIA Jom beramai-ramai datang menyaksikan aktiviti Artist@KLIA di Bangunan Satelit, Lapangan Terbang Antarabangsa Kuala Lumur (KLIA) bermula dari 16 April 2012. Saksikan demonstrasi seni visual seperti seni lukis, seni catan, batik, karikatur, seramik, kaligrafi, seni kraf dan banyak lagi. Kenali dan beramah mesra bersama pelukis tanah air seperti Ali Akhbar, Ismail Itam, Fauziah Hj Yahaya, Faizal Samat, Olyhairi Othman, Peter Lagan Balang, Azhar Arshad dan Nurgajir Noor.

Program ini dibawa khas untuk anda oleh Malaysia Airports (Sepang) Sdn Bhd dan Balai Seni Visual Negara.

Suchen SK (Freelance Photographer) www.suchens.com

Please email to sharzeela@artgallery.gov.my / osmi@artgallery.gov.my

CENTRES / GALLERIES / STUDIOS / OTHERS ART GENERATION STUDIO 21-1, Jalan Damai Perdana 1/8D, Bandar Damai Perdana, 56000 Cheras Kuala Lumpur.

Tel/Fax: 03-9100 1597 Blog: baiduren-space.blogspot.com Email: art.baiduren@gmail.com

Mouth & Foot Painting Artists Sdn. Bhd. Lot 327, 2nd Ampang Park Shopping Centre, Jalan Ampang, 50450 Kuala Lumpur, P.O.Box 12431, 50778 Kuala Lumpur.

Tel: 03-2161 8860,2161 8502 Fax: 03-2162 1504

FINDARS

Art gallery + performance space for rent!

Relaxsee Gallery lot 125, lrg Kempas 1, Kampung Melayu 68000 Ampang, Slangor D.E

No. 25-2, Jln Metro Wangsa, Seksyen 2, Wangsa Maju, 53300

Ismail Hj. Baba Naive Artist 017 883 0303 03-42533984

For more info, please visit http://findars.blogspot.com

NEO POP ART (JERI’S STUDIO ‘55) Sitajeriazhari (Art Dealer) 220 Lorong Maarof Bangsar 59000 Kuala Lumpur Malaysia Studio : 03-2094 1537 Mobile : 013-3253 045

Natyavaruval Arts Workshop And Gallery Umi Natasya Pie 016-3766 181 25-2, Taman Setapak Indah Jaya Jalan Puah Jaya, Off Jalan Pahang, 53000 Kuala Lumpur.

Email: natyavaruval @yahoo.com

New Black Coffee Lab Plaza Crystaline @ Setapak B-2A-1, Jln Danau Niaga 1 Taman Danau Kota 53300 Kuala Lumpur Malaysia Tel: (60) 3-6272-2818

CHEAP SENG POTTERY SDN.BHD. (Ceramic Design, Glazes Mixing, Plaster Mold Design, Sculpture) Factory & Seramic Studio: Lot 2269 Jalan Bercham, 31400 Ipoh, Perak.

Tel: 05-547 8936 Fax: 05-547 5040 Email : artstudio39@yahoo.com

ALAYSIAN ASSOCIATION OF M CREATIVITY & INNOVATION macri empowering simple ideas Tel:03-2282 7028 Fax: 03-2282 7028 Email : www.macri.com.my Lot A-28-10, Menara UOA Bangsar, No 5 Jalan Bangsar 1, 59000 Kuala Lumpur.

SCULPTUREATWORK (M) SDN.BHD. www.sculpcureatwork.com Studio: 108 Lorong Maarof, Bangsar Park, 59000 Kuala Lumpur.

Tel: 03-22836936 Fax: 03-22835936

NURIDAUS ENTERPRISE (SPECIALIST IN COPPER TOOLINGS) Blok L22-505, Persiaran Pandan, Pandan Jaya, Cheras, Kuala Lumpur.

-FULLY HANDCRAFTED019-334 7877 018-268 1880 018-287 7883

Gerai OA -Indigenous Peoples StallContact us: Reita Faida Rahim (coordinator) Email: geraios@gmail.com buy online: www.elevyn.com/shop/geraioa

Let’s Handmade a.hippies@gmail.com Miss Ireen Handmade www.missireen.blogspot.com www.missireen.110mb.com

AChiBuu Handmade Blog: http://achibuu.blogspot.com Website: www.achibuu.com Contact: huichyet@yahoo.com

Panda Eyes Handmade Wen Yi (Graphic Designer) hata-knight@hotmail.com http://www.pandaeyesdiy.blogspot.com

Ambriel Craft -handmade from the heart(Handmade Cards, Custom Made To Order, Home baked, Custom Bake to Order, Wedding Invitations, Thematic Party Cards, Thank You Cards, Corporate Gifts.)

43, Jalan Bp2, Bandar Bukit Puchong, 41720 Puchong Selangor.

Tel/Fax: 03-8060 3795 Blog: http://ambrielcraft.wordpress.com Email: audrey@ambriel.com.my

I LOVE UNIQUE GIFTS http://iloveunique.blogspot.com email: aimeili55@yahoo.com (Emily Ng)

Shahril Nizam Ahmad (Freelance Illustrator) Email: shahrila@yahoo.com Webpage: http://www.geocities.com/shahrila/shahril_ nizam.html Nazmi (Professional Photographer) nazmi_photo@yahoo.com

Yus Usratika@Luqman Husaini (Writer/composer) yusratika@yahoo.com yusnistone@yahoo.com www.usratika.blogspot.com

Heroes Sticker + Heroes Apparel heroesticker@gmail.com heroesapparel@gmail.com heroesapparel.webs.com mudah.my/herosticker facebook.com/heroesapparel

Pyanz Henna Arts & Crafts Pyan Shariff (Henna Artist) 012-297 9588 Email:pyanzhennaart@yahoo.com Website: http://pyanzshariff.webs.com www.pyanzhennaart.com Studio: Blok A8-G-25, Jalan Mewah 4, Pandan Mewah, 68000 Ampang, Selangor.

Fax: 03-4291 1588 'Everyone is Awesome' Ummi Creative Designer Phone: 03-6038 6377 Email: everyoneisawesome@gmail.com

Lot No. 56, Level G2, Publika Shopping Gallery, Solaris Dutamas, No. 1, Jalan Dutamas 1, 50480, Kuala Lumpur.

Tel : +603-6243 1108 Fax:+603-6243 1107 Email : segarisartcenter@gmail.com

EDEN ART STUDIO ART CENTRE, TEA HOUSE, COMMUNICATION CENTRE, ARTGALLERY edenartstudio@gmail.com Block L6-3-9C, Pelangi Promenade, Jalan Pekan Baru 34, 41050 Klang, Selangor.

CULTURE STREET ARTS & GALLERY (Gallery, Chinese Paintings Mounting, Mounting Material,Art Materials) 10C, 3rd Floor, Jalan Panggong, 50000 Kuala Lumpur.

Tel/Fax:03-2026 0292 Email: cs_arts@tm.net.my

www.urban-cr3atures.com Motiongraphics/printgraphics+interactive/ clothing/toys/web+characterdesign/illustration/ typography/animation/event/C.G effects/music/ sound/publication. www.projectboxie.com urbancr3atures.blogspot.com

D.I.Y / FREELANCE / SERVICES Chekri Mansor (Free lance caricaturist, cartoonist, painter and musician) chekrimansor@gmail.com http://chekrimansor.webs.com/

Kufi On Kanvas Yushafizal Yunos kufionkanvas@gmail.com 012-252 5644 VALERIE YAN CREATIONS Valerie Yan ( Illustrator) Rainie_yan@hotmail.com http://valeriecreations.blogspot.com Nurgajir@Gajir (Tempahan Nama Dalam Tulisan Jawi Lukisan Atas Kanvas) 017-366 9290 http://gajirkaligrafi.blogspot.com -Oil Painting -Abstrak -Seni Khat GLOBP Stoodio Animation/motiongraphics/editorial+concept illustration/charaterdesign globp@yahoo.com www.flickr.com/photos/myglobp

Thangarajoo @ Mr. Raj (Artist-Children's book illustrator-Art Tutor) Conducts art classes at stucent's home.

Call- 012 3467872 Email: jootha@gmail.com/ jootha57@yahoo.com.

Please visit:www.flickr.com/pjotos/thanga4

bibichun (freelance designer, illustrator +graffiti artist) bibichun@gmail.com www.bibichun.com

Khor Hui Min (Writer) khor.hm@gmail.com khorhmin@yahoo.co.uk (Writing, Editing, Proofreading, Project Coordination, Brochures Articles, Corporate Profiles, General/Technical Reports, Websites/Interactive, Lyrics Translation, Children’s Books etc.)

Michael Chuah Design (character designer/comic book artist) chuahshihchung@yahoo.com www.michaeldesign.com

The Seamstress http://seamstresses.blogspot.com Syahirah Suhaimi: 013-6282 2417 Sumarni Suhaimi: 013-3730 602

KLOBOT www.comeandharmeme.vox.com myspace.com/klobot comeandharmme@gmail.com

Clarity Enterprise (wholesale & retail keychains, accessories & art pieces) No. 21 Lorong 9/115C, Taman Jaya, Off Jalan Kuchai Lama, 58200 Kuala Lumpur.

Tel/Fax: 03-7875 9195 Email: clarityenterprise@gmail.com Design Art Books Lot FF-07, The Waterfront @Park City 5, Persiaran Resident, Desa Park City, 52200 Kuala Lumpur.

Email: deendab@gmail.com Tel: 03-6280 7876 Fax: 03-6280 7875

BASHEER GRAPHIC BOOKS AT BORDERS Lot – 216-B, Third Floor, The Gardens Mid VALLEY Lingkaran Syed Putra 59200 Kuala Lumpur. www.basheergraphic.com www.basheercityroom.com

Internasional Art Services(M)Sdn Bhd -mover and transportation of artworksJerry (Supervisor) Tel: 03-7846 5821 Fax: 03-7846 1944 Email: internationalartservices@jim.com.my

THE ART SHOP (Art Material, Technical Drawing Instruments, Stationary) No 65, Jalan Negara, Taman Melawati, 53100 Kuala Lumpur.

Tel: 03-4108 8322 Fax: 03-4107 8036 Wholly Owned By Hi-Scan Wholesale Sdn.Bhd.

Abdul Hadi Haji Ahmad Lot 01.08A, Groud Floor, Central Market Annexe, Jalan Hang Kasturi, 50050 Kuala Lumpur.

Email : hadi365@gmail.com www.hadiportrait.blogspot.com

Leong Brothers -Artistic, Frame Specialists and Designer, Glass Dealer331 Jalan Tuanku Abdul Rahman, 50100 Kuala Lumpur.

Tel/Fax: 03-2691 3941 Tel: 03-2692 2116

Play & Expressive Arts Andrew Ng (Play & Art Therapist) Tel : 012-361 8596 -Founder & Director of Play & Expressive Arts -Conducts Parenting Seminars, Play Therapy Workshops & Training in Malaysia, Singapore, Hong Kong & China.

KHAI LIEN SILK SCREEN SUPPLIERS (M) SDN.BHD. 132, Jalan Selar, Taman Bukit Riau, Batu 3 ½, Jalan Cheras, 56100 Kuala Lumpur.

Elements Creations- hand crafted ceramics 48 Lorong Nikmat 2, Taman Gembira Jalan Kuchai Lama 58200 Kuala Lumpur. nikicheong33@yahoo.com

Colorss Clay Accessories www.colorss88.blogspot.com chia_li_huei@hotmail.com

Mohd Jalaludin bin Ahmad Ramli, (Mural Artist / Painter / Cartoonist) My Blog : http://lalmuralartist.blogspot.com/ My FB : http://www.facebook.com/lalmural

SUPPLIERS / SERVICES / BOOKS / Selvan Holdings (M) Sdn Bhd Specialised in convenience/newstand concept stores. Exclusive distributors of foreign magazines and books. tel: 603 4042 2339 email: selvan39@streamyx.com On Target Training Sdn Bhd -books, posters, manuals, simulation software, E-book,E-learning, educational dvds, Interactive Cd-Roms, customized content development.

Office-03-77859716 Fax-03-77859718 email: arull@ottlearning.com.my HAVEN (something for everyone) Lot S211 (2nd floor) Promenade, 1 Utama Shopping Centre, 1 Lebuh Bandar Utama, 47800 Petaling Jaya, Selangor. tel: 03-7727 3541 email: getcrafty@craft-haven.com www.crafty-haven.com

Tel: 03-9283 7032 Fax: 03-9285 1035 Email : kailien@po.jaring.my www.khailien.com.my We supply: Inks, Machineries & Equipment, Other Silkscreen Materials, Advertising.

WS ART & FRAMES CENTRE SDN. BHD. (Art Gallery, Conservation & Custom Framing, delivery & Installation of Artwork.)

No 34, Jalan Dang Wangi, 50100 Kuala Lumpur.

Tel: 03-2698 0132 Fax: 03-2692 7520 Email: wsartctr@msn.com A member of: PROFESSIONAL PICTURE FRAMERS ASSOCIATION(USA)

Perniagaan Hai Kuang Sdn. Bhd. -Supplies all kinds of screen printing, pad printing,materials, equipment machinery and stencil making service.

Head Office : No. 51, Jalan Dato’ Haji Eusoff, Damai Komplek, 50400 Kuala Lumpur, Malaysia.

Tel: 03-4042 9569, 4042 0071, 4041 9493, 4041 9479 Fax: 03-4042 2467(ADMIN) , 4042 3425(SALES) Email: haikuang@tm.net.my SOLE DISTRIBUTOR IN MALAYSIA (The Most Famous in Silkscreen Printing Industry)

LATEST PUBLICATIONS

Graffiti KL • Essays by Champ Teh • Featuring works by selected graffiti artists based in Kuala Lumpur • English RM 25

JOM

Jadilah ahli Waktu dan Ketika Pameran Fotografi

Kuasa, Harapan Dan Tanah

• Essays by Alex Moh, Yee I-Lann and Nur Shazleen MD Yusof

• Essays by Intan Rafiza Abu Bakar, Ili Farhana, Prof. Dr. Zakaria Ali and Qasim Riza Shaheen

• Selected works from the 1920's to 2012

• Selected works from the 1980's to 2012

Keahlian pelukis akan menikmati faedah menarik seperti berikut :

• Complete references

• Complete references

• Malay & English

• Malay & English

Dijemput menghadiri pembukaan pameran, menyertai program khas, bengkel, ceramah dan sebarang acara anjuran Balai Seni Visual Negara.

RM 65

RM 100

Menikmati *diskaun 10% ke atas hampir kesemua barangan di Kedai Galeri merangkumi bahan-bahan melukis, penerbitan dan cenderamata.

Menerima maklumat terkini melalui SMS. Menerima warkah Balai Seni Visual Negara, SENIKINI : Malaysia Art Now, percuma untuk setahun (empat keluaran).

Nama dan alamat pelukis akan dimuatkan di dalam rangkaian laman web direktori pelukis Balai Seni Visual Negara.

Ali Mabuha Rahamad: Kembara di Sarang Seni (Journey Into the World of Art)

Pertarungan: Amron Omar

• Essays by Nur Hanim Khairuddin & Ooi Kok Chuen

• Selected works from the 1980's to 2011

• Essays by Alizam Hassan, Safrizal Shahir, Pakhruddin Sulaiman, Hasnul J.Saidon and many more.

• Selected works from the 1970's to 2011

Wan Faizun Zaffan : faizun@artgallery.gov.my

• Complete Bio & list of works • Malay & English

• Complete Bio & references • Malay & English

RM 150

RM 140

Raja ah: The Art, Ideas and Creativity of Sulaiman Esa (1950's -2011) • Essays by Nur Hanim Khairuddin, Associate Professor Dr. Abu Talib Putih, Simon Soon & Zabas • Selected articles by Laura Fan, Ooi Kok Chuen & Veronica Shanmugam • Selected works from 1950s to 2011 • Selected essays, bio of Dr Sulaiman Esa and many more

JAGA: Pameran Arca • Essays by Rosli Zakaria, Syed Alwi Syed Abu Bakar & Dr. Sabzali Musa Kahn

Saksi dan Bukti: Anassuwandi dan Faizulyusri • Esei-esei oleh Baktiar Naim dan Syahrul Niza Zaini

• Complete lists of works

• Biodata dan gambar karya-karya pelukis

• Malay & English

• Malay

• Bahasa Malaysia

RM 140

RM 30

RM 40

All publications can be purchased at the Gallery Shop located at National Visual Arts Gallery. For enquiries please email to osmi@artgallery.gov.my / http://publicationbsvn.blogspot.com

EXHIBITIONS ‘KUASA, HARAPAN DAN TANAH’ 7 Aug-19 Nov 2012 2B Gallery Curator : Intan Rafiza ‘MEMBERS ONLY’ 11 Sept-11 Dec 2012 2A Gallery Curators : Lim Ai Woei, Mohd Anuar Abd Aziz & Adnan Miswan Awang TIGA SEZAMAN 6 Oct-10 Dec 2012 3A Gallery Curators : Rohana Yusof & Hasimah Nyok PAMERAN ARCA STRANGE & BEAUTIFUL 18 Sept-10 Dec 2012 3B Gallery Curators : Siti Maisarah Bakar, Ismaliza Mohd Badaruddin & Osmihamidy Osman PAMERAN WARISAN 2 Oct 2012-31 Jan 2013 Reka Gallery Curators : Musrizal Mat Isa

The National Visual Arts Gallery was established on 27 August 1958 under the patronage of Malaysia’s first Prime Minister Tunku Abdul Rahman Putra Al-Haj. Presently the NVAG, under the Ministry of Information, Communications and Culture Malaysia, aims to create awareness, understanding, appreciation of the visual arts and is the custodian of

‘ABDUL LATIFF MOHIDIN’ (A biografical exhibition) 26 Dec 2012-13 June 2013 2A & 2B, 3A & 3B Guest Curator : Tengku Sabri Ibrahim NEW:RECENT ACQUISITIONS (National Collection) 10 Aug 2012-31 Jan 2013 1A Gallery Curators : Mohd Fairus Ismail & Ismail Yacub

our national visual arts heritage.

Taman Tasik Titiwangsa

ISTANA BUDAYA

2 Jalan Temerloh Off Jalan Tun Razak 53200 Kuala Lumpur

PUSAT DARAH NEGARA

PWTC

HOSPITAL KUALA LUMPUR INSTITUT JANTUNG NEGARA

PERPUSTAKAAN NEGARA MENARA MARINARA

T603 4026 7000 F603 4025 4987 EMPIRE TOWER CITY SQUARE

Jln Ampang

PETRONAS TWIN TOWER

TABUNG HAJI