Siti Zainon Ismail

SITI ZAINON ISMAIL Pengkaji seni budaya warisan Melayu, adalah seniman penyair dan pelukis ini adalah puteri kelahiran Gombak, Kuala Lumpur (18 Disember 1949). Berdarah keturunan Melayu - Minang - Batubara, Jawa - Banjar. Juga diasuh oleh 'ayah kedua' berketurunan Acheh-Patanni. Mendapat pendidikan asas di Sekolah Rendah Setapak, Kuala Lumpur dan Sekolah Rendah Langgar, Kota Bharu ( 1956- 1957-1961) dan seterusnya ke Sekolah Menengah Aminudin Baki (SAB), Kuala Lumpur (1962-1968). Beliau mengaji dengan abah dan 'ayah Mat' yang juga memberinya cerita wayang kulit. Di Kota Bharu juga beliau mula belajar mencolek kain batik. Di SAB beliau dilatih oleh guru senilukis Idris Haji Salam sehingga ia bergabung pula dengan Angkatan Pelukis Semenanjung (APS, 1964-1968). Oleh minatnya kepada seni lukis beliau melanjut ke pendidikan seni di Institut Seni Indonesia (ASRI) jurusan Seni Lukis (1970-1973). Beliau merupakan pelajar seni lukis yang kerap memenangi Anugerah Sketsa Kartini (1970-1973). Selama di ASRI turut bergabung dengan Sanggar Dewata dan turut pameran keliling Jawa. Pada bulan Februari 1974 pulang ke tanahair bertugas sebagai Jurulatih seni lukis di Kementerian Kebudayaan Belia dan Sukan (1974-1976). Seterusnya sebagai tutor di Universiti Kebangsaan Malaysia ( 1976) dan lulus Sarjana Sastera (UKM. 1980). Ph.D (UM. 1992). Hingga kini masih mengajar di Pusat Bahasa. Kesusasteraan dan Kebudayaan Melayu dalam bidang kepakarannya Seni Budaya Warisan (kursus Kesenian Melayu Tradisional. Pemerian Budaya Benda, Tekstil dan Busana Melayu, Sejarah dan Teori Penghayatan Seni, Penulisan Kreatif). Beliau juga adalah Felow Penyelidik ATMA (1995-1996) dan Pengarah Kebudayaan UKM (1996-1999). Sekarang adalah Profesor di UKM.
Seniman Penyair-PelukisBeliau adalah penyair pelukis wanita yang terus aktif. Kerap mewakili negara dalam membaca puisi, pameran lukisan dan seminar seni budaya seluruh tanahair dan juga di peringkat antarabangsa seperti di Filipina (1976). Bhopal. India (1985). Berlin Barat ( 1985, 2000) Soeul Korea (1986). Indonesia (Aceh, Bali, Jakarta. Jambi, Lombok. Makassar. Padang. Riau, Palembang, Yogyakarta 1983-1998). Thailand ( 1986,1989, 1990). Perancis (1986), Berlin (1986). London (1986,1990,1992), Australia(1993), Singapura(1990,1995), Hamburg (2000), Russia (2003). Begitu juga puisi-puisi dan cerpen beliau telah diterjemah ke pelbagai bahasa seperti BuIgaria, Hindi, Inggeris, Korea, Urdhu, Jepun, Perancis, Thai dan Russia.
Terbitan Penulisan Akademik : Jalur dan Warna (Fajar Bakti, 1985), Rekabentuk Kraftangan Melayu Tradisi(DBP, 1986), Percikan Seni (DBP,1988), Lambang Sari Gamelan Trengganu (bersarna Harun Mat Piah, UKM, 1988), Tekstil Tenunan Melayu (DBP1994), Alam Puisi (DBP,1994), Busana Melayu Johor (Fajar Bakti 1997). The Tradisional Handicraft Design(DBP, 1997). Zikir Pelangi -The Rainbow ( Galeri Melora, 2000) dan enarn judul dalarn proses penerbitan.

Penulisan Kreatif
Puisi: Nyanyian Malam (DBP 1976, 2003 ), Puisi Putih Sang Kekasih (UKM 1984), Perkasihan Subuh (Bulan Bintang. 1987). Dongeng Siti Kecil (Teks 1998), Daun-daun Muda ( 1986), Bunga-bunga Bulan (Creative, 1992). The Moon is a Candle(DBP, 1992), Ibunda -Mother (Unit Kebudayaan UKM, 1995). Taman-taman Kejadian (Galeri Melora, 1996)
Cerpen: Seri Padma (DBP, 1984), Attar Lembah Mawar (Marwilis, 1988), Bunga Putik Putih (DBP, 1991 ), Kampung Paya Kami ( Galeri Melora, 1998), Nyanyian Orang Laut (bersama Rahamad, Galert Melora 2000), Jurai Padma (DBP, 2000)
Novel: Remang Flamboyan (Fajar Bakti 1995), Pulau Renek Ungu (DBP, 1996)

Anugerah Hadiah Sastera Malaysia (puisi 1975,1976,1979,1983, 1985, 19891, Hadiah Maybank- DBP (cerpen 1996/97/98), S.E.A. Write Award ( 1989), Gelar Cut Nyak Fakinah (Lembaga Adat Aceh -MUI 1990), Anugerah Tan Seri Fatimah-Avon (1993), Pingat Jasa Kebaktian (Negeri Selangor, 1993), Prof Luar Biasa (Universitas Jabal Ghafur, 1996), Pingat Setia Mahkota Selangor (2002).

Judul : Bunga-bunga bulan
Pengarang : Siti Zainon Ismail
Genre : Kumpulan Puisi
Mukasurat : 197 halaman
Cetakan Pertama : 1992
Sketsa dan Puisi (1969-1989)

Sesuatu yang unik tentang buku sketsa dan puisi "Bunga-Bunga Bulan" ini ialah kesungguhan Siti Zainon Ismail merakamkan setiap nota, komentar dan surat-surat sahabat beliau di dalam puisi-puisinya. Keindahan puisi itu dapat dirasakan apalah pada setiap puisi dikembarkan dengan catatan sahabat kepada ataupun terhadap beliau. Misalnya, nota bertulis tangan dari T. Alias Taib disusun bersebelahan dengan puisi Siti Zainon yang berjudul "Bicara Alias". Malah bukan itu sahaja, buku ini juga memuatkan nota-nota persahabatan oleh penyair antarabangsa dan tempatan. Tidak kurang juga dengan sketsa-sketsa Siti Zainon berserta rencana-rencana mengenai beliau.

Haris Ribut

Description:

Harris Ribut was born on Carey Island, Selangor on September 8, 1951. He started off as a street-painter back in 1976 which lead to a job as a paste-up artist at several publishing houses,until he ended became an Art Director. A few years stint as a reporter for a newspaper lead to the post of sub-editor. He started painting full-time in the early nineties from the house of APS to the Artist Colony at Jalan Conlay KL.

Profile:

Harris first encounter with his "fat lady" on canvas was just by fate, his mother to be exact. The solid mass of the woman body with their graceful movement were his muse. "An anecdote for worldly misery" noted Harris. Humorous at first look but a sincere perspective of reality. Through their daily chores and activities, dance and Chit-chat series that he usually deals with, he managed to convey beauty and subtleties of movement of his fat ladies. Big but not heavy, fat but not ugly; Passion rather than lust.

Subject:	Figure & Form
Style:	Contemporary Art
Medium:	Oil & Acrylic
Type:	Fine Art
Size:	58.4cm x 81.3cm
Availability:	Sold

Ajis Mohamad

Description:

Ajis as he is affectionately known, is an authentic, one of a kind marine life artist in Malaysia. This brilliant young artist is a professionally certified diver who spent the better part of his life researching his subject matter, in order to relay accurate depictions of his arresting paintings to his audiences.

Profile:

Part of his research included experimenting with different techniques on discovering the perfect tools to use when painting underwater with no damage to any marine life whatsoever. After an arduous year, he stumbled upon the answer; immersing his canvas in a special solution for a period of time to acclimatise it, when all is ready, he would do his diving paraphernalia, and armed with the necessary equipment, embark on yet another aquatic adventure.

His perceptions as far as his art goes are nothing short of astounding. Ajis’s sonata reverberates with fervent beauty and eclectic enchantment. Viewing his artwork is akin to an encapsulated underwater austerity evident only in the crevices of one’s imagination. His characters are startlingly three dimensional, able to transport the most skeptic and cynical minds into the unexplored realm of the solus ocean.

This artist’s journey appears to be a long and grappling one, for the ocean holds vast secrets impossible to decipher, and according to him, has only managed to barely scratch. She is the highest echelon of God’s creation, existing long before dinosaurs or Man, and will continue to exist even long after we perish. He is humbled and awed by this revelation and is honoured to be a part of this magnificence.

An ardent reader of mythology and philosophy, he paints to the recorded sounds of waves crashing, seagulls cachinatory ritual cries and the wind billowing. This provides the ‘mood’ and ideal setting for him to weave his creations into life - a constant reality that afloats in his mind.

It is decidedly difficult to keep his buoyancy and at the same time caricaturing the constantly motion life of underwater beings, and not to disrupt the natural ecology of his subjects’ domicile. He does this with skilled celerity and parsimonious sensitivity.
Choosing the perfect time to work includes several trips to determine wind velocity, underwater currents and potential detrimental aspects that would ruin visibility or keep him from working coherently but he enjoys the thrills of working in a risky and unpredictable environment.

Ajis is an artist with vision and integrity, and he harbours the desire to extend help to others embarking on the same journey. He craves to do the best that he can, a mantra he repeats to himself daily, a means of motivation from a self-taught artist who knew and understood what pain and struggle was all about firsthand, but persevered despite the odds.

His work is a window to his very own world, and he is the heraldic messenger inundating his audiences. He is a perfectionist and all his creations speak for themselves.

Ajis’s work will transport them to a celestial underwater world of insouciance, where miracles are the way of life and the mephitic above is nothing but a distant memory, at least for a while…

Subject:	Nautical
Style:	Realism
Medium:	Oil & Acrylic
Type:	Fine Art
Size:	107 x 76 cm
Availability:	Sold

Ahmad Shukri Elias

Description:

A.Shukri Elias was born on April 11,1960 at Alor Setar, Kedah.
Shook, to his friends started as a batik designer in Penang in 1980. He was then a graphic artist at the Universiti Saints Malaysia, producing illustration for schoolbooks. 1982 to 1986, Shook pursued his studies and graduated with a BFA in Art & Design from University Tecnologi MARA.

Profile:

Shook started producing serious works while doing other activities. He was a freelance designer,a resident artist at a beach resort and a part-time
lecture at UITM and a few art colleges. He also
set up a gallery "Kiara Gallery" and taught children art classes from home. Shook kept producing and exhibiting in many exhibition organized by the National Art Gallery, from Young
Contemporaries, annual Open Shows to the Phillip Morris Art Award..From 1997, Shook started producing works full time and ended up meeting the others at the Conlay Artist colony in 1998. Shook is currently lecturing in Visual Arts at the faculty of Performing Arts, University Technology MARA.
Shukri's work is very aggressive and spontaneous, his art deals with the journey of life through human emotion.

Subject:	Figure & Form
Style:	Abstract
Medium:	Oil & Acrylic
Type:	Fine Art
Size:	107cm x 104cm
Availability:	Collection

Dr. Sulaiman Esa

The Malaysian Government put forward its Islamisation programme by which of imploring the inculcation of Islamic values in various facets of the Malay/Muslim existence in 1982. Although the modernist artists had utilised motifs from Islamic calligraphy much earlier, it was to be that until the 1980s that Islam boldly emerged to the fore of Malaysian Modern Art. Hence the emergence of Dr. Sulaiman Esa, who through his relentless quest for an inherent and innate aesthetic, rejected secular, internationalist and multicultural frames and called for a strict adherence to Islamic fundamentals in the production of contemporary art. Dr. Sulaiman has championed the application of Islamic principles in his contemporary idiom both in his work and his polemics. Throughout the 1980s and 1990s, Dr. Sulaiman's artistic delving were purely in abstract form, integrating Islamic geometry with unmistakable Malay traditional crafts in a commendable attempt to remould modernism and post modernism within the sanctity of Islam and within the realms of the increasing influence of Malay nationalism

Subject:	Spiritual
Style:	Post Modern
Medium:	Mixed Media
Type:	Fine Art
Size:	75 x 48.5cm

Datuk Syed Ahmad Jamal

"ingatan bintan" (memory of bintan)
collection by ungku anna
2000
acrylic on canvas
85cm x 122.5cm

Now 71 years old, born in Muar, Johor, Syed Ahmad Jamal's art career started in 1956 when he returned from England having graduated with the National Diploma in Design from the Chelsea School of Art in 1955 and a year later in art education from the University of London. Since then a long and challenging career would see him play a very important role, as one of the country's most important art educationists and as a leading figure in Malaysian Modern Art

Redza Piyadasa

Baba family
collection of national university of Singapore art museums, Singapore
1987, acrylic on canvas.








A matter of time
collection of the artist
1978
acrylic, wood, and transformed found object.




Born in 1939 to Malaysia Sinhalese parents, Piyadasa grew up in Kuantan, Pahang. Initially trained as a teacher at the Malaysia Teacher's College at Brinsford Lodge in England, he pursued his formal artistic, studies on a Malaysia government scholarship at the Hornsey College of Art in London. Graduating in 1967, he returned to teach at the newly started School of Art and Design of the Mara Institute of Technology

Bayu Utomo Radjikin

bayu utomo radjikin,
x figure,
oil on canvas,
83cm x 110cm,
1993

As I write, the countdown to the Bush ultimatum is ticking away. CNN's headlines read 'Soldiers and Equipment Head for Iraq Border in Vast Formation'. The first image that came to my mind was the oil painting that the Sabahan artist, Bayu Utomo Radjikin had done many years back entitled 'X Figure'.

Bayu's painting, to me, evokes the modern man's angst and grotesque alienation in an unintelligible and hostile world. The backdrop is somewhat like the ink-blot tests; it elicits and defeats attempts at conclusive explanation. In this work, we see the expression of utter terror on the child's countenance, the vulnerability of its emaciated frames pressed against a wall and helplessness of the clasped hands and the eyes, wide opened witnesses to all that is horror and abjection. The expression on the child is obvious to all; there can be no doubt about it and it forms a striking contrast to the convoluted background. There you see substances of the artist's vision on the labyrinthine complexities of the world, anxiety laden absurdities of life and the powerfully oppressive forces at hand. The nightmare within this canvas is now resonating with the chilling reality.

Abdul Ghani Ahmad

1945
Born in Kedah
Self taught artist
Member of Asian Watercolour Confederation (MAWC)
Member of Organisation Of Cat Air Malaysia (MWO)
Member of Persatuan Pelukis Malaysia (PPM)
Member of Angkatan Pelukis Se Malaysia (APS)
Member of Angkatan Pelukis Kedah (APK)


Solo Exhibition

1991
Creative Art Centre, National Art Gallery, Kuala Lumpur
1992
2nd Solo Exhibition at Bankers Club, Amoda Building, Kuala Lumpur
1995
Solo Exhibition at Langkawi Island, Kedah

1999 Solo ’99 at University Hospital, Petaling Jaya, Selangor
2001
‘Asian Watercolour 90” Exhibition at City Hall, Hong Kong
Solo Exhibition at Mandarin Oriental Hotel, Kuala Lumpur
2002
Exhibition at NSTP Building, Kuala Lumpur

International Exhibition

1989
‘Contemporary 89” at Orchard Point Exhibition Hall, Orchard Road, Singapore
Runner Up ‘Search for Singapore Dress’ Design Competition, NTUC, Singapore
‘Malaysian Watercolour 89’, Thailand
1990
‘51st Asia International Exhibition of Watercolour 1990’, Tianjin, China
“Asian Watercolour 90’, City Hall, Hong Kong
1992
‘Asian Watercolour 1992”, Taiwan
1993
‘PPM-TRIBE Exhibition (Trien Lam My Thuat) Hanoi, Vietnam
‘Malaysian Art Exhibition’, Belgium
‘Asian Watercolour 1993’ Bali, Jakarta, Indonesia
1995
‘Asian Watercolour 1995’, Bangkok, Thailand
1997
‘Landscape of Malaysia Exhibition’, MAIMO Museum, Sweden
Exhibition at Ciba, Japan
Asian Watercolour Confederation Annual Show, Singapore
1998
Asian Watercolour 1998, Seoul, Korea
13th Exhibition of the Asian Watercolour Confederation, 13th October 1998
2000
Korea Arts Creative Association Exhibition, KL Hilton, Kuala Lumpur
2001
Images of Malaysia & India Exhibition, India
2002
Mauritius (French Airlines)
2003
' Colours of Malaysia 2003' Jordan National Galllery of Fine Arts, Amman, Jordan

Kasbi Sarbini

Seram, Misteri - Pengalaman pelukis majalah Mastika

Kasbi Sarbini bersama lukisan yang pernah digunakan untuk kulit depan majalah Mastika yang dipamerkan di Menara Kuala Lumpur.


ROSES pengkaryaan beliau lebih merupakan rutin tugas, yang menuntut ketepatan masa dan keperluan mengisi ketetapan fenomena yang ingin dizahirkan terlebih dulu dalam bentuk rencana atau artikel. Karya-karya yang dihasilkan pula lebih menekankan kepada penampilan figura serta pilihan dan konsep warna yang khusus. Lantaran itu juga pelukis ini mengakui menghasilkan lukisan untuk kulit depan majalah bulanan Mastika memberikan pengalaman perasaan yang berbeza. Berbeza yang dimaksudkan adalah kebanyakannya berkisar mengenai suasana perkuburan, cerita hantu atau peristiwa misteri. Perasaan seram dan suasana seperti berada di tempat kejadian semasa dalam keasyikan melukis merupakan pengalaman yang biasa dihadapinya. Namun ia dianggap sebagai sebahagian daripada asam garam tugas memandang kebanyakan kulit depan majalah tersebut menghendaki lukisan sedemikian apabila diberi kepercayaan sejak September 1997. Visualizer Utusan Karya, Kasbi Sarbini memberitahu, beliau melakukan tugas menyiapkan lukisan untuk kulit depan Mastika di rumah selepas waktu kerja. Jelasnya, beliau perlu menyiapkan lukisan tersebut dalam keadaan tiada gangguan dan dapat memberikan sepenuh tumpuan serta perhatian.

Pada ketika perhatian penuh itu beliau menambah, suasana terasa seperti dalam keadaan sebenar, meremang bulu roma, seram dan misterius. ``Biasalah sebab perlu menyiapkannya sampai jauh malam. Saya biasanya ada tiga atau empat hari untuk menyiapkannya. Masa menyiapkan lukisan, kadang-kadang rasa seram pun ada. ``Apabila terlalu asyik dan suasana yang dilukiskan itu terasa dalam diri, memang sukar untuk mengembalikan diri kepada keadaan normal,'' kata beliau. Bagi menyiapkan sesuatu gambar, beliau perlu memahami kehendak Pengarang Mastika atau wartawannya terlebih dulu melalui perbincangan dan membaca tulisan yang ingin dipaparkan untuk kulit depan.Menurut Kasbi, selepas memahami sesuatu artikel atau rencana, beliau akan membuat lakaran yang akan ditunjukkan kepada pengarang bagi mendapatkan persetujuan. Ujarnya, figura manusia yang digunakan dalam setiap lukisan kebanyakannya dirakam dalam bentuk fotografi terlebih dulu sebelum diolah dalam bentuk lukisan. Beliau berkata, latar lukisan pula lebih memerlukan daya imaginasi yang perlu disesuaikan dengan keperluan editorial dan tarikan pembaca.

Lantaran itu juga ujarnya, pemilihan warna, aspek pencahayaan dan bayang merupakan aspek penting terutama dalam menimbulkan kesan misteri atau seram. Pelukis itu menambah, kesan tampak yang kuat dan berkesan akan dapat memberi rangsangan kepada pembeli. ``Tujuan melukis untuk kulit depan Mastika adalah untuk menarik minat pembelinya. Sebaik-baiknya, lukisan tersebut mempunyai cerita yang menarik perhatian pembaca. ``Bagaimanapun tidak mudah untuk menghasilkan lukisan yang mampu memberikan kesan mendalam kepada khalayak yang menatapnya,'' jelasnya. Kasbi memberitahu, malah kadang-kadang lukisan yang sudah disiapkan ditolak oleh pengarang apabila mendapati ianya tidak memenuhi kehendak. Ditanya sama ada pernah mengalami saat kekeringan idea, beliau memberitahu, masalah seumpama itu tidak pernah timbul. Di sebalik menghasilkan lukisan yang menampilkan imej atau persekitaran misteri dan seram, pelukis yang memahirkan diri melalui pembelajaran sendiri dan pengalaman itu sebenarnya berminat menghasilkan lukisan bermotifkan alam semula jadi. Pameran anjuran Mastika dan Menara Kuala Lumpur itu memaparkan 60 hasil lukisan kulit depan terpilih majalah Mastika yang dihasilkan oleh Kasbi. Pameran tersebut sedang berlangsung di Menara Kuala Lumpur sehingga 4 Oktober ini dan ianya terbuka kepada orang ramai.

Sabri Idrus

<>Sabri ldrus is one of the most profound artists Malaysia has to offer. He goes beyond the creation of art for art's sake. His approach is an intellectual one, that combines both philosophy with symbolism, using methods that challenge boundaries .The end results are truly breathtaking.

Lorek Lorek is loosely translated as the making of marks. For Sabri Idrus, his art is based on lines, they are his mark.

After an in depth study of mathematical and scientific concepts, in relation to nature, the artist started looking at his environment from an analytical point of view. He saw that lines featured in everything that involved life, both natural and man made. From the lines created in the boost of a jet engine, lines reflected in water, shadow lines in a stream of sunrays, the horizon, outlines on a snake's skin, to the spiral curves of sea shells and pine cones. Lines feature everywhere. Where there is life there are lines.

In nature, some lines and forms are so beautifully created, they appear mystical, almost as if they are planned. For this artist his exploration began here. From his studies of Fibonacci numbers, (where the numbers are the result of adding the two preceding numbers, e.g. 1, 1, 2, 3, 5, 8, ....j, he saw that almost everything that we see in nature is a result of repetitive number patterns. And for him repetitive forms.

Since his first solo exhibition in December 1999, where the artist worked primarily with tropical plant motives , this artist has developed his philosophy to incorporate a broader scope of images. However, he has maintained the need to achieve luminosity, in the creation of his works. This is seen in his use of shiny, smooth, surfaces as his base foundation, namely aluminium and zinc sheets, on top of which he layers fiberglass, industrial fillers, paint, oil, water and acrylic colour. All his works emanate with translucence and have an integrity that goes beyond the last layer.

Khalil Ibrahim

Khalil was born in 1934 in Kelantan. He is one of the few Malaysians to have received their art training at Central St. Martins School of Art and Design in London in the 60's. His career spans four decades with many solo and group exhibitions held in Malaysia, Singapore, Indonesia and Switzerland.

Khalil had a joint exhibition with artist Yeoh Jin Ling at the Australian High Commission in 1984. Using acrylic, oil, watercolour and in batik, his preference for figuration has led to memorable images of men and women from the east coast malay fishing villages dramatically set against stark backgrounds of blues and greens and watercolour landscapes of east coast villages.

	Title	:	Khalil III
	Material	:	Oil on Board
	Dimension	:	10" x 12"
	Year	:	2002

	Title	:	Khalil IV
	Material	:	Acrylic on canvas
	Dimension	:	50 " x 52"
	Year	:	2002

Latiff Mohidin

Two Standing Figures

Latiff Mohidin

<>Nationality: Malaysian
Year: 1968
Medium: Oil on canvas
Size: 88 x 66 cm

Latiff Mohidin

Latiff was born in 1941. He is Malaysia's most celebrated living artist and poet and is considered a national treasure. Called 'Boy Wonder' since age 11, he got his art training in Germany at Hochschule fur Bildende Kunste, Atelier La Courriere in France and Pratt Graphic Centre in America. He shaped the development of art practise and literature through his extraordinary vision.

Ahmad Zakii Anwar

Interpreter of Desires: Ahmad Zakii Anwar

	‘room with figure’, 2001, Acrylic on linen, 120 x 180 cm
	‘nine thoughts’, 2003, Acrylic on jute, 67 x 200 cm
	‘wayang larut malam 2’, 2003, Acrylic on jute, 67 x 200 cm

Please tell us about your creative process. For example, what frame of mind do you have to be in?

AZA: I think momentum is more important than frame of mind. The thought of a painting in the studio awaiting completion is a great motivator. Normally if a painting is already underway I can paint in whatever mood I'm in. Once I start I will be totally absorbed. But starting a new piece is something else. There's a lot of hesitation and doubt initially, so it's best to just sort of bang away. If I think too much, I'm never going to start. When an idea hits me (or even half an idea), I start work on it immediately.

What happens if the finished painting is not what you have seen in your mind's eye?

AZA: An artist might have a vision before he begins; but once the painting is taking shape he must be sensitive enough to recognize the signals the canvas is sending. I rarely finish a painting 100% the way I intended. Ideas change along the way. The painting might lead you to unexpected areas.

You act and the canvas reacts; the canvas acts and you react. It's like a dance; sometimes you lead and the other times your partner leads. But sometimes, when the stars are aligned right, artist and canvas are cosmically in tune. At such times, every stroke seems perfect. When idea and execution are in total harmony, a painting is finished quickly and the result is immensely satisfying. But such times are rare. Most times it takes a bit of sweat to get things right.

You have produced a substantial body of work and are an artist who can pursue new directions. What inspires you?

AZA: Difficult to say. Inspiration is such a misused word. I would say that I am inspired by life. But specifically, as a realist I am interested in forms and most importantly its essence. The relationship between various forms provides the basis for my work. I often see the painting in my mind before I start. It is this vision that I trust rather than the idea behind it.

Instinct is a powerful tool. It is the subconscious hinting. Although the motivation behind it can be unclear, the compulsion to create overwhelms reason. I find that too much intellectualisation before starting work results in self-censorship. The battle should be on the canvas, not in the mind. The reasoning behind a body of works becomes clearer much later after most of the works have been done.

In your latest work we can see that you are returning to the theme of an earlier series entitled Meditations, could you tell us what fascinates you about disguises and identities?

AZA: My interest in masks triggered the Meditations series. I started this series in 1998 and have worked on it periodically between other series for the last few years. It concerns Man's search for his true identity behind the various masks he wears throughout the course of his life.

It is only recently that I have managed to partially resolve it. The early works in the series were an exploration into man's inner psyche. This path has led to the present chapter in the series, which addresses the question of divinity.

The progression is natural. Unravelling the intricate layers of man's nature ultimately leads to metaphysical examinations. The relationship between the creator and his creation forms the basis for this query.

‘trio’, 1998, Acrylic on canvas. 69 x 206 cm, 3 panels

Zaharuddin Sarbini

Was born in Sekinchan, Selangor, Malaysia on 14 April 1966 and holds a degree in Mechanical Engineering from the University of Technology in Malaysia.

A diversion from his trained profession, he has always been interested in art since he was a child at school in the 70's. His passion for painting fruit is so deep that today he is known as one of the pioneer artists using fruit as a subject matter.

Zaharuddin has had more than 50 exhibitions todate and has won 2 awards - the Initiative Young Artist Award from the Shah Alam Gallery in 1966, and an Honourable Mention from the National Art Gallery in 1997. 'Jambu Air' was awarded Painting of the Year in 1998 by a panel for the Anugerah Gallery. It was then brought to London and Paris to be exhibited there.

Mat Dollah Batik

Statement:
There is no stopping Mat Dollah when executing his work. A piece of cloth has to go through rigorous process that uniquely his. From dotted, lined and cracked with wax to various color application techniques, the images he created seem to emerge from inside the art piece.
Don't be surprised if he repeats the whole process again and again-that's what separates Mat Dollah's batik from the traditional. But of
course, those are only technical. As an art work piece, Mat Dollah's work are bold. His choice of 'fire' colors-mad reds and naked yellows-represents discrete individuality. Yet within the same frames are also surreal images of local tradition, myth and modernity. In contras to colors, Mat Dollah's subjects are deeply communal and not at all solitary. In his work, Malay legends and the reality of present political culture exist side by side. What can we say to such unique and refreshing combinations?. Be still and enjoy....

Ibrahim Hussein

"To me, painting is like praying. When I paint, I am dealing with my heart, my work and God. There is deep joy and gratitude. Each piece frames a moment in my life."

Yusuf Ghani

"I remember his first solo at Citra (Gallery) in 1989. It was highly successful. The response was tremendous." - Julinda Tay, Citra Gallery, Malaysia.

"We never show artists who are just out of school, but with Yusof we did, and it was a very well received show." - Gail Enns, Anton Gallery Owner, Washington, D.C.

Topeng Series.

Originally a graphic artist in Malaysia between 1969 to 1979, Yusof's transition to fine arts started when he received a government grant to study graphic arts at George Mason University, Virginia, in 1979. It was there that he met Walter Kravitz, a professor in painting, who introduced him to fine arts.

He soon became interested in the works of American Abstract Expressionists - Pollock and de Kooning. And after receiving the Dr. Burt Amanda Scholarship for the most outstanding student of art, Yusof took classes in fine arts and eventually graduated with a Bachelor's degree. He then continued to work for a Master's Degree at Catholic University in Washington, D.C., and met Professor

Wayang Series.

Tom Nakashima who taught him the finer points in painting.

After he completed his Master's degree, he had his first solo exhibition at the prestigous Anton Gallery in Washington, D.C. His "Protest" series, which protested the U.S. intervention in Nicaragua and El Salvador at that time, was well received and even drew rave review from Washington Post's art critic - Jo Ann Lewis.

Upon returning to Malaysia, Yusof continued to work with a series of collections called "Tari" (Dance), "Topeng" (Mask), "Wayang" (Play), and most recently - "Hijau" (Green). Since then, he has had successful exhibitions in Singapore, San Francisco, London, Abu Dhabi, New Delhi, Tokyo, Madrid, and off course - Malaysia. His collectors are from all over the world.

Yusof Ghani is currently a fine arts instructor at the University Technology MARA, in Malaysia.

The fantastic photorealism artworks by Latif Maulan at http://www.latifm.com

Fantastic photorealism artworks by Latif Maulan, featuring 30 pieces of brilliance photorealism paintings flower title "The bold and brilliance flower". Holding art exhibition on the web.

(PRWEB) March 18 2004--Abd Latif Maulan, whose stunning artworks can be viewed at the website http://www.latifm.com This talented malaysian has been displaying his work on the net for the past two years and has recieved an encouraging response from collectors and art appreciators from as far as United States, United Kingdom, Australia, Dubai, Hong Kong, Mexico and etc.

Latif who has passion for photorealism paintings, is currently holding an online art exhibition entitled The Bold And Brilliance Flower in his website. Surfers can enjoy beautiful images of nature, fauna and flora in the section called Exhibition and also portfolio.

Taking a photograph to use in the process of making photorealist paintings can seem like a straightforward task. However many decisions have to be made concerning every aspect of the image. Normally when involved in the process of making a painting, many decisions can be made and unmade throughout, however with photorealism all these decisions are made when the shutter is pressed.

A photograph can be either a 'good' photograph or just a 'snapshot'. In fact both approaches can yield images with appealing qualities. But as is the general rule with photography, many shots have to be taken in order to get just one usable picture.

There are many artifacts of the photographic image which are unique to it. For example, depth of field, lens effects such as flare or perspective distortion, a compressed tonal range compared with how we see the scene with the eye, sharpness is not consistent across the image and also depends on contrast, colours can seem artificial and have a narrower gamut compared with how we see naturally. These things can be used positively to add to the effect of the finished painting. It is as important to choose an image which exhibits these artifacts in a beneficial way as it is to provide good foundation elements. Choosing wisely can improve the effect of the finished painting.

With most of the decisions regarding the appearance of the final image already made, the source photograph needs to be assessed in an objective way and to be seen as a huge matrix of colours and tonal values. If it were digitised, this is exactly what it would be, and even as a colour print or transparency the grain structure is still essentially a looser matrix of elements which have a colour and tonal value.

On achieving this objective view and seeing the photograph in this way, it is then possible to move back towards seeing the elements within the photograph as objects again. In doing this it is possible to be able to control the way in which the working photograph is viewed in order to be able to 'switch' in and out of these two different ways of seeing. This is required because during the painting process, in the interests of expediency it is useful to treat areas within the composition as 'objects'. This is purely for practical reasons as it is important to match colours and families of colours across 'objects' that may extend across the composition.

The process of making a photorealist painting is esentially making an enlargement of an original photograph. So whats the point ? well it could be argued that if you made a photographic enlargement from a transparency or negative using the well established methods, the result would be the equivalent of a photorealist painting. Of course the end result when compared with a photorealist painting would look superficially similar, but closer examination would reveal that all the enlargement would show is its physical limitations. Whereas with a photorealist painting we are seeing something that could never exist by any other means. Because no matter how objective the artist is, there will always be 'interpretation'. It is this subtle quality which gives the photorealist work its beguiling qualities.

Welcome to the Malaysian artist Link

Malaysian Photorealist Artist Abd Latif Maulan, official website http://www.latifm.com