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Fauzulyusri
_ ISBN 978 - 981- 07-5756 - 4 PAPERBACK
978 - 981- 07-5822- 6 E-BOOK
Fauzulyusri’s Controlled Chaos Nur Hanim Khairuddin I first encountered Fauzul’s art during the Young Contemporary Art competition at the National Art Gallery in 2002, where we both participated. I can still recall his mixed media installation titled “Secret Agenda”, which featured a huge diptych painting. Done in a fairly minimalist style with pop-graffiti tone, the painting contained images that, though were vaguely inscribed on the surface, seemed so filled with entrancing aura and ambience that made me stopped to take a closer look at it.
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Despite having developed his own style and artistic ideas, Fauzul’s subsequent series of work carry the same visual characteristics and aesthetic appeal. One glimpse at his paintings and you only notice a rather disordered arrangement of visual and graphic elements. By way of his signature surface treatment, image layering and multiperspectival composition done through diverse markmaking techniques, including scratching, scribbling and rubbing, he initially deforms his canvas surface using colours, forms, lines and patterns of varying weights and values. He then modifies these elements to achieve the right unity, harmony, contrast, rhythm and balance that could offset the state of chaos and randomness he first renders on his painting surface. The subtle interplay between his compositional rigor and spontaneity, and between his ordered artmaking approach and his work’s richly textured appearance absolutely fascinate the viewers.
On the surface of his paintings, so many varied, disparate and disjointed elements floating around; some overlapping each other, some occupying their own planes of existence. These raw, simple and often vague images and forms, nevertheless, have many layers of deep, insightful and intriguing meaning. They give the viewers many possibilities of interpretation, and offer them a wide range of subjective experiences. Beyond formalistic concerns, upon glancing at his paintings you cannot really comprehend what he is trying to express. However, after gazing at them for a few long moments, you would become immersed not only in his act of painting but also in the ideas underpinning his paintings and in the forms of discourses he is dealing with within the controlled chaos of his art.
NHK Can you briefly describe the body of work in this coreng series? FY All this while I was too engrossed with the principles of art, and I approached my artmaking largely from the perspective of formalism. However, as I have now developed my own style and found my own unique way of expression, I want to push my art practice to a new level of sophistication and depth. It is time now for me to break a little from my normal mode of making art, and do something slightly different. Unlike my previous paintings that employed a lot of modeling paste and mixed medium, this new series mainly uses oil paint with impasto renderings. The colours too are more vibrant. The whole process of creating this new works is very challenging, yet very intriguing and engaging. This time around, I would like to produce works that contain more figurative and portraiture elements in order to best depict my experiences with the society, with friends and other people around me, even with my own domestic affairs. NHK I see that some of these paintings are so highly charged with political nuances and overtones, and laden with discourses on our contemporary life and current events FY The various subjects and discourses in my new paintings are largely centred around critical issues encountered by myself particularly and our society on the whole. Several friends, who came to have a sneak peek at my new series, said that they could relate some of my paintings to the political scenario in our country. But I do not really want to engage with the politics per se. It is not my intention to express political
themes and commentaries. They just appear spontaneously. Perhaps, after being constantly bombarded with news and information from the Internet, tv and newspapers, and with political stories and gossips told by my friends, I became subconsciously aware of the politics in Malaysia. I guess whatever matters related to politics that surface in my paintings are simply my reflex to all of these that possibly have stirred up my subconscious mind. Since my paintings are very subjective, I let the viewers react to them and interpret their meanings as they wish. NHK In creating your work, do you give more emphasis to formalistic values and visual structures, or contents and meanings? FY Formalistic and visual concerns normally come first. In my case, it is during the process of dealing with these concerns that contents or meanings emerge. Each of my painting series actually focuses on a specific aspect of formalism. In the guris series, for example, I explored the significance of lines. While layers became the focal point of the play series, the paintings in the ground series were essentially the result of my investigation of surface and texture. This coreng series reveals my interest in gestural act, spontaneity and imperfect creations. Over the years, I have continuously employed the scratching or scoring technique, and the compositional format of floating images and words. It is not only to balance up the surface but also to enhance the textural quality and spatial depth of my paintings. Yes, I definitely prioritize formalistic and technical aspects above other matters.
NHK You always incorporate words in your paintings. How do you go about selecting words that best suit the concept of each painting? FY I usually get the idea of which words to use when I am about half way through completing my painting. It comes to me like a revelation. The words that I use do not only give a textural effect but more importantly serve as signifiers to help viewers understand better the theme and message behind my paintings. However, choosing the right word is rather difficult. I have to make sure that each word truly reflects the concept and subject of each painting. NHK In your artmaking process, do you always sketch your ideas or compositions first before you start painting? FY I do sketch my ideas on paper, but my sketches are not detailed and only suggest the general outline of how the finished work should look. I spend more time studying and finding the best way to realize the concept I have in mind. Only after a long thinking process that I start transferring the ideas in my head to the canvas. Once I start working on the canvas surface, I no longer refer to my sketches. From then on, my painting act becomes spontaneous. I let the momentum from doing sketches be transmitted to the process of creating my painting. Most of the time, the finished piece looks so much different from what I have sketched earlier.
NHK In the context of Malaysian art, you are often linked with abstract-expressionist painters like Yusof Ghani and Awang Damit. Could you tell where does your inspiration actually come from? And, are there any influences from any other artists? FY During my initial involvement in art, or to put it in another words, during my formative period, I was heavily influenced by Basquait, de Buffet and George Basselit. Their works transpire a kind of vigour and energy, a kind of rawness and naivety that I could connect to. After studying their artistic approaches and modes of expression, I came out with my own style. When I produced my earlier series of work, my number one reference was actually children drawings that I saw, mostly on the Internet. I am obsessed with line, the most basic element of art. I find that lines produced by children are exceptionally genuine and powerful. Do you know that a child can even draw ‘air’? It is not easy for an adult who has been exposed to so many things in life to ever imagine how to draw ‘air’.
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Coreng: The Epilogue Of One Fauzulyusri Nik Fahmee Fauzulyusri is a maverick painter and more. He takes a bold stand with coreng, dynamic streaks and markings, in which he balances brightly strong hews and colors within thematic subject matters. There is conviction in his work. And yet, interestingly enough, nothing about him in appearance would suggest this –but his body of work has a sharp focus of dare and careful execution. One may even think that there is a trapped soul in him, but make no mistake –Fauzulyusri is a talent who has conviction and pure courage.
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This collection plays with notions and themes that push the mind to view the matter in a connective manner. His creations are symbiotic movement work that plays with space and formations. The naïve concept may first catch the mind, but what continues to pull one into the work is the challenging perspective of the subjects with a glimpse of a promise that the conviction of wanting to be different, in color and form, may take center stage with a layering foundation of a hard pull that may not budge the mental perception: yet a deadpan fate may not be altered, because there is perhaps no will to go beyond the formation of the work. In essence his work suggests – a floating notion that further romanticizes the very element of imagination and it is captured ideally in captions that is surreal and sharp. It embodies hopes and dreams within oneself.
This collection further balances thematic ideas drawn from a year of many political ploys. Hence, there is a sharp cut that further depicts the fact that so many amongst us have become smart analysts with facts and gibberish –and play a role of nothing more than talk and, just, more talks. In essence, Fauzulyusri does not play pretend with colors –he is bold and takes clean-cut designs on conceptual components and paints them in a work that suggests silent wit and thought and one may see that this embodies him in style and scope. Coreng took Fauzul a year to complete because he wanted to mature the subject matter. And he correlates that perfection is over rated –but yet needed in today’s dynamics. This collection of work stands firm that there is beauty in daily themes and power over minor and small formations. His work compels one to think beyond the romantics and see the richness in the basics and the given innate imperfections. He believes that done is better than perfect and that there is indeed beauty in the sharp imperfections of the romantics.
The Smell Of Childhood Yusof Ghani The creative of playthings and naivety. Some say talents are playthings for children whereas seriousness above all makes one a man. Fauzul delves into this dialogue, to explore the world of playfulness and yet he feels there manifest truths for all to benefit. Celestial sphere of imagination of a child flows into ambiguous space on canvas and simple visual information and yet subtly touching one to feel the world of the innocent and pristine. Fauzul’s work deals with the meticulous neural psychomotor building of a child. Ruled by their creative naivety, spurred by their curiosity, boundless frontal lobe emotions and the original framework of the early brain. It transports us to a meaningful chronology in our lives, to explore our own inner childhood and our memorable past and experiences. It displays a dance of erratic mark making, unique errors in spatial arrangments and the natural entropy of thought of the innocent turning every Fauzul’s piece into a beautiful mess. It is with the heart that one sees things clearly. The trend in evolution shows that from a foetal disposition closely gazing at his own heart till he grows more upright, the adult leaves his heart to gaze onto the world. These art pieces stimulate one to reflect back on the matters of the heart; to be there at the still point of attention, to be in love and grounded with the expressions and embrace the world and dreams of the young.
Pelaku oil on canvas 153 x 122 cm 2013
Kroni oil on canvas 183 x 228 cm 2012
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Tersohor oil on canvas 152 x 152 cm 2012
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Songsang oil on canvas 183 x 183 cm 2012
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Sekutu oil on canvas 153 x 122 cm 2013
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Mister Perfect oil on canvas 168 x 132 cm 2012
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LEFT;
Sarat oil on canvas 107 x 107 cm 2013 RIGHT;
Ketua Kata oil on canvas 107 x 107 cm 2013
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Si Jelita oil on canvas 153 x 122 cm 2013
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Akal dan Tunggul oil on canvas 183 x 244 cm 2012
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Mimpi Jadi Star oil on canvas 152 x 228 cm 2012
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Jelata oil on canvas 107 x 107 cm 2013
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R I G HT
Jelata II oil on canvas 107 x 107 cm 2013 Jelata III oil on canvas 107 x 107 cm 2013
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Situation oil on canvas 143 x 92 cm 2012
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Character oil on canvas 183 x 229 cm 2012
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BIOGRAPHY
P U B L I C AT I O N S
1974 fauzulyusri, kedah, malaysia
2013 2012 2011 2007 2007 2006 2005
ACADEMIC
1999 degree in fine art (drawing) uitm shah alam selangor
SOLO EXHIBITIONS
2013 2011 2009 2007 2006 2004 2003 2001
coreng taksu kuala lumpur guris taksu kuala lumpur raw taksu kuala lumpur play taksu singapore ground taksu kuala lumpur neolithic taksu kuala lumpur pop primitive galeriiizu, kuala lumpur cages eq fine arts, kuala lumpur works on canvas eq fine arts, kl
32 GROUP EXHIBITIONS
local and international group exhibitions in malaysia singapore, brunei, indonesia hong kong, u.a.e and u.k
AWARDS
2004 2002 2000
special mention prize kijang awards bank negara malaysia kuala lumpur special mention awards the young contemporaries national art gallery kuala lumpur insentive awards shah alam gallery
nur hanim khairuddin fauzulyusri’s controlled chaos nik fahmee coreng: the epilogue of one fauzulyusri yusof ghani the smell of childhood coreng exhibition catalogue baktiar naim Saksi dan bukti Balai Seni Visual Negara gina fairley the ringmaster’s dermis guris exhibition catalogue gina fairley conceptual tiling raw exhibition catalogue gina fairley come together fab4 exhibition essay gina fairley play exhibition catalogue jagatheswary narayanan ‘karya imbasan nostalgia’ kosmo, december 24 associate professor mohd khalil amran ‘ground’, exhibition catalogue ridzwan a.rahim,‘different strokes’ new straits times, july 7 associate professor dr muliyadi mahamood ‘fauzulyusri imajan silam pengucapan baru’ dewan budaya, february (pop primitive, exhibition catalogue) yusof ghani ‘fauzul’s sensual communicator’, (pop primitive exhibition catalogue) rudy irwan shukaime ‘dunia pop primitif fauzul’ kosmo, february 28
2004 2001
azran jaffar ‘fauzul ketengah pop primitif’, berita minggu, october 3 melissa sellvadurai ‘land before time’ klue, september 16 barbara fong ‘fauzul’s journey on canvas’, new straits times, sept 11 yelena guzman ‘modern yet primitive’ sunday star, september 5, 2004 laura fan ‘legacy of abstract expressionism’, the edge, july 2
Thanks to; Suherwan, Syukur, Amelia, Mat & Taksu’s staff. My beloved parents, Azida, Zara, Raida, Raifa and Zarin. Yusof Ghani, Nurhanim Khairuddin, Nik Fahmee, Jeff and Din. Maman, Skala, Yusri, Murti, Choi, Jamil, Ali, Fendy and my fellow artist.
This publication may be reproduced in any form for academic, editorial and/or non-commercial purposes without special permission from the artist(s) and gallery, with acknowledgement of the source. For other purposes, prior consent is needed.
Biar kata beri rasa.
Essay Nur Hanim Khairuddin Nik Fahmee, Yusof Ghani Photography Din Dirann Graphic Design Jeffrey Lim / Studio 25 Printer Unico Services
Artworks & Images Š 2013 Fauzulyusri
TAKSU is a leading contemporary art gallery and specialist in Southeast Asia. Representing selection of fine art with distinctive urban edge, we are at the forefront of contemporary art in this region. TAKSU works to forge a platform for established and emerging artists to share their pool of creativity and knowledge through its residency programs and exhibitions. Encapsulating the true meaning of the word TAKSU; divine inspiration, energy, and spirit. Suherwan Abu Director, TAKSU Galleries CORENG
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FAUZULYUSRI
ISBN 978 - 981- 07-5756 - 4 PAPERBACK
978 - 981- 07-5822- 6 E-BOOK
CORENG
_
FAUZULYUSRI
ISBN 978 - 981- 07-5756 - 4 PAPERBACK
978 - 981- 07-5822- 6 E-BOOK