BEBAS is a solo exhibition by Malaysia’s well-known contemporary artist : Suhaimi Fadzir. The exhibition is open for public from 21st of March 2016 (Monday) whilst the launching night will be held on the 24th of March on Thursday, 8 PM at Artcube.

(visit our facebook page to view the artworks)



(Written by Zena Khan)

Over the span of his career, Malaysian artist Suhaimi Fadzir has drawn from a variety of influences – including the deconstructivist philosophies of Jacques Derrida, conceptualist techniques of Marcel Duchamp, formal aspects of Western art history, the history and contemporary environment of Malaysia, and his training as an architect – to create a unique blend of mixed media art he terms Archipainting. Despite being best known for this expansive, sculptural genre, in recent years, Suhaimi has been returning to experimenting with two-dimensional mixed media and painting works. His current solo, Bebas, here at Artcube Gallery, demonstrates the ease with which Suhaimi, a truly inter-disciplinary artist, is able to move between two, and three dimensions in his creative practice. At the same time, his position as a key intellectual thinker in contemporary Malaysian society is solidified, through the depth of ideas – ranging from themes of politics to society to religion – in the works presented.

Born in 1963 in Perak, Malaysia, Suhaimi originally trained as an architect at the Washington University in St Louis, Missouri. During this time, deconstructivism, as exemplified by employing shapes to distort or dislocate fundamental structural elements, emerged as a form of postmodern architecture. This influence has been strongly evident throughout Suhaimi’s artistic career. Indeed, his development of Archipainting can be seen as a fulfillment of the deconstructivist’s aim to show the construction and mergence of ideas and structures. Till today, Suhaimi maintains two studios, one in Malaysia and one in America, moving between them as he does between two and three dimensions in his art practice. He affirms that physically shifting between spaces enables him to broaden his insights on local social themes, by constantly infusing them with the discourses raised through viewing the world through different lenses. Through this layered way of working, Suhaimi manages to embody a truly cosmopolitan artist, whose works draw upon several international references, yet are infused with a strongly specific Malaysian cultural resonance.

Audiences and critics have responded well to his endeavors. Suhaimi regularly exhibits at important solo and group exhibitions, both in Malaysia and internationally. In 2012, he was awarded the Dublin Biennial Award of Excellence. Other important exhibitions he has participated in include the 12th and 13th Venice Biennale (Architecture), alongside famed photographer Ansel Adams in America, at the Saatchi Gallery, and at the GMCA I and GMCA II exhibitions in Malaysia. Critically, he has further established his relevance through the receipt of the prestigious Smithsonian Fellowship, as well the Art St Louis Residency programme, both in America. Several key artworks by Suhaimi can now be found in public and private collections in Malaysia, Korea, Ireland, China, USA, Indonesia, Singapore, UK, Japan, Philippine, Spain, Uzbekistan, Germany and Mexico.

Bebas brings together a wide selection of artworks by Suhaimi, which have been produced over the span of the past eight years. As such, the exhibition functions as a mini retrospective, highlighting a specific period of the artist’s career and documenting his progressions, technical developments, and conceptual threads, during this time. His penchant for assemblage is strongly demonstrated, particularly through the display of “Ferguson (For The People)”, Ferguson (Hands Up, Don’t Shoot)”,Merdeka 1957” and “Kontrak Sosial”. These four mixed media wall assemblages are composed mainly from found objects, a key material Suhaimi has regularly revisited over the course of his career. Audiences will note that these works are increasingly refined from those produced during his early Archipainting experiments. The composition of each piece is more structured, drawing inspiration from classical Western paintings, as opposed to the freer, expressionist style that demarcates his earlier works. Additionally the works have a finer finish. “Ferguson (For The People)” and “Ferguson (Hands Up, Don’t Shoot)”, made up predominantly from found metal objects, are perhaps the most visually similar to Suhaimi’s earlier works. However, in being anchored by extra-large steel woks with lights below them, the works are endowed with a smoother, and more polished finish overall. Similarly, “Merdeka 1957” and “Kontrak Sosial”, which are finished in dominantly-white palettes, show Suhaimi’s progression of Archipainting into an increasingly sleek, contemporary direction, echoing the refinement of society at large.

“Ferguson (For The People)”, “Ferguson (Hands Up, Don’t Shoot)”, “Merdeka 1957” and “Kontrak Sosial” feel like natural starting points from which to begin intellectually navigating Bebas. Not only do they assert Suhaimi’s creativity in inventing a genre, Archipainting, but also the elements in their compositions have had a strong influence that can be tracked throughout the rest of this exhibition. The razor blades that fill the backgrounds of “Merdeka 1957” and “Kontrak Sosial”, are again visible in “Angin Senja”, “Hadirnya Dendam Bila Sabar Sudah Tiada Di Hati”, “Allah Is The Light Of The Heavens And The Earth (Orange)”, “Allah Is The Light Of The Heavens And The Earth (Green)” “Allah Is The Light Of The Heavens And The Earth (Purple)”, juxtaposed against mixed media backgrounds, overlaid with print and neon lights. In presenting these works within the same space, in a singular exhibition, the gallerists’ communicate not only the artist’s development over time, but also that of assemblage within contemporary Malaysian art.

It enabling audiences to follow the more critical developments of Suhaimi’s practice over time, a weight is lent to Bebas as being an intellectual space in which he can raise discourse on subjects close to him, while demonstrating his technical mastery. This is clearly exemplified in “Allah Is The Light Of The Heavens And The Earth (Orange)”, “Allah Is The Light Of The Heavens And The Earth (Green)” and “Allah Is The Light Of The Heavens And The Earth (Purple)”, from the Jawi/Neon series, where Suhaimi simultaneously expands on his experimentations with neon lights and calligraphy. Over printed backgrounds filled with razor blades, Suhaimi personally inscribes calligraphy of verses from Surah An-Nur. The verses hold personal significance for the artist, who was introduced to their magnitude through an alternative medicine man, with whom he spent time. The calligraphy is repeated in neon lights that mimic Suhaimi’s own Arabic writing, and are affixed to clear Perspex panels overlaying the pieces. Steel cookware, such as saucepans and pots, are arranged in a neat box across the bottom third of each piece, creating a visual link back to “Ferguson (Hands Up, Don’t Shoot)” and the artist’s penchant for metallic found objects. As a mixed media artist, Suhaimi demonstrates an innate understanding of the need to carefully structure his works through the use of several layers. The base of “Allah Is The Light Of The Heavens And The Earth (Orange)”, “Allah Is The Light Of The Heavens And The Earth (Green)” and “Allah Is The Light Of The Heavens And The Earth (Purple)”, are initially primed with black and white imprints of luxury brand logos, seemingly as a nod to the materialization of increasingly affluent societies, such as Malaysia. He links these works visually to “Hishammuddin Hussein Onn”, by repeating these prints as the initial layer on the artwork’s surface.

A large-scale triptych, “Hishammuddin Hussein Onn” is a nod to the three generations of the Onn family who have been pivotal to Malaysian politics since Independence. Each canvas features a large painted portrait – the first is of Onn Jaafar, founder of UMNO, the next is his son, Tun Hussein Onn, the third prime minister of Malaysia, and the last is of Datuk Seri Hishammuddin Hussein, the current Malaysian Minister of Defence. Over the printed logos, Suhaimi prints a scaled-down mix of the three portraits, before painting over them with expressive double layers of faces that give each canvas a sense of movement. In painting the portraits of these members of one of the country’s most prominent political dynasties, in an expressive, contemporary style, Suhaimi nods to historical traditions of depicting influential figures while expanding the canon of Malaysian contemporary painting.

Hishammuddin Hussein Onn” is from the Merdeka series, which explores personal observations of nationalism, the Malaysian constitution, and social contract, as well as political issues. ‘Merdeka’, the Malay term for ‘independence’, commonly denotes Malaysia’s independence from the powers of colonial Britain. As such, these works are meant to explore the Malaysian constitution in terms of the original structure; that is, what it was meant to convey and subsequent interpretations in modern times. The other work included in Bebas from this series, “Standing Tall (RAHMAN)”, clearly depicts this through detailed layering of images, portraits and text. At 42 feet long, this work weaves an intricate narrative on the “Rahman Myth” alongside a discussion on the successful policies by previous Malaysia leaders that have propelled Malaysia into prominent economic and political positions on the global stage. The “Rahman Myth” suggested that the initial letter of the first six Malaysian prime ministers would come together to spell RAHMAN. Suhaimi questions whether the foretelling of this anagram was a myth or coincidence, given the fact that it has actually come to pass. From this, he goes on to ruminate on the contributions of each of the six prime ministers to Malaysia, in particular Tun Abdul Razak, who is often referred to as “Bapa Pembangunan”. Several of Tun Razak’s policies, such as the New Economic Policy, which was focused on the eradication of poverty and social construction through rural development and education, have been major contributing factors to the increased urbanization, development and affluence witnessed by Malaysians today. With a complex layering of collages, acrylic, emulsion, and medium transfer, Suhaimi brings together key images, symbols, and points that speak to the impact of these six prime ministers, in an aesthetic that a contemporary audience can connect to with ease.

In presenting a cross-section of works by Suhaimi from the past eight years, Bebas enables viewers to understand the artist’s creative progressions – technical, creative, and conceptual. As such, this exhibition situates Suhaimi within the context of the Malaysian contemporary art movement, as a key innovative figure, who continues to make important contributions to the canons of Malaysian art history.





Siri Rasa Bertuhan

Karya seni pelukis Mohd Noor Mahmud berkait rapat dengan tradisi kraf Kelantan. Seni Kelantan memberi pengaruh kuat kepada kebudayaan Malaysia seperti batik, kain songket, pertukangan perak dan ukiran kayu. Pengaruh budaya kraf ini telah menajdi sebati digunakan oleh Mohd Noor dalam kerjayanya. Bermula dengan karya seni pertama beliau iaitu Siri Imaian (1988), Sekebun Bunga III (2013), Alun III (2013) dan karya terbaru, Siri Rasa Bertuhan yang mempersembahkan 99 nama Allah SWT.

Pameran ini dijangka akan diadakan pada Mac nanti di Galeri Artcube, The Intermark, Jalan Tun Razak, Kuala Lumpur.

Jumlah karya yang dihasilkan kali ini adalah sebanyak 99 buah. Mohd Noor menghasilkan setiap satu nama Allah ke atas setiap helaian kanvas yang berukuran 5 x 5 kaki. Karya ini telah dimulakan prosesnya pada 2008 dan kerja yang memakan masa lima tahun ini akhirnya siap sepenuhnya pada tahun lalu.


Mohd Noor telah meneroka penggunaan teknik kraf tradisional unutk membawa satu seni bertema kontemporari. Justeru beliau telah menggunakan campuran akrilik bersama habuk papan yang diletakkan keatas helaian kanvas.

Teknik ini digunakan bertujuan untuk memberi kesan yang lebih lembut ke atas karya serta dapat meggantikan teknik ukiran kayu yang lebih sukar.

Mohd Noor pertama kali menyedari teknik ini dalam karya Siri Gua yang merujuk kepada Gua Cha di Ulu Kelantan. Gua tersebut merupakan tapak arkeologi paling aktif dikaji di Semenanjung Malaysia dan peninggalan bahan-bahan artifak zaman Hoabhonians dan Neolitik telah ditemui di situ.

Tapak arkeologi paling aktif adalah tempat mayat Hoabhonians dan Neolitik ditemui dengan artifak mereka. Objek-objek yang terdapat dalam pengebumian kubur manusia seperti barang kemas, tembikar dan peralatan batu telah memberi ilham kepada artis ini untuk mengkaji bahan-bahan kasar seperti serbuk kayu untuk menjadi sebahagian bahan mentah karyanya.

Serbuk ini dicampur dengan gam untuk mendapat satu tekstur yang kasar dan mencapai kesan lapisan yang cantik.

Keajaiban teknik ini telah memberi satu hasil karya yang berkualiti kepada arca kanvas itu sendiri. Jika dilihat dari sudut tepi, jelas kelihatan beliau betul-betul teliti dalam penghasilan kerjanya kerana kerana helian kanvas diregang kemas dan permukaan elemen tiga dimensi menampakkan karya seni ini seperti bercahaya.

“Andai aku Tuah…” – INFINITI MAGAZINE, jan 2014


“Andai aku Tuah…”


Andai Aku Tuah… by Fauzin Mustafa

Merupakan sebuah karya lukisan yang telah dihasilkan oleh seorang pelukis terkenal pada tahun 2013. Lukisan itu telah dipamerkan di Artcube bersempena dengan pembukaan galeri tersebut pada 28 November lalu.

Lukisan tersebut diinspirasikan daripada sebuah pantun melambangkan falsafah melayu dalam mencapai kejayaan tanpa menyinggung perasaan orang lain. Selain itu, ia melambangkan corak keamanan yang infiniti.

Melalui karya tersebut, pelukis telah memaparkan potret seorang pahlawan yang menjadi simbol kebanggaan bangsa Melayu iaitu hang Tuah sebagai watak utama dalam lukisan tersebut. Yang menariknya, pelukis telah menggunakan konsep media campuran yang dihasilkan diatas kertas kanvas.

Pelukis juga telah menggabungkan beberapa elemen seperti kraf tradisional dan teknik-teknik seni akademik dengan unsur-unsur moden dimana beliau menggunakan kedua-dua keping ukiran asli dan cetakan pada kayu sebagai metafora kewujudan realiti dan ilusi. Ia merupakan satu usaha yang mengagumkan kerana bukan senang untuk menghasilkan sekeping naskah kontemporari yang sarat dengan nilai kemelayuan.

Berbicara lagi tentang idea untuk menghasilkan lukisan tersebut, sebelum melukis potret Hang Tuah, pelukis terlebih dahulu mengkaji mengenai sifat dan jati diri yang ada pada pahlawan tersebut.

Sebagaimana yang kita tahu, Hang Tuah memang cukup terkenal dalam dunia Melayu. Ini kerana sifat yang ada pada Hang Tuah itu sendiri telah menjadikan bangsa melayu dipandang tinggi dan dihormati oleh bangsa-bangsa lain.

Antara sifat yang ada pada dirinya adalah setia kepada negara dan pemimpin, bertolak ansur, dalam ketegasan ada santunnya, mempunyai semangat setiakawan yang tinggi serta mempunyai kemahiran berdiplomasi.

Sebab itu jugalah pelukis memilih Hang Tuah sebagai ikon penyatuan masyarakat di Malaysia. Padanya, semua rakyat Malaysia perlu mempunyai pertalian dan sentimen positif terhadap pahlawan mereka tanpa perlu dibuat-buat dan mengetepikan sentimen-sentimen negatif dalam hidup bermasyarakat.

Tambah pelukis itu lagi, seni seharusnya dapat menyatukan orang ramai. Malah, karyanya ini menunjukkan dengan jelas bahawa beliau tidak secara amnya membawa kearah unsur-unsur kiasan dalam karyanya, tetapi lebih mentakrifkan ajarannya seperti yang ada dalam “Andai Aku Tuah…”

Bagi menghasilkan potret tokoh pahlawan Melayu tersebut, beliau menjadikan arca Hang Tuah yang dipaparkan di Muzium Negara, Kuala Lumpur sebagai sumber rujukan visual. Pada karya yang dihasilkan olehnya, tertulis juga tulisan jawi dengan perkataan ‘Tuah’ dan ‘Jebat’ yang merujuk pada pahlawan, sahabat dan lawan.

Ia juga menjadi lambang metafora bagi memaksudkan unsur-unsur positif dan negataif yang wujud dalam masyarakat. Satu lagi simbol keharmonian yang seimbang boleh didapati pada corak ukiran kayu di sepanjang sempadan atas dan bawah lukisan tersebut.

Anda hendak tahu siapa gerangan pelukis diatas? Pelukis yang dimaksudkan ialah Fauzin Mustafa, 47. Beliau merupakan seorang artis kontemporari yang sangat berpengalaman dan terkenal di Malaysia mahupun dunia. Banyak hasil seninya telah dibeli oleh syarikat-syarikat besar didalam mahupun luar negara. Antaranya ialah syarikat dari Jepun, Amerika Syarikat, Denmark dan banyak lagi.

Beliau juga cukup terkenal dengan hasil lukisannya yang berunsur kemelayuan. Malah setiap hasil seninya mengandungi unsur kemelayuan. Walaupun lukisan tersebut bertaraf universal. Karya “Andai Aku Tuah…” juga merupakan satu lambang kehormatan kepadanya sebagai orang Melayu.

Sepanjang penglibatan beliau dalam dunia lukisan, pelbagai anugerah telah dirangkul. Antaranya ialah memperoleh tempat pertama dalam pertandingan melukis mural 1Malaysia di Balai Seni Negara di Kuala Lumpur pada tahun 2010, mewakili Malaysia dalam pameran-pameran lukisan yang berlangsung di Conpengahen, Denmark, Brunei dan juga Singapura.

Sebenarnya, bakat Fauzin dalam dunia lukisan ini telah dicungkil sejak kecil lagi. Disebabkan minatnya yang mendalam, beliau melanjutkan pelajaran dalam bidang Fine Art dan Design di Universiti Teknologi Mara sehingga ke peringkat Sarjana.

Berbicara tentang dunia lukisan, Fauzin menyatakan bahawa tidak ramai yang berminat untuk menjadikannya sebagai bidang pekerjaan. Ini kerana, ramai yang berpendapat bahawa kerjaya ini sangat susah serta memerlukan bakat dan kemahiran yang tinggi.

Tetapi, mereka tidak sedar sebenarnya hasil lukisan akan meningkat seiring bersama-sama pelukis. Ini kerana, masyarakat kini yang semakin menghargai nilai sebuah lukisan secara tidak langsung memberi penghargaan kepada pelukisnya juga.

Kebiasaanya, pelukis akan menghasilkan satu jenis lukisan sahaja. Disebabkan itu, nilai sesebuah lukisan ada yang mencecah sehingga puluhan ribu. Malah, ada juga mencecah hingga jutaan ringgit.

Ini menyebabkan beratus-ratus peminat lukisan akan berebut satu lukisan tersebut untuk dijadikan koleksi mereka. Mereka akan saling membida harga sehinggalah lukisan tersebut menjadi milik mereka.

Gabungan pelukis hebat – HARIAN METRO, 6th dec 2013


Gabungan pelukis hebat

Bagi meluaskan keterbukaan masyarakat terhadap dunia seni Malaysia, Galeri Artcube merevolusikan industri ini menerusi pameran pertama sempena pembukaan galeri itu di The Intermark, Jalan Tun Razak.

Pameran ‘Making The Mark’ adalah gabungan hebat pelukis berpengalaman dan muda dalam pelbagai campuran media.

Gabungan dua tenaga kerja pemilik bersama galeri terbabit, Azhar Ahmad dan Fuad Salleh mengetengahkan 17 pelukis terkenal bersama 24 karya.

Pameran itu berlangsung sehingga 20 Disember ini.

Hamir Soib menerusi The Will menggunakan akrilik dan bitumen di atas kanvas membawa frasa ‘Fabi-ayyi ala-i rabbikuma tukaththibani’ yang diambil daripada surah Ar-Rahman.

Kaligrafi Arab mengingatkan diri Hamir pada amanat arwah bapanya.

Shooshie Sulaiman yang popular di peringkat antarabangsa membawa karya tahun ini yang berjudul Purely Love: Leman & Meriam yang dihasilkannya ketika mengadakan siri pameran Sulaiman itu Melayu.

Karya ini sebagai penghormatan kepada arwah bapanya yang menjadi inspirasi sepanjang pengamatan Shooshie terhadap dunia sekeliling.

Karya Hello! Obama Speaking… memaparkan dua elemen yang ditonjolkan Ahmad Shukri Mohamed. Panel pertama menggambarkan situasi Obama bercakap di telefon namun dalam keadaan telinganya merah umpama Obama menahan diri daripada memarahi atau dimarahi.

Mohd Noor Mahmud menerusi karya Sekebun Bunga III dan Alun III mendekati seni tradisi kraf Kelantan. Bermula dengan Siri Imajan (1988) dan dua karya terbarunya membabitkan penggunaan habuk kayu.

Iqra’ antara hasil seni teragung Husin Hourmain yang membawa maksud ‘Bacalah!’.

Husin memang terkenal dalam seni kaligrafi Jawi.

Pameran ini turut membawa karya artis Fauzan Omar, Umibaizurah Mahir Ismail, Daud Rahim, Azad Daniel, Azrin Mohd, Mohd Fazli Othman, Dhavinder Singh, Fauzin Mustafa, Haslin Ismail, Masnoor Ramli, Suhaimi Fadzir dan artis patriotik, Zulkifli Yusof.


Lokasi: Artcube Gallery, 3-10 & 3-13, Intermark Mall, The Intermark, Jalan Tun Razak, Kuala Lumpur

Tarikh: Sehingga 20 Disember ini

Masa: 11 pagi hingga 7 petang

Artis: 17

Karya: 24

Telefon: +603-2181 1787

FB: Artcube

→ read from Harian Metro 







Local contemporary arts goes global – THE MALAY MAIL , 6th dec 2013


 Local Contemporary Art Goes Global

Malaysia’s latest gallery focus on high-value works by criticcaly- acclaimed Malaysian artist.

New gallery Artcube is set to make its mark in the Malaysian art scene by revolutionizing the way it is presented on the global platform. Joint gallery directors Azhar Ahmad and Fuad Salleh who are art enthusiasts themselves believe that Malaysia already has a strong cast of highly conceptual artist whose technical and experimental abilities have set an international benchmark.

“With the global shift towards preference for art that not only possesses intelectuall depth but also crucially involves great artistic skill, Malaysian contemporary art has all the ingredients to take its rightful place as one of the major art industries in the world, “ said Azhar at the gallery opening at Intermark recently

Artcube features artists like expert handler of acrylic and sawdust on canvas mat Nor Mahmud; veteran painter Hamir Soib; and calligraphy expert Husin Hourmain. Also featured Artcube is Ahmad Shukri Mohamed’s ‘Hello! Obama Speaking…’.

The gallery aims to portray a new environment with new collectors and art lovers, completely different from the set of gallery going people. “ To me, it is great that my work will be seen by a new set of people. It is very interesting to see their reaction,” explained Hamir.

Besides showcasing paintings, sculptures, installations, large scale assemblage and experimental mixed media Artcube will also assist collectors in amassing artworks of significance and act as consultants to serious corporate and private collectors of Malaysian arts.

Opening of the Artcube Gallery – MALAYSIA TATLER , 5th dec 2013

Opening of the ArtCube Gallery
Nov 28, 2013 / The Intermark Mall, Kuala Lumpur

Original and funky was the official opening of the ArtCube Gallery, a new entry in the artistic scene of Kuala Lumpur. Fuad Salleh and Azhar Ahmad, ArtCube’s art dealers, put together some of the most peculiar and unique pieces of Malaysian contemporary art, and created an exclusive gallery that spans 3,000 square feet.

The guest of honour for this elegant event was Dato’ Seri Mohamed Nazri, Minister of Tourism and Culture, who helped the two art dealers launch the gallery. Some of the artists who brought to life the creations displayed in the gallery also joined in the celebrations, and had the chance to explain their masterpieces.

Guests were seen enjoying the unique and intricate artwork by the many artist, including Tunku Myra, Mi-ki Choong and Tina Fazlita.

→ read from Malaysia Tatler

Artcube gallery – MY TOURISM TV , 29th nov 2013

Malaysia’s latest Art Gallery, Artcube, that was launched yesterday, is intended to take Malaysian contemporary art to the world stage. It will focus on high-value, investment-grade contemporary art to the world stage.

→ watch the video

Artcube bawa seni kontemporari Malaysia ke persada global – BERNAMA , 29th nov 2013


‘ARTCUBE’ Bawa Seni Kontemporari Malaysia Ke Persada Global

KUALA LUMPUR, 28 Nov (Bernama) — Menteri Pelancongan dan Kebudayaan Datuk Seri Mohamed Nazri Aziz berkata hasil karya artis kontemporari Malaysia mendapat permintaan tinggi di persada antarabangsa.

Beliau berharap galeri seni terbaharu, Artcube, akan terus memperhebatkan seni kontemporari Malaysia ke arena global dan menjadikannya suatu industri sepenuhnya.

Beliau turut percaya industri berkenaan akan menjana hasil lebih tinggi dan menyumbang kepada ekonomi Malaysia.

Mohamed Nazri berkata demikian ketika melancarkan galeri seni berukuran 278.71 meter persegi itu yang terletak di The Intermark di sini malam ini.

Galeri itu yang mendapat bantuan kewangan daripada MyCreative Ventures Sdn Bhd, sebuah sayap pelaburan kerajaan untuk memacu industri kreatif Malaysia, menampilkan karya 17 artis Malaysia, antaranya Husin Hourmain dan Suhaimi Fadzir.

Sementara itu, pengarah Artcube Azhar Ahmad memberitahu Bernama galeri itu berharap untuk meningkatkan standard dan kesedaran tentang seni kontemporari serta menguruskan dokumentasi dalam kalangan artis Malaysia.

“Masyarakat semakin berubah, malah golongan kelas pertengahan turut menzahirkan penghargaan kepada seni kontemporari. Kita perlu menguar-uarkan dan seterusnya memacu industri ini,” katanya.


Seni kontemporari ke tahap global – TV3 MALAYSIA HARI INI , 29th nov 2013

Seni Kontemporari Ke Tahap Global

Seni kontemporari buka tirai galeri Artcube – BERITA HARIAN , 29th nov 2013


Seni Kontemporari Buka Tirai Galeri Artcube

Pameran Karya Seni Kontemporari Tempatan yang menggabungkan pelukis hebat dan muda tanah air mengolah karya dengan gaya tersendiri di atas kanvas dan arca menggunakan pelbagai campuran media.

Lebih menarik, kepelbagaian itu membuka tirai galeri seni yang baru dibuka, Galeri Artcube, The Intermark, Kuala Lumpur yang akan berlangsung sehingga 20 Disember depan.

Pemilik bersama Galeri Artcube, Azhar Ahmad, berkata usaha pihaknya menghimpunkan karya kontemporari terbaik tanah air bertujuan menonjolkan hasil lukisan anak tempatan yang sepatutnya mendapat pengiktirafan sewajarnya.

“Melalui pameran ini, kami harap masyarakat lebih menghargai memahami dan menghayati seni lukis, sekaligus membuka mata kepada kewujudan ramai anak seni tempatan mampu menghasilkan karya kontemporari bertaraf dunia,” katanya pada Galeri BH di galeri Artcube, Kuala Lumpur, baru-baru ini dan turut dihadiri rakan kongsinya, Fuad Salleh.

Antara karya yang dipamerkan ialah lukisan Haslin Ismail yang berjudul Ultramundane No 11: Thaumaturgist yang dihasilkan menggunakan akrilik dan kolaj di atas jut, seklai gus menjadi antara karyanya paling menonjol dalam siri yang mempunyai 15 lukisan.

Elemen Anatomi

“ Ia masih mempunyai elemen anatomi yang sering saya pilih sebagai tema dalam karya sebelum ini, tetapi sedikit berbeza apabila menyampaikan mesej mengenai masyarakat yang tinggal di kota metropolitan, Kuala Lumpur yang sarat dengan pelbagai cerita, hiruk pikuk dan konflik masing-masing.

“ Bagaimanapun, organ yang dilukis dalam karya ini sengaja tidak digambarkan secara jelas tetapi di bahagian bawahnya bentuk tangan manusia membawa mesej harapan atau doa untuk kehidupan yang lebih baik,” katanya.

Azrin Mohd pula tampil dengan kritik social mengenai sikap sesetengah masyarakat yang rela menjadi perosak negara menerusi arca Duri Dalam Daging.

Inspirasi Arca

“Saya menghasilkan lebih daripada 50 arca inspirasi daripada ukiran patung tentera ‘terrracotta’ ketika era pemerintahan Maharaja China yang pertama, Qin Shi Shuang.

“Patung itu pula sengaja dibuat dalam pelbagai bentuk, malah ada beberapa yang tidak mempunyai anggota badan bagi melambangkan sifat manusia yang tidak sempurna,” katanya.

Beliau berkata, imej peristiwa bersejarah negara ketika bekas Perdana Menteri, Allahyarham Tunku Abdul Rahman melaungkan kemerdekaan turut dicetak sebagai latar, sekaligus mengingatkan masyarakat supaya bersatu dan dan bersama-sama menjaga keamanan negara.

Antara karya lain yang turut dipamerkan ialah Iqra oleh Husin Hourmain ; Selepas Majlis ( Mohd Fazli Othman); Papan Hitam : Hari Pertama Sekolah Negaraku ( Ahmad Shukri Mohamed) ; Tenaga Ironman (Daud Rahim); Sekebun Bunga III ( Mat Nor Mahmud) dan Top Gun ( Azad Daniel).