Malaysian art now

>TWENTY YEARS IN REVIEW

>LIMPAS BAYU BORNEO
>The BrandLaureate
Awards 2009/2010:
DATUK SYED AHMAD JAMAL
>A Metre Perspective

>ABCANTARA BAHAN CAMPURAN
DARI HIMPUNAN TETAP
BALAI SENI LUKIS NEGARA
C O N T E N T S
FEATURES
04 Twenty Years in Review
06 ABC: Antara Bahan Campuran
10 Limpas Bayu Borneo
HIGHLIGHTS
07 Her World Celebrates Arts!
07 Soh Boon Kiong - Meraikan 20 tahun karya dengan pameran
seni di Kuala Lumpur
08 Flights of Fancy
08 The 15th Rimbun Dahan Residency Exhibition
11 Crossing Borders@Galeria Kuching
13 Zac Lee, New Species C-4
20 CUT2010:New Photography from Southeast Asia
RE-COVER ARTIST
09 Lim Keh Soon (K.Soon)
OPPORTUNITIES
11 Pertandingan Photo Flora Malaysia 2010
16 Pertandingan Rekabentuk Malaysia 2010
18 The 10th Oita Asia Sculpture Awards 2010
20 Pertandingan Melukis Citra Terengganu 2010
EXHIBITION REVIEWS
12 A Metre Perspective
15 Suzlee Ibrahim: Monsoon Series
ART REVIEWS
14 Saharil: Berharmoni dalam Menjengah Seksualiti dan Gender
yang Kacau
CREATIVE INDUSTRY
16 The BrandLaureate Awards 2009/2010: Datuk Syed Ahmad
Jamal
17 BSLN Sana Sini
CURA T.O.R.
19 Rumah Seni dan Kraf Gemilang
21 Grafti Batik Kontemporari Malaysia Pavilion
Shanghai Expo 2010
22 BSLN PUBLICATION
23 WHATS ON
Editorinc.
can be accessed at www.artgallery.gov.my/senikini
Any feedback and comment please email to us at:
wening@artgallery.gov.my
The publisher, National Art Gallery Malaysia,
holds the copyright of all editorial content.
SENIKINI (ISSN : 1985-7233) is published six times
a year by National Art Gallery Malaysia.
All Rights Reserverd.
Copyright2010 SENIKINI Malaysian Art Now
Printed in Malaysia.
PUBLISHER
Balai Seni Lukis Negara
National Art Gallery Malaysia
Ministry of Information, Communication and Culture Malaysia
No 2. Jalan Temerloh
Off Jalan Tun Razak
53200 Kuala Lumpur
MALAYSIA
P : 603 4026 7000
F : 603 4025 4987
w w w . a r t g a l l e r y . g o v . my
l EDITOR-IN-CHIEF Zanita Anuar l EDITOR Wening Cheah & Hashimah
Nyok l ASSISTANT EDITOR Anis Amizan Hussein Lim | CONTRIBUTORS
/ WRITERS Majidi Amir, Shalini Ganendra, Alina Abdullah, Simon Soon,
Hasnul J Saidon, Irene Lim, Zuriyadi Sarpin, Abby Zain, Syahrulniza
Zaini, Ismaliza Baharuddin and Wening Cheah l DESIGN Nuzaihan
Mustapa & Shamizar Rahim l PHOTOGRAPHY Muhamad Akmal Hakim
and Mohd Fitri Abd Rahman l
No one can be sure of the future. Hence no matter how well planned
our work and organization for the arts may be , it is imperative that
we prepare for alternative plans to adapt to changing situations. And
sometimes we are to prepare for alternative leaders as well.
Enter The Year of the Tiger with the abduction of our Editor of
and Director General of National Art Gallery , Dr Mohamed Najib
Ahmad Dawa , the National Art Gallery is on guard for the next
leadership challenge.
The national collection piece on the cover of entitled Ku
rasa Kuasa or I feel powerful by Shahrul Anuar Shaari is selected
because of the signifcance of the work in the mixed media collection
as well as the unique instance of a leader-less situation as depicted
in the empty chair. Amerrudin shares selected pieces from our
collection in his exposition on mixed media or ABC :Antara Bahan
Campuran from the Permanent Collection which can be enjoyed in
the year-long exhibition of the same title.
A review of the art scene by Shalini augurs well, and the quest for
re-mapping Borneo in the visual art scene is shared by Hasnul while
Simon dabbles into a metre perspective of art for or indulgence.
An additional section in is the CURA T.O.R where our frst
discussant Majidi has courageously taken up the challenge in sharing
his experiences in managing the commissioning of art on the roof of
the Malaysian Pavillion.

is proud to present K.Soon , as he shares with us his curious
world speckled with his visual brand of comical overtones. K.Soon
was also complimented by our Brand Masterpiece artist Datuk Syed
Ahmad Jamal who saw the frst draft cover as we were working in our
studios. Positive vibes nurtures us while razor sharp comments of
the past must surely turn into positive reinforcement for the future. As
challenges and creativity strives , so will .
Zanita Anuar
Editor-In-Chief
SHARUL ANUAR SHAARI,
Ku Rasa Kuasa, Campuran, 2001, 125 x127.3cm, BSLN 2001.114
(Details)
Bicara Seni
bersama YBhg Datuk A. Samad Said
Tarik:h : 28 April 2010 (Rabu)
Masa : 3 petang
Tempat : Galeri 2B, tingkat 2
Untuk keterangan lanjut sila hubungi :
03 4026 7161/ 03 4026 7172
/ 03 4026 7137
`
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TWENTY
YEARS IN
REVIEW
l Shalini Ganendra
The
thrust of exceptional and notable
contemporary art the world over, is creation
of works that through their formation, presentation and/
or purpose captivate, educate and are memorable.
Certainly one art market development in the last 20
years is that there is less distinctions between local and
international are less, as artists, like all other professionals,
participate in globalization and have to distinguish
themselves in that mire of competition. Art has become
hugely commercial, academic and demanding.
Demarcation of high art and merchandising is also
blurred.
Malaysias art world has been busy too developing
ideas, artists, public institutions, collectors and
patronage. During the last 20 years, the new location
for the National Art Gallery opened, very visibly on
Jalan Tun Razak. The Gallery has hosted a number
of exhibitions and continues to focus on presenting
Malaysian art history through programs and curated
shows. NAG, as it is familiarly called, has launched
a newsletter-magezine, Senikini, which comments
and informs on art happenings. The NAG website is a
resource for exhibitions, awards and events.
Galeri Petronas opened in 1993 at the Dayabumi
Complex and in 1998 moved to the elegant and hi-tech
space in the KLCC. The gallery boasts 2000 sq. meters of
sleek, circular space.
The Islamic Arts Museum opened in 1999. Its
establishment also marked a signifcant development
for the Malaysian art scene because of its international
stature and collection. Though not a venue for
Malaysian fne arts per se, the museum has contributed
to the perception of Kuala Lumpur as a growing cultural
centre.
Both the Islamic Art Museum and the National Art
Gallery have strong conservation departments, with
the much needed expertise to repair damage from the
humidity, poor storage and other tropical delights.
With all these attractions, are these institutions drawing
in more visitors? A senior artist comments that despite
the existence of stronger art venues, visitor numbers
have not increased signifcantly. This is not entirely true.
Local visitors now have more to see in KL, and there
appears to be increasing traffc at these institutions for
specifc purposes.
Note also that, Museum visits are not the only way to
learn about local art movements (though this writer
maintains such visits are crucial for gaining aesthetic
insight into local art in local contexts). By setting up
physical presences along with active electronic and
hardcopy supports these institutions are participating
in the development of the local art scene in a positive
and necessary way.
One way to gauge the impact of exhibitions is to read
some entries on the numerous blogs and websites
that have been launched. Kakiseni, established over
ten years ago, was the frst site to cover the local
happenings including art exhibitions. In year 1998, Time
Out Malaysia, ARTERI and Whats Art set up websites.
Local art fairs and social art activities are another
measure of KLs growing importance as a viable art
center. 2007 saw the launch of Art Expo Malaysia, now
an annual event. Galeri Shah Alam held the frst Mail Art
Festival in Malaysia earlier this year. Kuala Lumpur Design
Week 2009 drew in a number of interesting entries with
sculpted functional art and design collaborations.
Charities and NGOs more regularly raise funds through
art auctions and exhibitions.
On the international front, Malaysian artists have been
featured in Art Fairs and exhibitions in the USA, UK,
Europe, the Middle East, Hong Kong, Beijing, Australia
and Singapore.
International Auction Houses invested in Malaysia some
years back. Sothebys and Christies, particularly, have
helped to create interest in art from Asia. Armed with
strong PR departments, extensive collector bases, and
sturdy reputations the auction houses provide artists
with a short cut to fnancial success if their works are
auctioned well. The houses give collectors peace of
mind on provenance and, to a some extent, quality.
Sothebys opened a representative offce in KL in
1994 and Christies, in 1997. Christies frst auctioned
Malaysian Artists in 1994 and Sothebys, in 1996.
Mok Kim Chuan, Sothebys Head of Southeast Asian
Paintings, comments:
Origins of collectors of Sothebys Southeast Asian Art
on a whole have become more international in recent
years. Apart from the collectors from Southeast Asian
region itself or Southeast Asian expatriates residing in
other countries, we are also attracting more collecting
from other parts of Asia, as well as from the West. We
are seeing more collectors crossing over from other
categories.
Ms Ruoh-Ling Keong, Vice President & Head of
Southeast Asian Modern and Contemporary Art at
Christies, expresses a slightly different view:
Malaysian modern and contemporary art is
characterized by a relatively strong domestic market
with a handful of major collectors who enjoy close
relationship with artists. At this moment, the majority
of Malaysian art and artists are not generally known
outside of Malaysia and Singapore, let alone the region
of Asia. ...Recently emerging from the increasing cross-
exposure of Asian art through art fairs and auction
sales, we have seen the works of contemporary artists
gaining attention in the auction market from collectors
outside of Malaysia.
With regard to the identity of buyers of Malaysian art at
auction, Keong observes:
Major collectors of Malaysian modern and
contemporary art at auction are Malaysians. Its a
refection of the character of the art market and a
support to their nation artists. The works of Malaysian
artists that were auctioned at Christies mostly have a
comparatively matured primary market.
Auction houses constantly re-evaluate markets and
marketing, looking for the next big area. The areas
selected need to be sustainable and well managed to
maintain credibility. As noted, part of that responsibility
falls on local participation. Artists and clients who enter
works into auction should be aware that there is the
risk of the work not selling after such wide exposure a
consequence that does not help the artist or work.
And when art markets tumble, as they did this year,
even the auction houses are severely punished, showing
the unfavourable consequences of speculation.
Collectors who purchased high (and sometimes
questionable quality), now cannot sell. Some have
been badly affected including once prosperous
international galleries and dealers who have closed
their doors. Hence the comparison of the art markets
to stock markets, with the increasing comodifcation,
manipulation, speculation and fraud, common to both.
But not everyone plays auction, nor is inclined to do
Eric Peris, Jigsaw in Clay, C-Print, 91cm x137cm Yee I-Lann, Kinabalu Series: Himinodun, Digital print on Kodak Endura Paper,
106.5 x 204.5cm, 2008
K. Azril Ismail, Iron Dragons of Malaya Series, Digital print, 2008
Yeoh Kean Thai, Red Lantern, Acrylic and ink on canvas,
76 cm x 153cm, 2007
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05
so. A vital component of any growing art scene is local
and individual participation. The websites and blogs,
coverage by magazines, television, radio and other
media (local and international), along with the growing
sophistication of artists and commercial galleries,
provides ample information and product. Additionally,
newer mediums are being explored and mediums
traditionally not considered fne art, e.g. photography,
are now more mainstream than every.
New galleries and art advisors are surfacing regularly with
exhibitions and projects featuring old and developing
talents. There are a growing number of underground
movements, not to mention graffti art. All these activities
now have to stand up to the scrutiny of a more informed
public.
With this onslaught of information and activity there
is a greater need, (certainly more than there was 20
years ago), to be wary. Audiences should be thorough
and discerning when processing this abundance of
information. Intuition and time will tell which are the most
credible sources, presenting worthy content and advice.
Established artists who have observed and participated
in the development of the last two decades provide
constructive commentary. Award winning artist Yeoh
Kean Thai observes:
Audiences nowadays are more aware about art but
most still lack the critical appreciation of art. Most are still
looking for pictures to decorate walls. Collectors still buy
what is supposed to be a good investment, but sadly
most of them are getting bad advice from some galleries
concerned only with selling their goods.
A similar sentiment is voiced by established artist and
theorist, Nasir Baharuddin:
Collectors are more impressed with commodity rather
than inculcating the culture of an art world and its
understanding. I need art collectors who bother to
understand rather than who just buy work.
In a New York Times Article on Handling Art (9/6/09),
a storage company CEO quipped: Some Malaysian
collectors rent entire apartments just to store their
artworks. What an indication of growth! Be warned
though, overconsumption is an indication of over-
speculation. There will be many a white elephant left in
these storage quarters. So, let us not ask: Is yours bigger
than mine? - when the real question should be: Is yours
better?
We know some collectors are collecting A LOT more,
but are there really more collectors? Some artists are
doubtful, commenting Yes, we do see more individuals
parting with 4 to 5 fgure amounts to purchase artworks
but are there more collectors?
This writer asserts there are. Different galleries have
varying collector bases, though there is some overlap.
By and large, audiences are now disparate and not
predictable. The number of artists have increased as well,
fueled by growing economic viability of the vocation and
a host of art schools providing affordable and costly fne
art and design degrees.
The frst local art colleges were UiTM and MPIK, both
funded by government and established in the early
70s, with western infuenced and traditional art The frst
private art college was MIA which focused on western
art development and Chinese painting. Now, there are
numerous private colleges and public universities with
art programs. There are also a growing number of art
fellowships/residencies hosted by private and public
entities, locally and internationally. Malaysian artists
are winning international awards. Zac Lee, Yeoh Kean
Thai, Nirmala Karrupiah have each won the Freeman
Fellowship to Vermont Studios (USA) which tends to jump
start artistic careers. Yeoh Kean Thai went on to win a
prestigious Commonwealth Art Residency Award 2009 in
a highly competitive run up.
In so far as collectors motivations for buying - these
continue to be disparate the world over - though there
is an increasing emphasis on investment value. Some
buy for decoration, some for social statement, others for
investment some for all of the above. Most reasons may
be legitimate but each come with varying levels of risk.
Regardless of motivations, we must applaud the
developments of the last two decades, in the Malaysian
art scene. This writers wish for the next 20 years, is to see
an increase in museum quality works by artists and in
private and public collections, with the corresponding
growth in awareness that what we create, collect and
endorse should be WORLD CLASS. Nothing less.
COLLECTORS
UPDATE
The MO09
Art Auction as
mentioned in
SENIKINI #05 has
been developed
into Art Auction
Malaysia. The AAM
is a collaboration
between NAG, and
the Henry Burthers
Auctioneers is due
to be held on the
8
th
Aug 2010.
ARTFRIENDS
Hamidi Abdul Hadi, Germinate IV, 234 x 165.2 cm, Linseed oil,
lacquer, charcaol and damar on canvas,2005
Faizal Sidik, Sublime - Pattern of Status, Paint on canvas, on wood,
Diam 122cm, 2010 Sabri Idrus, Musa 2, 76 x 76 cm, Digital Print, 2009
Ahmad Zakii Anwar, Surrender 2, 54 x 185 cm, charcoal on paper, 2007 Lim Kim Hai, Apple Series, 90 x 120 cm, Oil on canvas, 2009
ABC
`ANTARA
BAHAN
CAMPURAN
dari HIMPUNAN TETAP
BALAI SENI LUKIS NEGARA
BETWEEN MIXED MEDIA
FROM THE PERMANENT
COLLECTION OF
NATIONAL ART GALLERY
30 MAC 2010 - 16 JAN 2011
l Amerrudin Ahmad
06
Eksploitasi
dan pengolahan bahantara
dalam menghasilkan bahan
budaya (material culture) adalah lumrah kepada umat
manusia ribuan tahun dahulu. Umpama orang dahulu
kala yang mengolah kayu menjadi kapal merentas
samudera untuk sampai di dunia sebelah sana, begitu
jugalah karyawan dan pelukis mengolah bahantara
dalam karya-karya mereka.
Usaha untuk memberi dan menyampaikan mesej
kepada khalayak sama ada dalam pendekatan
ilusionistik yang memancarkan saripati alam,
sanggaan gerak syarat dan emotif, atau pun
pendekatan investigatif yang cenderung menyelidiki
milikan-milikan struktur persepsi dalam senilukis,
seperti ruang, warna dan sifat bahan.
Penghasilan karya dengan tambahan bahan-bahan
asing bukan media konvesional ini semarak dengan
berkembangnya ekperimentasi dalam dunia seni
moden. Bermula dengan gabungan lebih daripada
satu bahan di atas sebuah permukaan karya seni
seperti gabungan sesama bahan basah atau kering
dan basah, kemudian dengan kaedah tampalan
menggabungkan pula bahan-bahan nipis dan ringan
yang dipanggil kolaj hinggalah gabungan yang agak
ekstrem iaitu melekatkan atau menggabungkan
bahan-bahan yang lebih tebal dan berjisim tiga
dimensi.
Pameran Tetap yang mempamerkan
koleksi Himpunan Tetap Balai Seni Lukis
Negara kali ini menampilkan koleksi
karya-karya yang menggunakan bahan
campuran. Pameran ini bertujuan
memperlihatkan secara kronologi
kemasukan karya-karya bahan campuran
yang dihasilkan seawal tahun 1950an
hingga kini. Terdapat lebih 300 buah
karya dari Himpunan Tetap yang dapat
diletakkan dalam kumpulan karya
berbahan campuran ini. Namun terdapat
sebilangan karya yang amat menarik
tetapi tidak dimasukkan untuk pameran
kali ini kerana fokus pameran ini terhadap
karya media campuran (mixed media) dan
tidak melibatkan karya media pelbagai
(multi media) yang menggabungkan
bahan/media bukan visual seperti audio,
video dan animasi komputer.
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PONIRIN AMIN, Anggerik Putih Di Pusara, 1983, Campuran, 65.6 x 88cm, BSLN 1983.030
CHAN THIM CHOY, ...Happy New Year...?, 159 x 203cm, BSLN 2204.009
MOHD SUHAIMI TOHID, Journey, 2001, Campuran, 143 x 88cm, BSLN 2001.043
JOSEPH TAN CHIN JIN, Love me in my Batik, 1968, Campuran, 203.2 x
71.1cm, BSLN1975.002
Hasil geledahan repositori Himpunan Tetap ini akan dipamerkan di ruang Pameran
Tetap karya-karya bahan campuran secara turutan penghasilannya dengan kumpulan
tahun 50an, 60an dan 70an dalam satu jangkawaktu, manakala kumpulan karya 80an,
90an dan 2000 hingga kini dalam jangkawaktu yang berikutnya.
Semestinya pameran ini akan menjadi sebuah pameran yang penuh informasi untuk pengkaji, pelajar,
peminat seni dan pelukis sendiri bagi melihat perkembangan karya berbahan campuran di dalam sejarah
pengumpulan karya seni visual di Balai Seni Lukis Negara.
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Semenjak
pameran seni solo pertamanya
kira-kira 20 tahun lalu, artis
kelahiran Malaysia Soh Boon Kiong mengambil keputusan
untuk berpindah ke Jepun. Semenjak itu beliau telah
membuktikan bahawa tindakan berani beliau ini telah
menghasilkan suatu pengalaman baru yang
memberangsangkan sebagai seorang insan pengkarya
seni yang matang.
Hasil pengamatan dan pengalaman selama
pengembaraan seninya kini dipersembahkan kepada
dunia bertempat di Metro Fine Arts Gallery, Tingkat Bawah
Legend Hotel, Kuala Lumpur yang dijadualkan dari 19 Mac
sehingga 3 April 2010. Sekiranya tiada aral melintang, Soh
juga akan mengadakan pameran solonya di Paris.
Pameran ini telah dirasmikan oleh Tuan Yang Terutama
Mr Marc Barety pada hari Jumaat, 19 Mac 2010.
Para pengunjung disajikan dengan hasil karya yang
menakjubkan yang bertemakan La Poesie de lEau
atau The Poetry of Water atau Puisi Air yang
memperlihatkan 15 hasil karya lukisan akrilik di atas kanvas
terbaru yang dipamerkan buat pertama kali.
To
Celebrate HERWORLD being in the market for
50 years in 2010, the Her World Celebrates Art
exhibition was held at 23 Feb - 7 March at the Bangsar
Shopping Centre. The exhibition was presented by
Hagen-Dazs and supported by the Ministry of Women,
Family and Community Development, offciated by
Datuk Seri Sharizat.

All art pieces is an interpretation of the theme
Celebrating Women, and the original artworks and
photographs will be on sale for charity.
Participated Galleries: NN Gallery, Metro Fine Art,
Archana Gallery, The Gallery@Starhill and Shalini
Ganendra Fine Art.
Participated Artists/Photographer: Tew Nai Tong,
Ahmad Shukri, Kim Mun, Suk Tai, Rahman Roslan, Soon
Lai Wai, Kah Mun, Soon Lau, Eston Tan, Tan Wei Kheng,
Zac Lee, Nur Hanim Khairuddin, Haffendi Anuar, Nirmala
Karuppiah and Faizal Sidik.
LATAR BELAKANG PELUKIS
Artis Malaysia yang bermastautin di Jepun, Soh Boon Kiong dilahirkan pada tahun 1966 di Kuantan, Pahang. Beliau menuntut di
Sorbonne and Ecole Nationale Superieure des Beaux Arts de Paris dari 1988 sehingga 1993. Beliau telah menetap dan bekerja di
Amagasaki, Japan sejak 1998 bersama isteri beliau yang berbangsa Jepun dan dua orang anak mereka. Hasil karya Soh banyak
dipengaruhi oleh pelukis-pelukis Impressionis Perancis disamping gerakan Expressionisme Abstrak yang bermula pada tahun 50an
di Paris. Beliau turut mendapat inspirasi dari lukisan San-Sui (landskap) Cina lama disamping lukisan kaligraf China. Hasilnya
terbentuklah suatu gabungan unik estetika timur dan barat yang mengagumkan. Di samping kehebatan seninya, Soh juga boleh
bertutur dalam lima bahasa yang berbeza.
SOH BOON KIONG
MERAIKAN 20 TAHUN KARYA
DENGAN PAMERAN SENI
di KUALA LUMPUR
HER WORLD
CELEBRATES
ART !
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The Flowing Music, Acrylic on Canvas, 128.5x128.5cm, 2009
For the Seine, Acrylic on Canvas, 190x130cm, 2009
Rahman Roslan, Testimonial, Light jet printing on Kodak, endura paper, Edition of 1/5, 41 x 25
Nur Hanim Khairuddin, Petals of Hope, Oil & Collage on canvas,
76cm x 76cm, 2009
Suk Tai, A Quiet Chat, Oil on Canvas, 67.5cm x 88cm, 2009 Soon Lau,Flowers, Photopaper, 24 x20, 2009
08
FLIGHTS OF FANCY
Where
creative minds fnd the freedom
to express themselves. A group
exhibition by Azizan Talkis, Eric Keoh, Mohd. Fairuz
Paisan and Hoo Kiew Hang. This group show features
recent works of like minded individuals with the aim
of nurturing the growth and development of art in
Malaysia thus providing support and encouragement
amongst each other. For the frst time ever, these
artists are joining forces in showcasing recent works
that are truly inspiring; voyaging through different
idealism of life, hence the title Flights of Fancy,
which is set to portray this sought after thoughts of
imagination and idealism.
As the nature of the gallery is to promote aspiring
and emerging new talents, there is always a larger
creative pool available, and this time, the exhibition
will showcase works from artists; Azizan Talkis, Eric
Keoh, Fairuz Paisan and Hoo Kiew Hang, four very
talented artists with a truly unique combination of
distinct styles and fair for art.
Flights of Fancy will inject a breath of fresh air in
portraying a dedication to the total freedom of
expression, all in the name of art. It is their hope that
this platform of appreciation, support and friendship
will lead to a greater understanding of the true nature
and purpose of art.
THE 15TH
RIMBUN DAHAN
RESIDENCY
EXHIBITION
artists MONIKA BEHRENS,
ROCHELLE HALEY &
SAMSUDIN WAHAB
dates 28th February 14th March 2010
venue RIMBUN DAHAN, Kuang, Selangor
www.rimbundahan.org
FLIGHTS OF FANCY : AN ART EXHIBITION
26th February 31st March 2010
Venue :
Art Lives Gallery, 37-2, Jalan 23/70A, Desa SriHartamas,
50480 Kuala Lumpur
For further enquiries, please contact :
Ms. Annusalya @ 03 62035223
| AZIZAN TALKIS |
An inspiring artist who graduated from
the University of Technology Mara (UiTM)
in 2006. He has exhibited his artworks
every year in the last four years. His
recent solo exhibition is done at House
of Matahati (HOM)in late 2009. In his
artworks he is more inclined to the
fxation of horrors and surrealism style
of painting infused with pop icon .
| ERIC KEOH |
Ipoh born Eric obtained his BA (HONS)
Fine Art, majoring in Painting from the
Central State University of Oklahoma,
USA. At the university, his work received
various recognitions, including a Red
Ribbon for Oil painting and Sculpture,
as well as a Blue Ribbon in Print Making.
He was also named the outstanding
artist of the year in 1989. Erics work
has been collected by individuals from
Malaysia, Singapore, Taiwan, New
Zealand, the United Kingdom and the
United States. Erics paintings not only
mirrors his individualism, but that can also
be refected by many. Being a music lover,
his paintings entwine musical notes,
art and soul.
| MOHD FAIRUZ PAISAN |
Graduated from University of Technology
Mara (UiTM) Shah Alam, Selangor with
a Bachelors Degree (Hons) Fine Art,
Mohd Fairuz has participated in various
art projects in Malaysia including being
the art director for numerous local TV
programs. He has also joined various
art exhibitions such as the Phillip
Morris and the Nokia art award. His
social commentary artworks depict
manifestation of human life with
metaphors such as nature and animals.
Black and white are the choices of color
for the artist due to his fascination with
themes of life values that we so often
need reminding of.
| HOO KIEW HANG |
Began his career as
a contemporary
painter in 2006
after graduating
in Fine Arts at
Dasein Academy
of Art, Kuala
Lumpur. He
has participated
in numerous
exhibitions
both locally and
abroad and has
been involved
in community art
projects. His visual
art has very much
been infuenced by the
characteristics of pop
art and poetic/comic visual
art with the use of bold colors,
images and
written words.
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Rimbun
Dahan hosted its
annual exhibition at
the end of February,
2010. A much
anticipated event
on Klang Valleys
arts calendar,
the 15th Rimbun
Dahan Residency
Exhibition
showcased artworks
by Monika Behrens
(Australia), Rochelle
Haley (Australia) and Samsudin Wahab (Malaysia).
All three artists were residents of Rimbun Dahan,
the family compound of architect Hijjas Kasturi
and Angela Hijjas in Kuang, outside Kuala Lumpur.
Under the guise of still life oil paintings comprised
of playful, nostalgic and seductive objects Behrens
works subversively with serious and insidious
ideas. Her work is based broadly on themes of
loss, violence, deceit, power plays within society
and the subsequent impact on the vulnerable.
In this exhibition, her works highlight on
contemporary political issues within Malaysia.
Rochelle Haley is a Sydney based artist working
broadly within the felds of experimental drawing
and installation. Central to Haleys work is the
exploration of the relationship between the human
subject and their physical and social environment.
Recently this concern has been expressed through
a series of incised paper works investigating
the relation between the land, the body and its
representation. Imaging the landscape using
unusual methods of drawing with blades and
carving into heavy white paper, Haley creates
artworks that require a viewer to negotiate light
and texture.
Samsudin Wahab a.k.a. Buden has won the
Malaysian Emerging Artist (MEA) Art award in
2009, and his frst solo exhibition was the 2008
Enough! event at Taksu Gallery. Buden creates
artwork to portray the people, the culture, the
society and the politics surrounding him. He was
the re-Cover Artist for our SENIKINI #04 2009.
The exhibition was held in the underground
gallery at Rimbun Dahan which is set within 14-
acre grounds with an organic herb & spice garden,
orchard, forested & wetland areas, a century-
old restored kampung house from Perak and an
Anglo-Malay bungalow from Penang.
SAMSUDIN WAHAB, Manusia Setengah
Dewa, Collage, acrylic, bitumen on
canvas and plastic frame,
16 x 25cm, 2009
ROCHELLE HALEY, Pendulous Heart, Refective flm,
metallic paint and etching on glass, 30 x 21cm , 2009
MONIKA BEHRENS, Grafted Soil, Oil on linen,
150 x 100cm, 2009
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Family Potrait-2, Acrylic on paper, 60 x 84 cm, 2009
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In
year 2006, I was frst introduced to
K.Soons work when I was browsing an
art & design forum which is a platform to share
his art. His simplice but weird images have
captured my eyes and it also attracted a
group of followers for his blog (junkie-monkey.
blogspot.com).
For this issue, SENIKINI has invited K.Soon to be
the Re-Cover artist and I also got the chance
to interview K.Soon about his journey of
artwork-making.
HOW DID YOU FIRST STARTED TO BE INVOLVED
IN ART?
I like to doodle since I was a kid. One of the
frst infuences I received was from the Hong
Kong comic. I remember when I was studying
at the primary school, I and my classmate will
collaborate to publish a comic book, and we
will imitate the comic drawing and start to
create our own story. It sound childish but it
does help me to develop my drawing skill and
my creative imagination.
After I graduated from the secondary school,
I started to realize that there are specialized
institutes to study ARTS. At that time, I totally
have no idea about art; I just enjoy doodling
around, no art history, no art theory, no proper
training drawing skill but my strong passion
in drawing. But unfortunately, the expensive
tuition fees made me hesitant.
After working for two years, I entered the
Malaysia Institute of Art (MIA) to pursue my
interest in art in 2001, majoring in the Illustration
& Design. During the three years college life
and the years after graduated, I had worked
several part-time jobs as VCD seller in night
market, animator, display artist in shopping
complex, direct sales, operator in call centre,
and etc. I was going through a very diffcult
time at that point as I have lost my enthusiasm
in art.
The next phase of my art journey was in year
2006; I took up my drawing again after I have
stopped involve in art for three years after
graduated from art college. In February 2008,
FINDARS art group was founded; not long
later, FINDARS SPACE is offcially opened at
The Annexe Central Market in September.
Together with the FINDARS members, we had
organized few art exhibitions and became
exposed to different types of art forms & artist,
such as experimental sound art, performance
art, independent music scene, electric music
and so on.
DESCRIBE YOUR DAILY ACTIVITY BESIDES
MAKING ART.
I always hang around at the kopitiam(coffee
shop) where I can really connect to the
down-to earth fact. I will read newspaper to
keep myself update while I enjoying my cup
of hot coffee and I like to talk to people like
foreign workers and customer there. Beside
that, I like to walk around my housing area as
well. I observe the surrounding and observe
the people then I get inspired!
WHATS NEXT?
For my new series of work, I plan to continue
exploring the creation of composition and
subject matter and preparing myself on
large canvases. Beside of applying my art on
canvas, I will also participate in art festival,
mural painting, installation, performance and
etc. I give myself total freedom of expression
on this exploration stage, never try never
know!
Name: Lim Keh Soon Nickname: 1. Private part + my name, 2. Saru(Monkey in Japanese)
Hometown: Sungai Buloh Favourite Toy As a Child: Stone on railway, air longkang, pasir,
guli Favourite Toy Now: no favourite toy for today Heroes: Street cleaner, eco worrior,
hard-working foreign workers Likes: sleep, eat, shitting, Doraemon, Ultraman Dislikes:
Insomnia, hungry, constipation, stomach-ache 3 of Your Favourite Movies: Whats
Eating Gilbert Grape(have Johnny Depp), Survive Style 5 (Japanese movie), Shower
(Chinese Movie), Transporting 3 of Your Favourite Books: Acid House, Manga books by
Minoru Furuya and Mochizuki Minetaro, East Asia Modern History If not working in art,
what would you be doing: farmer, cleaner Theory of Life: apa boleh buat, buat saje (
Do what I can do) Wildest Desire: travel to the moon Most inspired statement/quote,
heard or said: I dont know
LIM KEH SOON (K.SOON)
| Wening Cheah
RE-COVER STORY :
LIM KEH SOON
(K.SOON)
I start to use a very basic tool such as computer
program Paint to generate my drawing during
the time that I worked in the call centre in 2006.
One of my colleagues encouraged me and
helped me to publish my artwork through internet
via Blog. Eventually, I need a name for my 1st
blog, as Im born in Monkey year (1980), this is
how JUNKIEMONKEY came. From time to time, I
will post my latest comic series & drawings in my
blog.
I draw whatever comes to mind yet the content
of my drawings are a depiction on the life of
offce workers in dark humour. The illustration
on satirical social phenomena is also slowly
developed, the use of metaphor and symbolism
can strongly see in my artwork. During the
creative thinking process, these elements respond
to my feeling on the society, environment and
everything happens around me.
Last year (2009), I had my frst solo exhibition
JUNKIEMONKEY at the FINDARS SPACE. This
exhibition is a small summary for my past 3 years
art-making journey.
My Little Sunshine, 21 x 15cm ,
Ink on paper, 2007
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Gabungan
projek-projek
penyelidikan
dan seni visual dari SENI UMS (Sekolah Pengajian Seni,
Universiti Malaysia Sabah) dan Persatuan Seni Visual
Sabah.

Muzium & Galeri Tuanku Fauziah (MGTF) Universiti Sains
Malaysia (USM) dengan bangganya mempersembahkan
LIMPAS BAYU BORNEO, sebuah gabungan menarik yang
memaparkan enam projek penyelidikan oleh para
penyelidik dari UMS dan lima puluh tiga karya seni visual
oleh lima belas orang pengkarya dari Sabah. Gabungan
ini adalah sebahagian dari TAUTAN RENTAS SAMUDERA
USM-UNIMAS-UMS yang bertujuan untuk mempergiatkan
lagi usahasama penyelidikan, penerbitan dan akademik
antara USM, UNIMAS dan UMS dalam bidang kesenian
dan kebudayaan. Disamping itu, lokasi universiti-universiti
awam ini (seberang lautan) yang berada di luar dari
ketepuan tarikan pusat (Kuala Lumpur) membawa
banyak potensi untuk membangunkan bidang-bidang
pilihan yang lebih segar dan belum diterokai.
LIMPAS BAYU BORNEO menandai anjakan dari segi
kaedah kuratorial dalam mana kedua-dua penyelidik
dan pengkarya seni visual dibentangkan sebagai
peneroka ilmu dan pencari hikmah yang saling
bersinergi, sentiasa dipacu oleh perasaan ingin tahu
dan dipandu oleh keinginan untuk menggali semula
kekayaan warisan negara. Dalam hal ini, fokusnya
adalah kekayaan warisan budaya tradisi Sabah yang
unik. Menerusi gabungan ini, Sabah sebagai sebuah teks
budaya, ditandai secara rasional dan emosional, secara
akademik dan intuitif. Namun demikian, gambaran
terhadap Sabah boleh dibaca menerusi pelbagai cara
yang terbuka menerusi projek ini.

LIMPAS BAYU BORNEO menampilkan dokumentasi
terperinci tentang dastar Iranun, sunduk Suluk, tatu
Murut, gambus Brunei, kartunis Dusun dan rumah Dusun.
Kajian-kajian ini kebanyakannya bersifat deskriptif,
mencerminkan minat mendalam untuk menggali semula
beberapa peninggalan budaya Sabah yang kaya
namun masih kurang diketahui umum. Pendekatan
projek ini yang bersifat pengumpulan dan penerangan
membolehkan pengunjung mentafsir dan membentuk
pembacaan tersendiri tentang bagaimana Sabah
sebagai sebuah teks budaya digambarkan atau
harus digambarkan. Banyak yang boleh dipelajari dari
kepelbagaian budaya Sabah.
Dalam kes-kes tertentu, budaya ini ditandai
oleh dikotomi politik Malaysia timur dan
barat, juga oleh kedudukan geografnya
yang sering dianggap kepinggiran jika
dibandingkan dengan apa yang sering
ditafsir sebagai pusat amalan seni
kontemporari dan wacana budaya. Ia juga
ditandai oleh bentuk-bentuk penentangan
binari yang lain yang sudah sebati dalam
wacana sosio-budaya seperti antara
kemodenan dan tradisi. Bagaimana jika
Sabah dibaca sebagai pusat, manakala
dunia yang lain dianggap sebagai pinggiran?
Gabungan ini boleh dianggap sebagai sebuah
perjalanan menerusi beberapa tunggangan. Perjalanan
ini digambarkan dengan sesuai (secara fzikal dan
metafzikal) oleh penggunaan satu motif sunduk Suluk
yang juga kelihatan seperti sebuah bot tradisional Suluk
dipanggil lepa. Istilah limpasitu sendiri merujuk kepada
memohon untuk laluyang dikaitkan dengan bayu,
merujuk kepada Sabah sebagai negeri di bawah bayu.
Malah, kematian itu sendiri, berdasarkan banyak bentuk
tradisi, bukanlah pengakhiran yang mutlak. Ia adalah
permulaan untuk laluan, perjalanan dan jumpaan yang
lebih panjang. Ia juga membolehkan sesuatu yang baru
dilahirkan.
MGTF USM menjemput anda untuk menyertai dan
menjadi sebahagian dari gabungan, perjalanan dan
penemuan menarik ini.
Antara penyelidik dan pengkarya yang terlibat
termasuklah Prof. Madya Hj. Inon Shaharuddin Abdul
Rahman, Prof. Madya Ismail Ibrahim, Zaimie Sahibil,
Mohamad Azareen Aminullah, Mohammad Puad Bebit,
Jennifer Linggi, Christianne Goonting, Datuk Mohd.
Yaman Hj. Ahmad Mus, Dzulkifi Abdul Rahman, Datu
Ruslan Sulai, Datin Maimun Pg. Bagul, Tina Rimmer,
Zulwawi Hashim, Suzani Suhaimi, Awang Azmi Awang
Bakar and Muslim Matajim.
Gabungan ini disatukan oleh saya selaku Pengarah
MGTF USM, dengan koordinasi bahan oleh Mohamad
Puad Bebit dari UMS, Christianne Goonting dari Persatuan
Seni Visual Sabah, Abdul Rasyid bin Abdul Razak dari
Galeri Seni Melayu Pulau Pinang dan bantuan kuratorial
dari Afzanizam Mohd Ali, Nur Hafzah Abd. Aziz and Nor
Mohamad Abd. Rahim.
Limpas Bayu Borneo adalah projek kedua dibawah
TAUTAN RENTAS SAMUDERA USM-UNIMAS-UMS yang
dimulakan oleh pameran IQRA- TAMAN HIKMAH, anjuran
MGTF USM yang dilangsungkan di Fakulti Seni Gunaan
dan Kreatif (FSGK), Universiti Malaysia Sarawak (UNIMAS)
pada tahun lepas. Projek ketiga adalah pameran hibrid
oleh FSGK UNIMAS di MGTF USM pada bulan Julai 2010
akan datang.

LIMPAS BAYU
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l Hasnul J Saidon
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Crossing Borders was the fnal theme of this exhibition
after a series of discussion and deliberations between the
Sarawakian artist Melton Kais, the Irish sculptor and the
Galleria proprietor, Irene. An artist crosses borders in more
ways than one in his mind and his work and for those
people who cannot do it for themselves, this is where the
artist plays his part in society and as human being. It is in
our DNA to express ourselves and artists do it by Crossing
Borders.
Derek Anthony Fits Simons, well known as DAF is better
known as a sculptor from Irish for his stone work and has
worked on the three continents, and again to quote DAF
I call myself a Lucky Artist in the sense that it was my
stone work that brought me around the world and of
course here to Sarawak but working the stone as I was for
25 years non stop and on my own can be very tiring on
the body not to mention the stone dust you breathe in 10
to 12 hours a day. Now I am working on local clay and
I am re-inventing myself as an Artist in that the clay has
allowed me to push the boundaries of my imagination
out that I do not know whats going to surface.
DAF is working on a theme now in the clay MY PET and
Crossing Borders is showing MY PET (1) and MY PET
(2) and in these two works you can see the mind crossing
borders at work. At this time now he is working on MY
PET (3) and when completed will stand six feet tall.
When viewing these works no two people will have the
same feelings or understanding towards the work, says
DAF and for me to create the work is right for me, for me
to move your emotions through my work is right for you.
DAF also fnds the time to keep a blog to show and
explain some of his work and to do his writing and quotes,
you can visit at www.deedaf.blogspot.com.
Melton Kais is a Sarawakian Bidayuh Artist who has
willingly shared a part of his culture and traditions through
his paintings.
My presentation for this exhibitions encompasses a
multitude of subject matter which are very familiar to
myself. Being a Bidayuh I willingly share a part of my
culture and traditions through paintings like Sacred
Ornaments, Shamans Dream and Resurgence which
is about the hope and dreams of a Bidayuh medicine
men. My appreciations for other culture, races and their
traditions can also be seen in Postcard from Sarawak,
a nostalgic lifestyle of the fshermen in the eastern
coast of Sarawak and Table No.38 depicting a dinner
table no.38 which is covered with red cloth, a lucky
number and colour auspicious amongst the Chinese
communities.
Crossing Borders the title to this art exhibition is worth
your time in visiting quoted DAF.
Exhibition from 5th Feb to 31st Mar Galleria is located at Wesberly
House, Rubber Road West, Kuching.
Monday to Friday: 8am to 5pm, Saturday: 10am to 2pm
Please call Irene: 016-8865278 for further enquiries.
http://www.wesberly.com.my/gall.html
CROSSING BORDERS@
GALLERIA, KUCHING l Irene Lim
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Hadiah Pertama
RM 5,000 Tunai
1
Hadiah Kedua
RM 3,000 Tunai
2
Hadiah Ketiga
RM 2,000 Tunai
3
Saguhati
RM 500 Tunai
15
Saguhati
Antarabangsa
5
Hantar penyertaan sebelum atau
pada 31Mei 2010 kepada :
Sekretariat,
MALAYSIA FLORA PHOTO CONTEST
2010, KEMENTERIAN
PELANCONGAN MALAYSIA,
Tingkat 22, Menara Dato Onn,
PWTC, 45, Jalan Tun Ismail,
50480 Kuala Lumpur,
MALAYSIA.
Tel : 03-2693 7111
Faks : 03-2691 3358
www.motor.gov.my
Dayak Bidayuh Settlement, 30 in x 40 in, Acrylic on Canvas, 2009
Lucky Lot, 3ft x 4 ft, Acrylic on Canvas, 2009
Watershed, 2ft x 3 ft, Acrylic on Canvas, 2009
12
A
Metre. A basic unit of length. Being
derived chiefy from the Greek
word metron, denoting measure.
But measurement not only provides us with
a technically precise knowledge of scale, it
further suggests a grammar of art. For a metre
is also the poetic value of a creative resolve.
In poetry, it describes the rhythmic structure
of a verse. I think more of a bird with broad
wings fying and lapsing through the air, than
anything, when I think of metre observed the
Englist novelist, D.H. Lawrence.
The confuence between the technical and
the poetic is found in A Metre Perspective,
an exhibition featuring both emerging and
established artists in Malaysia. In many ways,
the guiding principle of the exhibition, that
participating artists should create artworks
measuring one metre by one metre, establishes
the rule of the game, through which artists are
challenged as well as encouraged to take
their practice to another level.
Like the value of the metre, as a system of
measurement that is conventionally defned,
the established one metre by one metre
guideline for this exhibition is also arbitrary at
best. However, it is by setting up the constraint
as an ordeal, a task, a hurdle, or whatever you
want to call it, that creativity as an approach
to problem-solving, as a triumph over limitation,
is underlined. Yet, this isnt a logical endeavour.
Art never is. Was it not Samuel Taylor Coleridge
who opined, Poetry is not the proper antithesis to
prose, but to science. Poetry is opposed to science,
and prose to metre?
Given that most participating artists are inclined
towards creating artworks on a larger scale, the
exhibition provides a refreshing perspective into the
diverse range of artistic skills by frstly taking artists
beyond their comfort zone (in this instance, the
familiarity of painting on large canvas), and then
secondly, giving us an opportunity to experience
their work on a different scale (for viewing a one
metre by one metre work of art makes us see
differently than viewing a bigger piece of work).
The task is then setting this confnement of scale as
an opportunity for the artists to rethink their practice
and hone their poetic metre. And interestingly
enough, artists in this exhibition have taken up this
challenge and interpret it in a number of ways.
One way is to consider it as a mirror, a refective
surface through which artists can continue to
explore themselves as painted subjects. Both
Jalaini Abu Hassans The Fascist and Ahmad
Fuad Osmans Victim of Circumstances are
self-deprecating portraits playing the role of a
political megalomanic and an object of derision
respectively. Elsewhere, Ahmad Zuraimi Rahims
Ayahku Seorang Great Master pays a flial
homage to the paternal fgure of the artist life as a
progenitor of his creativity. In Bayu Utumo Radjikins
Being, the artist continues to fashion himself as a
Malay warrior, embodying the spirit of courage and
strength as elements central to his creative pursuit.
In other instances, we can consider the metre
perspective as a binary between transcendence and
materiality. Mohd. Saharuddin Supars Super Internal
No. 14 Rising 2K, Ramlan Abdullahs Connection,
Sabri Idruss Revisiting Architecture, Ahmad Shukri
Mohameds The Great Wallpaper #21, Wong Chee
Mengs A Meter Away, and Hamidi Hadis Float
evince both emotive and analytical interest in artmaking.
Here abstracted forms articulate the tensions and
dynamism between an artistic interest in the materiality
of the artworks and the desire to evoke the emotional
tenors that existed within the chosen medium.
Another approach is to consider the works of the artists
as windows looking out to our social reality. Phuan Thai
Mengs Perspective highlights youtube and Internet
as a channel for social commentary; often capable of
exposing the unsettling absurdities of the world we live
in. In Kow Leong Kiangs Whatever, the artist revisits his
well known portraits of kampung Malay girls, capturing
them in the melancholic beauty of their rural surrounding,
encapsulating the spirit of youthful abandon.
Other works look into the issue of creative expression,
often employing surrealist vocabulary to articulate a
dream-like statement. Jeganathan Ramachandrans
iconoclastic Crying Buddha develops an emotive
iconography in response to the conventional image
of the serene Buddha fgure. Hamir Soibs Mimpi
Bulan Disember explores the deeper recesses of our
psyche through the use of bitumen as a medium to
suggest a primeval state of consciousness. Masnoor
Ramli Mahmuds Pukul Berapa Datuk Harimau makes
cinematic references to legendary Malaysian director
A METRE PERSPECTIVE
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Jeganathan Ramachandran CRYING BUDDHA
acrylic on canvas
Saharudin Supar INTERNAL NO 14 RISING 2K
clear lacquer on steel
Bayu Utomo Radjikin BEING, acrylic on canvas
Wong Chee Meng A METER AWAY
acrylic on canvas Hamidi Hadi FLOAT, acrylic on canvas
Hamir Soib MIMPI BULAN DISEMBER
mixed media on canvas
Jalaini Abu Hassan THE FASCIST
mixed media on canvas
Ahmad Zuraimi Rahim
AYAHKU SEORANG GREAT MASTER
mixed media on steel
Marvin Chan THE MAGI , oil on canvas
Daud Abdul Rahim
ULAT LOGAM-PEMBURU DI BURU
steel & aluminium
P. Ramlee, bridging artistic impulses towards
storytelling that narrative painting and flm share.
Marvin Chans The Magi narrates
the anxiety of the artist embodied
in the fgure of the amagician, who
is unsure of whether the butterfies
of his creation might overcome him.
Similarly, in the only sculptural work in
the exhibition, Daud Abdul Rahims
Ulat Logam- Pemburu di Buru is a
playful title alluding to the creative
exploration of form as an act of
hunting and being hunted by ideas,
inspiration and experimentation.
A Metre Perspective can hardly
be called a thematic exhibition.
Its subjects too varied, ideas too
complex, styles too diversed. The single binding
feature that all participating artists share is the
challenge to translate their visions and ideas
into a scale that is unfamiliar to their repertoire.
This calls for a re-evaluation of art making, a
chance to consider the possibility of creating
maximum poetic effect in the restriction of
space. After all, creativity blossoms in moments
of great constraints. These are some perspectives
through which we can come to appreciate this
imaginative undertaking.
Award
winning artist, Zac Lee, develops the series New
Species, C-4, with visual vibrancy and humour. The
durian fruit, known as the king of fruits, is native to parts of South East
Asia. Different species of the fruit are identifed through letters and
numbers. Lee uses this iconic fruit to comment on prickly issues, in a
most appealing way.
By visually creating a new species of durian and naming it a fctional
C-4, Lee embraces references to unrest, political struggle and national
power, through analogies with the nature of the fruit (prickly with
unpleasant odour but delicious and sensual).
The new works refect Lees dynamic imagination, characteristic
mastery and skill, combining painting, silk screen and digital media
techniques.
About ZAC LEE
Lees fuid strokes study sublime behaviors and relationships, presenting
trace evidence of primal instincts and interactions. Objects and
forms are metaphors for individuals and community, and often
involve inquiry into contemporary and extra-territorial applications of
traditional folklore and national iconography.
Trained in local and other painting traditions, Lee has developed
techniques that combine or incorporate elements of painting, silk
screening and digital images. He plays with realism, abstraction,
language and illustration to present psychological puzzles and make
elegant social commentary.
ZAC LEE
NEW SPECIES C-4

@ KL PAC, SENTUL
12 - 28 MARCH 2010
Kow Leong Kiang WHATEVER, oil on linen
Masnoor Ramli mahmud
PUKUL BERAPA DATUK HARIMAU
Ahmad Fuad Osman
A VICTIM OF CIRCUMSTANCES
Mixed Media
Ramlan Abdullah CONNECTION, aluminium
Phuan Thai Meng PERSPECTIVE , oil on canvas
Sabri Idrus REVISITING ARCHITECTURE
Resin, slade, metal & wax
Ahmad Shukri Mohamed
THE GREAT WALLPAPER #21
mixed media on canvas
Birth, Digital Print, Ed. 8, 60cm x 60cm, 2010.
Hybrid Twins, Oil on Jute, 24cm x 48cm, 2010.
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Persoalan
seksualiti dan politik sejak
mutakhir begitu banyak
dibangkitkan dalam forum dan artikel. Tidak kurang juga
artis atau pelukis turut mengangkat isu dan tema ini ke
dalam lukisan mereka. Hal ini dapat dihadam dalam
pameran lukisan terbaru saharil yang diadakan pada
14 hingga 31 Mei 2009 di Galeri Annexe, Central Market.
Pameran ini turut dijayakan bersama seorang lagi
pelukis, iaitu Munkao.
Saharil Hasrin Sanin, iaitu seorang ilustrator, penulis dan
pereka bentuk grafk telah melangkah setapak lagi
dengan menambah label pelukis pada diri beliau.
Dengan berbekalkan teknik pop art, iaitu semestinya
mendapat sedikit pengaruh daripada latar belakang
beliau sebagai pelukis ilustrasi, Saharil berupaya
menjengah dunia seksualiti dengan sedikit rencah satira.
Seolah-olah rencah satira ini berupaya melenturkan
tema yang hangat ini.
Penggunaan warna yang agak minimal, iaitu kelabu
dan putih yang menjadi asas bagi kebanyakan latar
lukisan, serta warna warna pastel lain seperti merah
jambu, biru, dan juga ungu dapat dilihat dalam karya
beliau yang bertajuk Donut Tak Ingat dan Terlalu Banyak
Masalah (sekadar memberikan beberapa contoh).
Penegasan warna yang diberikan pada imej-imej seperti
kuih donut, belalai sotong, cili dan sebagainya memberi
penekanan dan mesej penting pada imej-imej tersebut.
Tetapi sedikit agak berbeza dengan dua buah karya
iaitu yang satunya bertajuk Hikayat Dua Taman, sebuah
fgura dua wanita yang diwarnakan putih dengan dua
kuntum bunga yang diwarna-warnikan secara harmonis.
Manakala Semua orang Suka Jagung Muda pula fgura
lelaki yang diwarnakan putih juga, dengan jagung yang
mempunyai pelbagai kroma warna kuning-hijau.
Dari segi tampaknya, kesemua karya yang dipamerkan
dibahagi tiga dalam satu bingkai. Menurut Saharil,
pemecahan kepada tiga ini untuk menunjukkan
bahawa pemecahan anggota-anggota badan atau
fgura sehingga tidak menampakkan lagi bentuk asal.
Hampir menjengah alam penganut Kubisme. Aliran
Kubisme yang gemar objek dipecah-pecahkan,
dianalisa dan disusun kembali dalam representasi
abstrak. Artis Kubisme menterjemahkan subjek dalam
pelbagai sudut dalam konteks yang lebih besar, bukan
hanya sekadar melihat daripada satu sudut sahaja.
Tetapi Saharil pula cuma memecahkan imej melalui
pembahagian kanvas.
Menurut Saharil, tujuan beliau memecahkan badan,
memotong-motong jadi tiga panel, memenggal/
menutup kepala dan jari adalah kerana kepala dan jari
adalah anggota fzikal yang memaknakan seseorang
manusia.

Beliau mahu memansuhkan makna manusia tersebut,
dengan memenggal, menutup serta mewarnakan putih,
lalu menonjolkan objek-objek yang menutup tubuh
tersebut untuk membawa tema objektifkasi tubuh (the
objectifcation of the human body).

Beliau juga sebenarnya sedang menguji peraturan seni
di dalam Islam, bahawa jika melukis tubuh manusia,
haruslah dilukis tidak lengkap, atau dipotong kepalanya.
kerana segala bentuk lukisan manusia tentunya tidak
dapat menandingi ciptaan Tuhan. Namun, pada akhirnya,
walaupun dipenggal-penggal, diwarnakan putih, dan
ditutupi objek, tubuh manusia adalah imej yang kuat dan
masih menonjol.
Makanya, dapat dikupas bahawa selain daripada tema
tentang pemenggalan objek tubuh, imej utama juga
memainkan peranan utama dalam keseluruhan bahasa
visual. Dapat dilihat penegasan imej-imej utama yang
berwarna (seperti yang dijelaskan tadi) pada keseluruhan
karya Saharil ini iaitu donut, jagung, bunga dan
sebagainya ini sebenarnya terletak pada bahagian titik
dan garis Rule of Third itu sekaligus memberi penekanan
visual mata pada imej dan warna menurut prinsip Rule of
Third dan Nisbah Keemasan (Golden Ratio) itu.
Rule of Third merupakan prinsip komposisi dalam seni visual
seperti lukisan, fotograf atau rekabentuk. Menurut prinsip
ini, sesuatu imej hendaklah dibahagi tiga sama rata secara
horizontal dan dua bahagian sama rata secara vertikal.
Dan penegasan objek pada imej itu hendaklah diletakkan
pada setiap titik pembahagi garisan horizontal dan vertikal
ini. Teknik ini dapat menimbulkan kesan yang lebih dinamik,
serta mewujudkan minat dan tensi yang lebih pada
komposisi.
Manakala dalam matematik dan seni, Nisbah Keemasan
menjadi dasar pada Rule of Third ini, yang bermaksud
konsep matematik yang menjelaskan tentang dua
kuantiti hubungan timbal balik antara dua bahagian
pada keseluruhan bahagian. Nisbah keemasan ini telah
memukau sekian ahli intelektual Barat sejak daripada
zaman Greek lagi.
Dan terdapat ramai pelukis secara sedar atau tidak
menggunakan Nisbah Keemasan dalam karya mereka.
Contohnya Leonardo da Vinci dalam Monalisa, Salvador
Dali dalam The Sacrament of the Last Supper, Mondrian
yang menggunakan prinsip ini dengan meluas dalam
kebanyakan karya beliau, serta yang lain lagi.
Dan dapat dilihat secara holistiknya bahawa
pembahagian tiga imej dalam satu kanvas (seperti yang
dijelaskan tadi) merujuk kepada nisbah keemasan
ini, sama ada disedari ataupun tidak oleh pelukis.
Hal ini mengarah kepada dikotomi bertimbal balik
kepada pemecahan imej, iaitu anggota badan.
Saharil merangka suatu ketidaksempurnaan (dengan
pemecahan anggota badan) yang berhasil kepada
suatu keadaan yang sungguh sempurna (Golden
Mean). Ketidaksempurnaan dalam keadaan yang
sempurna.
Pemikir moden dan lampau menyedari bahawa
terhadap asosiasi rapat dalam matematik antara
keindahan dan kejujuran. Yang membawa kepada
suatu kesempurnaan yang lengkap. Manakala pemikir
Greek pula percaya ada tiga inti dalam keindahan iaitu
proporsi, harmoni dan simetri. Ini membawa kepada
elemen-elemen penting dalam pendekatan formalistik.
Karya Saharil ini mampu menjengah bukan sekadar
akal dan rasa, tetapi juga visual secara psikologis.
Bukan sekadar cantuman warna dan rupa tetapi juga
mencabar teori yang bertunjang bahawa seni bukan
sekadar hanya bersantai melepas emosi tetapi suatu
penerjahan terhadap masalah matematika, fzik dan
juga kognitif.
Harmoni dalam kekacauan. Ya. Saharil cuba
membentuk harmoni dalam kekacauan sama ada
dalam hidup atau pun dalam tema dan karya yang
dijengah dan dihasilkannya yang membawa kepada
kesempurnaan.
Alina Abdullah merupakan salah seorang tenaga pengajar seni
visual di Universiti Pendidikan Sultan Idris.
emel: hegiraz@yahoo.com
blog: alinaabdullah.wordpress.com
SAHARIL :
Berharmoni
dalam
menjengah
seksualiti dan
gender yang
kacau
l Alina Abdullah


Lebih Baik Naif



Acrylic, Enamel Paint, Graphite on Board

Saharil Hasrin Sanin, 2009



Hikayat Dua Taman



Acrylic, Enamel Paint, Graphite on Board

Saharil Hasrin Sanin, 2009



Siapa Jemput Perempuan Cabai?



Acrylic, Enamel Paint, Graphite on Board

Saharil Hasrin Sanin, 2009



Donat Tak Ingat


Acrylic, Enamel Paint, Graphite on Board

Saharil Hasrin Sanin, 2009



Semua Orang Suka Jagung Muda



Acrylic, Enamel Paint, Graphite on Board

Saharil Hasrin Sanin, 2009

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Menurut Saharil, tujuan beliau
memecahkan badan, memotong-
motong jadi tiga panel, memenggal/
menutup kepala dan jari adalah
kerana kepala dan jari adalah
anggota fzikal yang memaknakan
seseorang manusia.
Hikayat Dua Taman, Acrylic, Enamel Paint, Graphite on Board, 2009


Lebih Baik Naif



Acrylic, Enamel Paint, Graphite on Board

Saharil Hasrin Sanin, 2009



Hikayat Dua Taman



Acrylic, Enamel Paint, Graphite on Board

Saharil Hasrin Sanin, 2009



Siapa Jemput Perempuan Cabai?



Acrylic, Enamel Paint, Graphite on Board

Saharil Hasrin Sanin, 2009



Donat Tak Ingat


Acrylic, Enamel Paint, Graphite on Board

Saharil Hasrin Sanin, 2009



Semua Orang Suka Jagung Muda



Acrylic, Enamel Paint, Graphite on Board

Saharil Hasrin Sanin, 2009

Semua Orang Suka Jagung Muda, Acrylic, Enamel Paint, Graphite on Board, 2009
Cita-Citanya, Bila Sudah Besar Nanti, Mahu Jadi Nelayan, Acrylic,
Enamel Paint, Graphite on Board, 2009


Mungkin Terlalu Mengharap, Barangkali Kami
Penat


Acrylic, Enamel Paint, Graphite on Board

Saharil Hasrin Sanin, 2009



Terlalu Banyak Masalah (Tak Cukup Masa)



Acrylic, Enamel Paint, Graphite on Board

Saharil Hasrin Sanin, 2009



Gandum Putih / Gandum Penuh



Acrylic, Enamel Paint, Graphite on Board

Saharil Hasrin Sanin, 2009



Umpama Telur Sesangkak (Pecah Sebiji Pecah
Semua)


Acrylic, Enamel Paint, Graphite on Board

Saharil Hasrin Sanin, 2009



Cita-Citanya, Bila Sudah Besar Nanti, Mahu
Jadi Nelayan


Acrylic, Enamel Paint, Graphite on Board

Saharil Hasrin Sanin, 2009


Winson Loh tidak disia-siakan oleh beliau. Menerusi
tema terkini - Monsoon Series terus mengejutkan
warga KL dengan nafas baru dalam karya beliau.
Penggunaan warna yang terang dalam karya beliau
pada kali ini benar-benar memberi impak serta
kekuatan dalam siri ini. Berkisahkan musim monsun
yang tiba setiap penghujung tahun mendekatkan
lagi karya beliau dengan tanah kelahiran beliau di
Terengganu kerana angin monsun dan pantai timur
itu sendiri tidak mampu dipisahkan. Ombak-ombak
yang kuat tidak memungkinkan nelayan untuk turun ke
laut. Bermain dengan situasi alam dalam penceritaan
karya beliau walaupun secara abstrak tetap mampu
memberi kesan secara mendalam bagi pengunjung
pameran ini. Dalam siri monsoon ini, penceritaan
dalam karya beliau tertumpu pada kegelapan dan
kesuraman ketika monsun melanda, kekuatan ombak
dan angin juga digambarkan melalui sapuan berus
yang bersahaja, kasar dan spontan. Penggunaan
warna yang kadangkala terang, kadangkala gelap
juga menjadi asas kepada penceritaan alam dalam
Monsoon Series ini. Komposisi yang menarik dan
penggunaan warna yang minimum telah menguatkan
lagi perjalanan cerita dalam pameran ini.
Merupakan pameran solo ke 16 bagi pelukis ini, tidak
dinafkan ianya satu pencapaian yang mampu
dibanggakan selama 20 tahun beliau berkarya,
siapalah Pelukis tanpa lukisan. Pengalaman, jatuh
bangun dalam dunia seni mematangkan lagi beliau
dan membuatkan beliau lebih berhati-hati dalam
menghasilkan karya terbaru. Perubahan dalam karya
beliau menampakkan pengalaman intelektual dan
teoritikal digabung dalam proses menghasilkan karya
dengan lebih bersahaja.
Merujuk petikan ini Hasil kerja Suzlee diletakkan
oleh pengkritik seni tanah air sebagai karya yang
mempunyai aliran abstrak ekspresionisme yang kuat
kerana tidak mementingkan imej yang jelas. Kesan
sapuan berusnya kasar, sesekali besar dan halus
berubah menjadi garisan, lebih bersifat art of emotion.
Berita Harian, 16 Februari 1999.
Ternyatalah apa yang dinyatakan di dalam petikan
tersebut jelas menggambarkan keadaan sebenar
Pameran Monsoon Series ini. Gaya persembahan
pameran ini adalah sesuatu yang perlu dipuji kerana
pemilik Galeri iaitu saudara Winson Loh sangat
berani menongkah arus dengan menampilkan gaya
berpameran yang lari dari konsep tipikal, beliau berani
dan bersedia dikritik oleh pencinta seni. Jarang atau
belum kita lihat lukisan berkanvas dipamer diatas
kolam air dihiasi dengan lampu spot light dipancar
terus ke dada kanvas sekaligus menampilkan ciri-
ciri kontemporari dalam berpameran. Kedudukan
caption yang diletak di tepi kolam seolah-olah ini
adalah pameran arca menambahkan lagi suasana
eksklusif kepada pameran ini. Saudara Winson Loh
juga menyatakan bahawa beliau ingin lari dari konsep
asal berpameran dengan meletakkan lukisan ini
lari dari posisi asal seolah-olah kita melihat bingkai
dan kanvas tidak selari dengan keadaan senget. Ini
bagi beliau bukanlah sesuatu yang baru, kerana di
peringkat antarabangsa teori sesuatu perlu pada
kedudukan asal mengikut grid yang telah ditetapkan
adalah membosankan. Lantas beliau mencuba untuk
membawa sesuatu agar ianya kelihatan lebih moden
dan terbuka.
Seterusnya apa yang dapat dilihat pengaruh William
de Kooning dan Jackson Pollock sememangnya tidak
dapat dipisahkan dari karya Suzlee. Pengalaman
beliau mengkaji karya-karya Pablo Picasso dan Francis
Bacon secara tidak langsung telah mematangkan
karya beliau dalam pameran ini. Biarpun pengaruh
barat sinonim dengan beliau namun gaya penceritaan
dalam karya beliau lebih bersifat tempatan seperti
karya beliau antaranya yang bertajuk, Starry Night,
Awakening 3, The Burning Wave, The Tragedy,
Tengkujuh 1 The Masterpiece dan sebagainya
adalah rentetan dari peristiwa yang berlaku
ketika monsun.
Beliau bukan sahaja berpameran di dalam malahan
luar negara, beliau telah mempamer karya melebihi
500 pameran secara berkumpulan seperti di London,
Amerika, Denmark, Jerman, Perancis, Belgium,
Itali, Brazil, Cuba, Sepanyol, kanada, China, Jepun,
Argentina, Greece, Poland, Emiriah Arab Bersatu,
Australia, Bangladesh dan Nepal mengukuhkan lagi
pengalaman dan nama Suzlee Ibrahim di persada
dunia Seni tempatan sekaligus mengharum nama
negara di persada antarabangsa. Karya beliau juga
sering menjadi pilihan pengumpul seni (art collector)
sama ada secara perseorangan mahupun melalui
agensi seperti, Balai Seni Lukis Negara (Movement
Series, highgrove, 2001), Bank Negara (Movement
Series, Tulip 1,2004) dan EMAAR Properties, Dubai, UAE
(Space Series, Construction 4, 2005 dan Lautan Biru
2005 yang merupakan karya terakhir bagi Movement
Series merupakan koleksi Yang Di-Pertuan Agong Sultan
Mizan Zainal Abidin.
Pelukis juga selalu ditembak oleh soalan sinis mengenai
karya beliau yang bersifat kebaratan, namun kata-
kata ini boleh dijadikan panduan atau setidaknya
bahan fkiran Kita tidak mempunyai asas seni lukis
(catan) untuk dirujuk. Pelukis terawal ialah kumpulan
Pelukis cat air Pulau Pinang yang muncul pada 1930-
an. Sedangkan sewaktu portugis menyerang Melaka
(1511), potret Monalisa telah lama siap, - Utusan
Malaysia, 03/04/1999. Oleh itu tidak dapat dinafkan
muncul istilah Suzleeisme bagi menghormati beliau
sebagai salah seorang pelopor generasi baru
seni abstrak expressionisme di Malaysia selain dari
Kelvin Chap dan Zakaria Shariff (sekadar menyebut
beberapa nama). Sekurang-kurangnya beliau telah
berdiri dengan sendiri melalui pameran ini dan
mewarisi dari mereka yang terdahulu seperti Latiff
Mohidin dan Yusof Ghani (hanya menyebut beberapa
nama). Dengan jumlah keseluruhan 16 buah pameran
solo dan ratusan pameran berkumpulan, Suzlee
Ibrahim akan terus diingati oleh peminat dan pencinta
seni malahan karya-karya terbaru beliau akan sentiasa
dinanti oleh peminat mahupun pengkritik seni itu
sendiri.
Rujukan:
Suzlee Ibrahim, Abstract Painter, 2009
Monsoon Series, 16th Solo Art Exhibition by Suzlee Ibrahim
http://suzlee99.tripod.com/
Monsoon
Series.... Mendengar atau
membaca sahaja tajuk ini
di mana-mana membuat kan penulis tersenyum
kerana Pelukis ini pernah dikenali suatu ketika
dahulu. Pelukis yang pernah mendidik walaupun
tidak secara langsung memandangkan subjek
Drawing hanya untuk 2 semester ketika itu, namun
cukup untuk mengenali Pelukis ini walaupun hanya
secara luaran.
Suzlee Ibrahim, pelukis yang beraliran abstrak
expressionisme ini bukanlah baru di dalam dunia
seni visual Malaysia dan Antarabangsa. Menyoroti
susur galur Pelukis ini, dilahirkan di Kuala Terengganu
dan dibesarkan dalam suasana kampung dimana
beliau di kelilingi oleh para penoreh getah,
petani dan nelayan menjadikan beliau seorang
yang amat peka terhadap persekitaran beliau.
Interaksi secara verbal mahupun non verbal
serta pengalaman yang dilalui sendiri sebagai
anak kampung menjadikan beliau seorang yang
matang. Pengalaman semasa kecil telah banyak
mempengaruhi karya beliau dimana persekitaran
itu tidak lari dari menjadi asas pembentukan
lukisan beliau. Beliau mula melukis secara serius
bermula tahun 1987 ketika masih menuntut di Institut
Teknologi MARA kini dikenali Universiti Teknologi
Mara.
Tanggal 16 Januari 2010 yang lalu menjadi satu lagi
tarikh yang amat penting bagi beliau, dimana satu
lagi pameran secara solo telah berjaya diadakan.
Bertempat di Galeri Pink Guy di Jalan Pinang, Kuala
Lumpur peluang yang diberikan oleh saudara
CERITA
ALAM
DI DADA
KANVAS
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`Monsoon Series
oleh Suzlee Ibrahim
l Zuriyadi Sarpin
The Night Wind ll, Acrylic & Oil on Canvas, 36 x 36, 2009
Installasi khas untuk Monson Series
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16
Warna Tenaga
According to YBhg Datuk
Syed Ahmad Jamal, Warna
Tenaga, is inspired by the
concept of energy the
energy that permeates all
life and the universe, and
the energy that branding has
brought to businesses in
Malaysia and throughout the
world.
A
special preview of Warna Tenaga, the latest creation
by YBhg Datuk Syed Ahmad Jamal, National Art Laureate
was held on Monday 22nd March 2010 at the Balai Seni
Lukis Negara(BSLN) Malaysia. Warna Tenaga represents a
collaboration between the Asia Pacifc Brands Foundation, YBhg
Datuk Syed Ahamd Jamal and BSLN in conjunction with The
BrandLaureate Awards 2009-2010.
The BrandLaureate Awards 2009-2010 honor the best of brands
from the multinationals, private listed and government linked
companies. The theme of the BrandLaureate Awards 2009-2010
is Your Brand, the Masterpiece. In her welcome address, Mr.
Chew Bee Peng, the General Manager of the Asia Pacifc Brands
Foundation and The BrandLaureate said,
In the line with the theme, we invited YBhg Datuk Syed
Ahmad Jamal to paint a custom piece and to put on canvas, his
interpretation of the kaleidoscope of branding. We are honoured
that Datuk agreed to be part of this program.
Brands as we all know, play a very important role in our lives. We
are practically consumed by it we wake up to brush our teeth
with Colgate have our cup of Nescafe, drive our Protons to work
and our employers are Maybank, PNB, Sime Darby and so forth.
Brands are also key drivers of growth for organizations and for
the country and for them to be successful and have a global
presence, they need to build it up to be masterpieces that can
withstand all challenges and most important have strong brand
value, well over the years.
According to YBhg Datuk Syed Ahmad Jamal, Warna Tenaga, is
inspired by the concept of energy the energy that permeates
all life and the universe, and the energy that branding has
brought to businesses in Malaysia and throughout the world.
This collaboration with Datuk Syed Ahmad Jamal is part of the
CSR (Corporate Social Responsibility) program of the Asia Pacifc
Brands Foundation. Proceeds from the sale of Warna Tenaga will
be donated to charitable organization.
This collaboration also marks the start of the Asia Pacifc Brands
Foundation involvement in promoting, educating and instilling
the love of art amongst Malaysians and to showcase the work of
great Malaysia artistes.
C
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I
N
D
U
S
T
R
Y
PERTANDINGAN
REKABENTUK
MALAYSIA
2010
`Cultural Creative Industry
From Traditional to Modern Design
For more inquiries, kindly contact MRM at : -
MALAYSIA DESIGN COUNCIL
Tel: 03-5510 4714/ 4715/ 4717
Email: info@mrm.gov.my
www.mrm.gov.my
Warna Tenaga, Acrylic on canvas, 183 x 183cm, 2010
2009 / 2010
UTM SKUDAI, JOHOR
26 MAC - 4 APRIL 2010
Bulat air kerana pembetung
Bulat kata kerana muafakat
Bulat atau LAT, adalah ikon inspirasi kepada
kemuafakatan gagasan 1Malaysia. Sesungguhnya Lat
mengembalikan kesedaran dikalangan generasi kini
terhadap bentuk permuafakatan yang wujud dalam
masyarakat sejak awal lagi. Pameran LAT 1Malaysia
memperlihatkan karya-karya terkini oleh Lat disamping
mengimbas karya-karya terdahulu termasuk beberapa
karya reproduksi dari koleksi rujukan BSLN. Pameran ini
merupakan kerjasama antara UTM Skudai Johor, kurator
jemputan Nur Hanim Khairuddin dan BSLN.
12 DISEMBER 2009 - 22 FEBRUARI 2010
Inspirasi ini dizahirkan menerusi
pameran pengenalan semula terhadap blok batik
dengan menyerlahkan ciri reka bentuk, proses-
proses pembuatan dan teknologi seni batik itu
sendiri. Kesempurnaan dan keunikan seni batik itu
juga dapat dilihat melalui perkataan
itu sendiri iaitu secara keseluruhan (as a whole)
yang membawa maksud keseluruhan proses
penghasilan batik dan keistimewaannya. Pameran
yang memberi pendedahan kepada
orang ramai tentang penghasilan batik, jenis,
corak dan cara pembuatannya dari awal
sehingga akhir.
INTERNATIONAL
MOTHER LANGUAGE
DAY ART EXHIBITION OF
BANGLADESH ARTISTS
19 - 28 FEBRUARI 2010
Pada 1999, UNESCO telah mengisytiharkan
Hari Bahasa Ibunda Antarabangsa yang
berlangsung pada 21 Februari 1952. Kedutaan
Bangladesh meraikan hari tersebut dengan
mengadakan Pameran International Mother
Language Day Art Exhibition of Bangladesh
Artist dengan anjuran bersama Balai Seni Lukis
Negara, High Commission Bangladesh di Kuala
Lumpur dan Buriganga Arts & Crafts.
UNDERWATER
SCENERIES OF MALAYSIA
6 MAC - 6 APRIL 2010
Pameran fotograf eksklusif ini adalah sebuah
persembahan istimewa yang mempamerkan
keindahan 42 imej terbaik yang telah terpilih. Karya-
karya ini memaparkan landskap bawah laut yang
sangat mengagumkan serta keunikan hidupan
marin di celah-celah karangan laut Malaysia yang
sukar untuk diterjemahkan dengan kata-kata. Hasil-
hasil seni yang dipaparkan ini adalah sebahagian
daripada karakter imej di dalam Projek Album Digital
Malaysia In 24Hrs(MI24H) Beautiful Destination
UNDERWATER SCENERIES OF MALAYSIA, dihasilkan
dan dikeluarkan oleh Stephen Ronee Lau, pengasas
siri Malaysia In 24Hrs. Seramai 42 penyelam dan
jurugambar bawah laut telah menyumbang koleksi
imej bawah laut mereka untuk diasimilasikan kepada
projek ini serta dipamerkan kepada orang ramai.
www.mastercontest.com
BSLN SANA SINI
PHILLIP WONG
ART AND THE
NECKTIE
2 FEBRUARI 2010
Pameran ini adalah cetusan idea
dan rekaan daripada artis Malaysia
Phillip Wong. Selain, mempamerkan
sebanyak 500 rekaan necktie, majlis
itu diserikan seramai 10 orang model
tempatan memperagakan rekaan
tersebut disamping penjualan
kepada yang berminat untuk
membelinya.
1MALAYSIA ORANG ASLI
(GUA MUSANG)
8 - 11 MAC 2010
Balai Seni Lukis Negara dengan kerjasama Majlis Bekas Wakil Rakyat
Malaysia (MUBARAK) dan Pejabat Pelajaran Daerah Gua Musang telah
melaksanakan program SENI DI SINI 1 MALAYSIA pada 8 11 Mac 2010
di SK Kuala Betis, Gua Musang, Kelantan. Majlis perasmian program ini
telah disempurnakan oleh YB Encik Mat Yusoff b. Ghani, ADUN Kawasan
Neggiri pada 10 Mac 2010 di SK Kuala Betis, Gua Musang, Kelantan.
Antara aktiviti yang dilaksanakan ialah pertandingan mewarna bagi
kanak-kanak( 6 - 9 tahun), melukis (10 12 tahun) dan lukisan mural
graffti dinding sekolah. Seramai 300 pelajar orang asli dari 5 buah
sekolah di daerah Gua Musang telah menyertai program ini.
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Oita
Asian Sculpture yang ke-10 kini kembali lagi untuk
menjemput para seniman di Malaysia menghasilkan
karya berbentuk arca bagi tujuan mempertandingan karya mereka
di peringkat Asia. Seperti biasa Balai Seni Lukis Negara(BSLN) telah
menjadi wakil untuk mencari seniman di serata Malaysia bagi memilih
karya yang terbaik. Dari bulan Ogos 2009 hingga November 2009
dan sepanjang tempoh itu, hanya 10 buah arca telah dihantar ke
BSLN untuk dilihat dan diadili sebelum dihantar ke Jepun bagi tujuan
pemilihan akhir dan dipamerkan di Asakura Fumio Memorial Sculpture
Museum.
Pada 29 Disember 2009, BSLN telah menjemput YM Tengku Sabri
Tengku Ibrahim, Puan Law Sweehar(Terry Lim) dan YM Raja Khairul
Anuar sebagai panel Hakim Malaysia untuk memilih karya yang terbaik
untuk dihantar ke Jepun bagi proses penghakiman seterusnya. Kriteria
pemilihan karya menitikberatkan syarat-syarat yang terdapat dalam
borang pertandingan dan juga kriteria yang paling utama ialah karya
mestilah mencerminkan identiti Malaysia. Para juri bersependapat
bahawa karya peserta telah dinilai dengan penelitian dari beberapa
sudut,; termasuklah dari segi kekemasan karya (fnishing), saiz yang
ditetapkan, proses kerja yang dilampirkan, penggunaan media dan
bahan serta maklumat/penyataan karya yang lengkap.
Daripada 10 karya terpilih sejumlah 3 karya telah terpilih untuk
penghakiman di Jepun. Karya tersebut telah dihantar melalui
penyertaan pelukis di internet dan mereka ialah Mohd Azli Wahid
dengan karya bertajuk Kasut Batu, Jamil Zakaria dengan karya
bertajuk Our Souls dan seterusnya ialah karya oleh Nizam Abdullah
dengan karya bertajuk Self Portraits Si Jaguh (A Champion).
Sebanyak 10 karya saringan pertama di Malaysia telah dipamerkan di
Akademi Seni dan Warisan (ASWARA) pada 19 Februari 19 Mac 2010.
Antaranya ialah arca oleh Cindy Koh, Mohd Daud Abdul Rahim, Aznan
Omar, Chin Wan Kee, Tan Vooi Yam dan Mat Ali Mat Som.
Pameran ini telah menjadi rujukan pedagosi dan pemangkin kepada
para pelajar seni tampak di ASWARA.
Jamil Zakaria, Our Souls,
Steel Wire, 2009
Mohd Azli b. Wahid,
Kasut Batu, Granit &
Copper, 2010
CIndy Koh, The Call
of Independece, Rod
Metal & Flat Bar, 90 x 65 x
100cm, 2009
Tan Vooi Yam,
Growth of Life
#2009, Ceramic,
128 x 58 x 148cm,
2009
Mohd Daud bin Abdul
Rahim, Metal Worm,
Alluminium & Iron, 2009
Aznan bin Omar,
1 Generation 2
Generation, Steel, 52
x 20 x 22cm, 2009
Nizam Abdullah,
Jaguh (Self Potrait),
Steel, 2009
Mat Ali Mat Som,
Silat Warrior, Metal
& Stone, 33 x 29 x
42cm, 2009
l Syahrulniza Zaini
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RUMAH SENI &
KRAF GEMILANG
RUMAH SENI &
KRAF GEMILANG l Abby Zain
WHEN I started learning still
life after my third baby was born...
I have never looked back since
then and I am very blessed that
Rumah Seni dan Kraf Gemilang
(RSKG) is in operation today. For
the love of painting, drawing,
colouring, expressing on paper and
canvas, for the love of educating
children, teens and adults, I am
here with a cause and mission to
share my experiences and passion
to enrol others to fnd meaningful
contributions through arts and
crafts .
Throughout my experiences painting and drawing,
I learn to know more about myself, abount people,
the world, animals, children and the enviroment.
My expression is about my transformation from
being in a cocon into a butterfy...,so to speak. Each
and every artworks bears personal message of joy,
freedom, happiness, self fulfllment, motivation,
love, success and sometimes my dreams. I enjoy
the vibrant colors of fun and happiness. I love the
imperfect and honesty in my artworks. I am showing
and revealing the true me.
My works during the early years consists of Evolution
, Butterfies. Later I moved into KL ku Series which I
had the chance to be playful with different media
such as crayon, colour pencil, acryllic, pastel and
more. I felt the enjoyment like a childs mind, I love
the concept of being naive, bold and straight to the
point. KL ku Series plays more of my mind and my
dreams. The surroundings had infuenced me... Kuala
LUmpur and me... the animals, the place i live...Bukit
Antarabangsa... KLCC Tower from my window...
I could see this magnifcient view. All that I have
expressed has a sense of grateful and peace.
In line with my concern about the three main issues,
children, animals and the enviroment, Rumah Seni
dan Kraf Gemilang has become the site where
i make this stand. It will pay its contributions to
organisations which are related to these issues. As
an art gallery, art and craft learning centre and
artatabby shoppe, it aims to spread these messages
to the local society and the world through arts and
crafts.
During the opening ceremony of RSKG by Yg Bhg
Toh Puan Mahani, she urges the Malaysian society,
parents especially to pay special attention to visual
arts and craft as it is a vital subject in the early
childhood education. This encouragement should
continue until children become teenagers. Today ,
our Government through the National Art Gallery has
provided facilities and activities to encourage the
growth of visual arts and carfts industry.
An art auction was successfully done and a sum of
RM 1000 was collected and donated to the SOCIETY
OF PREVENTION OF CRUELTY TO ANIMALS SPCA, Ms
Christine Chin the Chairperson of SPCA was there to
give a few words to promote the society .
A launching of ARTATABBY designs on Tshirts and Bags
also took place whereby students of RSKG wore and
parade the lion, elephant and giraffe designs .
Three best students of RSKG were Farhana
Baharudin, Amira Azman and Pritha .
Among the VIPs present are Mr Liew Kian Yap of
ARTMALAYSIA, and Dato Ismail Kijo, UMNO Ampang.
Exhibiton consists of Abby Zain s collection of works from
2001 until 2009 . Guest Artists were Bennylita Ramlee and
Felicia Loh.
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Featuring
works by
Eiffel Chong
(Malaysia), Shooshie Sulaiman
(Malaysia), Mintio (Singapore),
Zhao Renhui/The Institute of Critical
Zoologists (Singapore), Michael
Shaowanasai (Thailand), Tanapol
Kaewpring (Thailand), Frankie
Callaghan (Philippines), Wawi
Navarroza (Philippines), Agan Harahap
(Indonesia), Sara Nuytemans and Arya
Pandjalu (Indonesia) and Wimo Bayang
(Indonesia).
Artists produce alternate visions
and (sur)realities that entertain and
challenge audience perception.
CUT 2010 explores these parallel
universes through the fctions and tilted
perspectives of the photographic lens.
The authenticity of photography as a
conveyor of truth has been distorted
and empowered throughout its
evolution from daguerreotype to flm
and digital. Experimentation within the
medium continues to enable artists
the opportunities needed to create
ambitious technical illusions as well as
compose staged tableau and capture
uncanny moments from the everyday.
Exploring dichotomies such as fairy
tale and nightmare, dystopia and
utopia, the exhibition reveals grandiose
fantasies and skewed realities that
entertain our perceptions of what is real
and what is imagined.
The exhibition takes as its starting
point the notion that photography is a
mechanism for imagination, adventure
and escape through its technique
and subjects. Like theatre and flm,
it has the potential to immediately
animate and provoke our senses,
encouraging powerful and complex
emotional responses. These new
worlds of possibility explore the hopes,
dreams, insights and observations of
their creators to become amplifed spectacles
of shock, desire, delight, sadness, humour and
enlightenment. With seemingly limitless visual
inspiration and ongoing technical advances
photography as a medium, constantly pushes the
boundaries of visual sensation and understanding.
CUT 2010: PARALLEL UNIVERSE, provides numerous
entry and exit points into the ideas presented
by each artist. In its entirety, these imaginary
worlds within worlds, presents personal and public
consideration of ongoing questions surrounding
the evolution of cultural and gender identity,
sub cultures, religion, landscape and the urban
environment. Combining elements of nobility
and farce, pathos and critique super heroes
laugh at body builders, online gamers jeer at
religious utopias, architecture becomes a ghostly
stage and mysterious scientifc expeditions
shy away from erotic dolls and unforgettable
human characters. These existential obsessions,
hallucinations and ambiguities of both
photographer and the people and objects on
display are revealed for audiences to recognise
and question. What seems familiar can at
once become alien and disturbing, playful and
fantastical. The unfamiliar suddenly resonates with
universal truth.
Now in its third instalment, CUT: New Photography
from Southeast Asia continues to establish itself
as a dedicated platform for photography in
Southeast Asia. It aims to contribute fresh thoughts
on the status of the medium in the region as well
as the aesthetic and academic impetus of the
diverse subjects being explored by individual
practitioners in photography today.
CUT2010: New Photography
from Southeast Asia: PARALLEL UNIVERSE
runs from 3 27 March 2010 at
Valentine Willie Fine Art 1st Floor, 17 Jalan Telawi 3
Bangsar Baru, 59100 Kuala Lumpur
Opening Hours: Mon - Fri: 12 - 8pm; Sat: 12 - 6pm.
Closed on Mondays and Public Holidays. For general or
press enquiries about this exhibition,

please email: liza@vwfa.net
or call 03 22842348
For general enquiries: info@vwfa.net
Please visit: www.vwfa.net
CUT2010 :
NEW PHOTOGRAPHY FROM
SOUTHEAST ASIA :
PARALLEL UNIVERSE
CURATED BY EVA MCGOVERN
3 27 MARCH 2010, KUALA LUMPUR
Agan Harahap, Neuschwanstien 1945, C-print on Kodak Endura Paper, 74 x 100 cm, 2009
Mintio, xXxLUVxXx, Digital print on archival paper, 58 x 73 cm, 2010
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These existential obsessions, hallucinations
and ambiguities of both photographer and the
people and objects on display are revealed
for audiences to recognise and question.
31 Julai - 02 Ogos
Untuk maklumat lanjut, sila hubungi
En. Sobri Muda, Tel: 09-6221444 atau
emel : webmaster@muzium.terengganu.gov.my
http://museum.terengganu.gov.my
LEMBAGA MUZIUM
NEGERI TERENGGANU
MELUKIS

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21
Ekspo
ini bertemakan
Better City Better
Life. Sempena ekspo ini Malaysia
telah memilih senibina Minangkabau
sebagai mewakili pavilion Malaysia.
Bagi melengkapkan ciri-ciri rekahias
bumbung pavilion ini, lukisan batik
kontemporari telah dipilih dan
dikomisyen oleh Tourism Malaysia.
Ianya telah diadaptasikan dalam lukisan
kontemporari dengan teknik grafti
lukisan berus angin. Balai Seni Lukis
Negara telah memilih beberapa orang
pelukis grafti yang yang terdiri daripada
Mahathir Masri (They), Muhamad
Noor Md Yusoff (Tony), Khor Zew
Wey (Bibichun) dan Herman Duang.
Pengawai Penyelaras projek ini ialah
Mohd Majidi Amir yang merupakan
kurator pameran di Balai Seni Lukis
Negara. Misi Pengeboman bumbung
Grafti Batik Kontemporari telah
terlaksanakan dalam 25 hari.
Petikan kata-kata:
Saya takkan benarkan mereka naik selagi plat besi tidak disediakan!
merujuk kepada permukaan tanah yang hancur dan menenggelamkan tayar
jentera skylift yang digunakan.
Buat besar untuk impak yang lebih baik merujuk kepada saiz motif yang
dilukis.
Gila punya disiplin diaorang, kenapa orang kita tak boleh buat macam ni?
merujuk kepada pengawal keselamatan yang merangkumi polis, askar dan
pengawal keselamatan biasa yang bertugas /berdiri tegak dalam hujan dan
suasana sejuk melampau tanpa bergerak.
Bangsa yang mempunyai tamadun yang lama mengambil berat tentang
kesihatan sama seperti mereka menilai seni merujuk kepada pendapat Tony
yang perasan tak jumpa orang gemuk atau buncit selama di Shanghai.
Walau sekontemporari mana pun kita, kalau tak mengenal dan menyanjungi
akar budaya sendiri, baik pindah Negara lainlah.
Korang dah fkir habis ker nak bom bumbung ni? Bahaya gila.
Aku tak percaya sesiapa lagi kat Shanghai ni selain pemandu kita
selepas tidak mendapat kerjasama seperti yang dijanjikan.
Kami tak ada apa-apa kepentingan pun dalam projek ni selain
tanggungjawaab yang telah diberikan.
(Dari kiri) Herman Duang, Tony, They, Bibichun
GRAFITI BATIK
KONTEMPORARI
MALAYSIA PAVILION
SHANGHAI EXPO 2010
Arahan saat akhir + masalah tiket
penerbangan + masalah pas keselamatan
+ kawalan hotel ketat melampau + hari-
hari kena raba + beg asyik kena selongkar
+ minuman asyik kena imbas + masalah
komunikasi + sejuk melampau + kurang
kerjasama mereka yang terlibat + rekaan
tidak ikut scale + peralatan kurang kualiti
+ cat salah + permukaan tanah lemah +
permukaan bumbung kurang berkualiti +
janji tidak ditepati + masa kerja terhad +
kos internet mahal + kos cetakan mahal
+ angin kuat + bumbung lembab + cat
tanggal + penyambut tetamu peramah +
pemandu tepati masa + teksi murah + bilik
selesa + masak sendiri + basuh baju sendiri
+ makanan kedai mak sedap dan murah +
anak emak cantik + 555 + S20 + Suzuik +
Hongho + VW Santana = MADE IN
CHINA.
Untuk pengalaman yang lebih terperinci sila layari
mediartpassion.blogspot.com
BSLN Publication
SYED AHMAD JAMAL :
PELUKIS
Buku ini memaparkan perjalanan
Seniman Negara (Datuk Syed
Ahmad Jamal), ketika kecil
sehinggalah beliau mencapai
kegemilangannya yang tersendiri
dalam bidang seni tampak
Penerokaan idea dan kreativiti seni
beliau dikagumi bukan setakat di
Malaysia tetapi juga dipersada
dunia. Sebagai seniman terawal
yang mendapat anugerah
melanjutkan pengajian dalam
bidang seni lukis ke luar Negara,
beliau merupakan seorang
seniman perintis seni visual yang
mencorakkan sejarah dan senario
seni lukis Negara ke tahap
berdaya saing
600 halaman m/s
154 Gambar hitam-putih
78 Gambar berwarna
ISBN : 978-983-3497-43-0
RM 250
enBLOC
Pameran adalah
sebuah wadah persembahan
batik yang teristimewa. Dalam
mendirikan sebuah pameran
batik sebagai pengisian kepada
Kuala Lumpur International
Batik Week 2009, Kementerian
Penerangan, Komunikasi dan
Kebudayaan melalui Balai Seni
Lukis Negara terpanggil untuk
mengambil peranan selaku
peneraju pembangunan seni Visual
Negara untuk mencetus inspirasi
kreativiti dan inovasi menerusi
kesinambungan tradisi.
90 Gambar blok batik hitam putih
Planner 2010
ISBN : 978-983-3497-46-1
RM 88
LAT 1 Malaysia
Katalog ini merupakan
kerjasama diantara Balai
Seni Lukis Negara dan juga
Universiti Teknologi Malaysia.
Ianya memaparkan secara
ringkas perjalanan kartunis
Lat atau dikenali sebagai
Dato(Dr) Haji Mohd Nor bin
Khalid. Karya-karya beliau
banyak memaparkan isu-isu
masyarakat majmuk di desa
dan di kota.
20 muka surat
8 Gambar berwarna
28 Gambar hitam putih
RM 10
BAKAT MUDA
SEZAMAN 2006
Katalog Bakat Muda
Sezaman 06 merupakan
pameran karya
pemenang-pemenang
terpilih dari anugerah
seni dwi tahunan yang
paling inovatif dan
dinamik di negara ini.
Pertandingan peringkat
kebangsaan anjuran BSLN
semenjak 1974 ini juga
menyediakan persada
untuk para pengkarya
Malaysia di bawah
umur 40 tahun untuk
memperlihatkan kreativiti
dan kredibiliti dalam
berkarya. Sejumlah
191 penyertaan telah
diterima cuma 43 karya
sahaja yang layak untuk
dipamerkan termasuk
lima pemenang.
48 muka surat
14 Gambar fotograf
50 Gambar Karya
berwarna
ISBN 987-983-3497-21-8
RM 30
50@50
(Sehari Dalam
Kehidupan)
Katalog ini dihasilkan
daripada pertandingan
fotograf yang
mempamerkan persekitaran
harian yang menarik
melalui lensa kamera
bertema Sehari Dalam
Kehidupan Di Malaysia
yang memaparkan tentang
kehidupan masyarakat
serta budaya hidup di
Malaysia setelah 50 tahun
merdeka. Mengandungi
gambar-gambar dan imej
rakyat Malaysia setelah 50
tahun merdeka dengan
penceritaannya mengenai
kehidupan cara hidup,
warisan, kebudayaan,
pekerjaan, permainan dan
sebagainya mengikut bab
sebelum kemerdekaan,
zaman kemerdekaan dan
selepas kemerdekaan.
206 halaman m/s
265 karya berwarna
ISBN 978-9833-4871-57
RM 40
All publication can be purchased at the Gallery Shop located at National Art Gallery. For enquiries please email to osmi@artgallery.gov.my
DEADLINE 31 JAN 2010
SENIKINI ISU #01-05
Buletin seni yang
mengetengah aktiviti
seni semasa dan terkini.
Diterbitkan 6 kali setahun.
Boleh didapati secara
percuma di BSLN.
39.8 x 28.5 cm
20 m/s
2009
ISSN 1985-7233
RM 50
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arts
festival
www.mapkl.org
2PM - MIDNIGHT
SAT 27 - SUN 28 MAR 2010
SOLARIS DUTAMAS
music
poetry
dance
comedy
bazaar
FREE ADMISSION
art
community theatre
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WHATS ON
SONY WORLD PHOTOGRAPHY AWARDS (SWPA)
2009/2010 GLOBAL TOUR EXHIBITION
GALERI PETRONAS, Aras 3, Suria KLCC Sony World
Photography Awards Global Tour 2009/2010
4 February 30 April 2010 (Tue Sun 10am 8pm)
T (60) 3 2051 7770 / F (60) 3 2051 2895
www.petronasgaleri.com.my
GALERI PETRONAS presents the highly-anticipated
Sony World Fotoghraphy Awards (SWPA) 2009/2010
Global Tour exhibition on 4 February 2010. The
exhibition showcased photographs by the winners
of the 2009 Sony World Photography Awards,
spanning a variety of genres including fashion,
architecture, advertising, sport and music, from
across the world. The Kuala Lumpur exhibition is
part of a global tour. Which has taken in leading
photographic institution in New York, Toronto,
Mexico, Paris, Hong Kong, and London. Shown
in Kuala Lumpur for the frst time, the exhibition is
hosted by GALERI PETRONAS to provide a valuable
window to the latest in world photography
enthusiasts. Curated by 2009 Honorary Judge
Zelda Cheatle, the exhibition presents 75 images
across genres, from amateurs and professionals.
Also on schedule is an exciting series of weekend
photography sessions and workshops for art and
photography enthusiasts.
SOLO ART EXHIBITION: BRAIN IMAGING: WHAT YOU
SEE AND WHAT YOU WANT TO SEE
17 March 2010 to 3 April 2010
Pace Gallery,Section 12 Petaling Jaya
Daily: 11am - 7pm
www.chngart.com
Chng Huck Thengs (Chng) solo exhibition entitled
The Journey touring Jakarta, Penang and KL in
2007/08 was a success, Chng new art series: Brain
Imaging : What You See and What You Want to
See in Pace Gallery, Kuala Lumpur from 17 March
to 3 April 2010 will be yet another fascinating
and exciting presentation. Unlike The Journey
that conceptualized natural disaster such as the
volcanic eruption to portray human perception
and behavior, this up coming presentation; Brain
Imaging focuses on humans perceptions and
experiences. Childhood fairytales and grownups
myth combining with both legendary and mystical
beings will provide the audience opportunity to
recite their past experiences and knowledge in
order to comprehend Chngs latest creation. This
new work of art promises audience of all ages to
open up their minds to allowing them to explore
their own mystical adventures that are long
forgotten through time.

ONG OH HUP HOE:7TH HEAVEN SERIES
1 Feb - 31 March 2010
Core Design Gallery, Subang Jaya
viewing by appointment
0126117976,0122052804
scar@coredesigngallery.com
This exhibition showcases three different sets
of paintings from Penangite Ong Oh Hup Hoe,
revolving around sleep, dreams and waking. His
foreword sounds like he was tripping, so keep your
mind open.
In my dreams of dreams, my fantasies and reality
seem to blend and before my eyes lay the most
beautiful and colourful things I have ever seen.
Mythical animals appeared and spoke to me about
the greater universe. I listen in awe, fascinated and
showered by the umbra of energized light. Then as
if fed by their wisdom I began to grow and expand
beyond the boundaries of my human frame yet
still connected by a bluish cord. When I turned
and looked back, the sight I saw was so vibrant,
teeming with colours that were full of energy and
yet remaining calm and soothing.
HIJAU - GROUP EXHIBITION
20 Mar -11 Apr 2010
Art Village Bangsar, KL
03 22826992/019 2114697(Kenny Teng)
Hijau is a group exhibition taking stage at Art Village
Bangsar South. This exhibition will feature three very
promising nature realistic Malaysian artists - Johan
Marjonid, Abdul Rasid Yusof and Zaharuddin Sarbini.
Each of them has their unique ways in praising the
nature with their palettes.

Johan Marjonid brings us his latest, The Lost
World Of Brinchang series, which portrays a new
perspective in looking at the rain forest at a high
altitude. For Abdul Rasid Yusof, peace is the soul
of his works. His arts tries to fnd the sense of peace
and calmness that penetrate your soul. A bird
watcher and a farming enthusiast from Sekinchan,
with fshing and bird watching as his hobbies, this all
was incorporated quite wonderfully in Zaharuddin
Sarbinis work.
POSTCARD STORIES
27 Mar - 2 May 2010
Lobby, G Hotel, Persiaran Gurney Penang
04 2380000
An exhibition of original watercolour works by Chin
Kon Yit, one of South East Asias most eminent
watercolourists. Chin Kon Yit has been a full time
artist for over 30 years, preferring to document
heritage architecture and artefacts, and regional
rural and city scapes. Kon Yits detailed and
fne compositions incorporate a variety of styles,
including pointillism and the delicate strokes of pen/
ink. He is the famed illustrator of the Sketchbook
Series - The Penang Sketchbook, The Kuala Lumpur
Sketchbook and The Malacca Sketchbook. In
Postcard Stories, Kon Yit shows the watercolour
techniques and ability to accurately capture the
favours of street scenes and locations, which have
secured his name in Malaysian art history.
BETWEEN BREATHS: WORKS BY TAY BAK CHIANG
18 - 28 March 2010
Artfolio Gallery, KL
Tay Bak Chiang has constantly re-interpreted the
norms of traditional Chinese painting with his use of
western style compositional elements and vibrant
colours. In this exhibition, he has once again
broken new ground with a further abstraction of
familiar forms, and a radical change to a mainly
black-and-white palette. In the Lotus series, he
brings abstraction to a new level as the familiar
lotus plant is viewed from the perspectives of the
pond inhabitants whilst texture and form takes
centre-stage in the Stone series, as a charcoal-like
pigment is used together with traditional Chinese
ink to create a layered look for granite.
SOLO EXHIBITION BY HASNUL J SAIDON
1 - 30 April 2010
Museum & Balai Seni Lukis Pulau Pinang
04-2613144
muzium@po.jaring.my
Solo Exhibition on artworks by the present Director
of Universiti Sains Malaysia dan Galeri Tuanku
Fauziah. He was awarded for Malaysia Art Award
2009 Multi Dimensional Category.
HEAD UP
Wei-Ling Gallery, Jalan Scott, Brickfelds KL Mon-
Fri 12-7pm, Sat 10-5pm, Closed Sundays
03-22601106, 017-8877216
weiling@weiling-gallery.com
www.weiling-gallery.com
For centuries artists have been fascinated with
the human face, with many commissioned to
paint portraits of their wealthy patrons over the
course of time. With the onset of photography,
portraiture was largely displaced, but artists
around the world have continued to create
representations of the human countenance
for the face is intrinsically a refection of ones
feelings and expresses our thoughts and
emotions. Just as art is a refection of the soul,
portrayals of the face is mankinds way of
capturing the essence of itself. In this way, it
can be said that portrait painting is the art of
art, and the portrait painter is the artist of artists.
In striving to accomplish in representation what
many artists strive for in abstraction, the portrait
artist embodies the struggle of all art to defne
the meaning of self. The artists participating in this
exhibition are Chong Choon Woon, Ng Bee, Kim
Ng, Marvin Chan, Mohd Al-Khuzairie Ali, Chee
Eng Hong.

BEHIND THE SCENES: CONSERVATION IN FOCUS
ISLAMIC ARTS MUSEUM MALAYSIA
10 March 2010 - 10 June 2010
www.iamm.org.my
The work of the IAMM Conservation Centre receives
little exposure but represents a constant battle
to preserve the artistic and cultural heritage of
the Islamic world. In Southeast Asia, especially,
conservation is a ceaseless struggle against the
ravages of time and an inhospitable climate.
To ensure the provision of suitable facilities and
skilled professionals, the IAMM Conservation
Centre was established six years ago. Since
then it has developed into a respected and
pioneering institution with committed staff. Despite
their work often being viewed as inaccessible,
the conservators talents are fully on view. The
exhibition features 30 artefacts that have been
selected on the basis of showing either an essential
conservation treatment or revealing an important
discovery. There are displays of the different
materials with which they work, showing everything
from bookbinding techniques to making pottery.
For the technically inclined, there are
gadgets galore.
11/3/10 3:05 PM Lotuses II : TAY BAK CHIANG
Page 1 of 1 http://www.taybakchiang.sg/index.php?/works/lotus-ii/
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Untainted 68 x 68 cm 2006
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festival
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2PM - MIDNIGHT
SAT 27 - SUN 28 MAR 2010
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