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Saturday, May 07, 2005

Haris Ribut


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.


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


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.


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


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.


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
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
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

noko project - harvest”, noko island, fukuoka
bayu utomo radjikin,
x figure,
oil on canvas,
83cm x 110cm,

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

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

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

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

International Exhibition

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

Khalil III
Oil on Board
10" x 12"

Khalil IV
Acrylic on canvas
50 " x 52"

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