Despite the devastating situation it brings, the coronavirus (Covid-19) pandemic penetrates globally, as well as locally in the Malaysian art scene landscape. However the new-normal is embraced as a count of blessings in materializing interesting artworks, significant towards its own unique moment of time.
15th March 2021, marks the premiere date for the launching ceremony of G.A.S exhibition, by the department of Fine Arts, School of Art and Design, UiTM Melaka.
The most awaited exhibition, enlisted 14 local professional Malaysian artist such as Rosli Zakaria, Sharmiza Abu Hassan, Diana Ibrahim, Hisamuddin Ahmad, Shaharuddin Sabu, Saharuddin Supar, Azhari Khalip, Ahmad Zuraimi, Wan Zulkifle, Munir Kaulan, Ali Bebit, Bahrim Samuri, Shahariah Mohammed, and Salmah Ali.
In engaging towards this interesting premiere exhibition, it would be reasonable to frame an intended theme on the celebration of 'Humanism'. In portraying ability of the artists side as humankind, in responding towards the current global situation of Coronavirus (Covid-19) especially in Malaysia.
The acronym G.A.S (Gallery. Art. Shop) is particularly chosen for its main objectives which serves as an Art Gallery and Art Shop specifically for the art community in UiTM Melaka, as well as generally in engaging towards the development of local and international collaboration between artist and artisan in this new-normal art scene landscape.
The engaging concept was evident in the whole strategy of its first G.A.S exhibition, which was conducted and assessed virtually through UiTM Melaka's main online platforms. The idea of an art shop which at the same time functioned as a gallery, fortunately blurred the distinguishing line between the field of arts and business, establishing the important development of a 'sound-mind', apart of Humanism in higher education, and fairly understood today as an approach in developing holistic educational skills within campus community.
G.W.F Hegel in his writings on Phenomenology of Spirits, remarks 'beauty' as an expression of the human desire for freedom, which sets standards for what is beautiful. In addressing aesthetics as a philosopher, Hegel viewed the freedom of spirit in the history of humankind, as an unfold series of dialectical opposition which resolves as the 'Zeitgeist', or the spirit of its time. In the social history of art, German art historian Arnold Hauser in his writings The Philosophy of Art History, remarks his leading principle which the behavior of individuals is the product both of their inborn capacities and of the situation in which they find themselves.
In the history of art, great despairs contributed great hopes, thus establishing great artist, artworks, and movements we encounter today. This is evidently seen in the establishment of multiple art movements during the uncertainty period of Modern Art (1860-1960) which was fairly accepted by majority of art historians.
In the early 1900, marks the heyday developments of the Modern Art movements, where artist find themselves in between the conflicts which would lead towards devastating world wars effecting everyone globally. However, these series of war did not set back the artist of its time. Movements such as futurism, proceeded with the Futurist Technical Manifestos by Fillippo Tommaso Marinetti, charging artist such as Umberto Boccioni in the establishment of change and freedom, manifested on the rhythms and movements of how Boccioni treated his elements of line, shape, color, and space towards the movements of time and space, changing freely and dynamically. This is evidently seen in his painting 'The Streets Enters the House (1911)', and sculpture 'Unique Forms of Continuity in Space (1913)' artworks. It would be reasonable to say that he did set the standards for what is beautiful (freedom) during his time, despite the fact that he had the capacities of an artist, in a situation which he finds himself situated upon.
Ironically, today we find ourselves in between the global war against the coronavirus. Despite all the directions of policy planning, precautions, and regulations of multiple forms regarding Covid-19 charging everywhere, which would be a major set back for most in this moment of time. Nonetheless, the artists contributing towards this G.A.S Exhibitions portrayed a strong spirit of freedom in Humanism which does not merely intend to oppose the current situation aggressively, however more towards celebrating the freedom of humankind in practicing the ability to look for directions and capacity to make decisions together dynamically rather than preaching alone for answers statically.
The art historian Erwin Panofsky, in his writings The History of Art as a Humanistic Discipline, defines 'Humanism' as an attitude of belief in dignity of man, insisting on the values of rationality and freedom and acknowledging the limitations of fallibility and frailty, and resulting in the ideas of responsibility and tolerance'. This particular side of 'Dignity' in Humanism is well celebrated in the 'Categorical Imperative' in the works of Emmanuel Kant. Moreover, the spirit is evident in the artworks portrayed in the G.A.S Exhibition.
(Figure 1)
In figure 1. The artwork title is translated as 'My Body' by sculpture artist Shaharuddin Sabu charged as one of the first wall sculpture in this exhibition, with a semi-representational form of a human body, made out of iron steel and plastics. Dominantly it appears as the reminiscent of the humankind made out of fragile flesh and bones, exposed and vulnerable, the artist establishes this effect on applying the treatment of contrasting media of the hard iron steel as the inner form, and the meltable plastic as the outer shell form signifying the humankind flesh.
The ideas of 'Tabula Rasa' would perhaps portray this artwork, the idea that every child is born as a plain cloth, which eventually is colored or shaped by the establishments of culture and society. This is evident on the white plastic media dominantly wrapping the semi-representational body form of this wall sculpture, charged with different contrast and movements of colors, as if they were thrown upon the subject, defining and shaping the identity of the vulnerable piece of humankind 'My Body', especially in seeking directions and decisions upon what is within or without the area of a humankind 'consent' in this devastating pandemic situation, where we do not work the rules, instead we are defined by the rules and regulations even towards our own body.
This idea is what the philosopher Martin Heidegger addresses as, the concern of beings, or what he calls as in German 'Da-sein', in which, a situation where we are as if thrown into this world, vulnerable of our past and future in a society like today, where its hard to conform as a humankind with the consent on what is the direction and decision of moral justice, even towards our own personal body.
(Figure 2)
In figure 2. The artwork title is translated as 'I Want To Be A Champion' by sculpture artist Rosli Zakaria charged significantly among the other wall sculptures in this exhibition, with an approach fairly towards one of a wall collage by Pablo Picasso Still Life (1914). The artist explores his discovery on the freedom of direction and decision of oneself in the explorations of multiple mix media, compromising of organic and non-organic material which sparks the dynamic contrast and resolving harmony of the artwork.
The Zeitgeist or heyday spirit of one's time, is evident in the treatment of how the artist applies the multiple frames and windows arranged in the basis of a specific narrative order. This is evident in the portrayal of the artist linguistic writings, which is viewed from one perspective point as his recitation of prayers, and the artist use of iconic objects and images as signs of success within his life story, depicting photos of his early success involvements in sports on the lefts side, and his high time on the right side, with his medal as being accredited as a 'Champion'.
The whole artwork is seen as a manifestation process of his success since his young ages and towards his high time who is a successful professional sculpture artist and an art educator who is awarded with a doctoral philosophy degree in his intended art field. The narrative of the process can be seen from the left to the right side of the artwork, where in the left is his recitations of prayers on his intended success and on the right side is his achievements in the paradigm of 'I Want To Be A Champion'. Nevertheless, the artist also connects success with the reflection of him as being a Muslim, where eternal success is viewed in this world and the hereafter, this is evidently seen on the emphasis of the golden frame mirror on the right side, where his picture is superimposed in-direction towards the image of the sacred 'Kaabah' in Islam.
The artist composition of the different juxtapose of material is also seen as in accordance to the 'Cartesian' dialectical approach of the idealist and materialist of Humanism. This is evident from the idealist representation of the artist believing in himself with the two early linguistic statement on the left 'Before I was a Champion', and 'Now I am a Champion', which asserts his idealistic belief, predominantly one such of Corgito Ergo Sum (I Think Therefore, I am), by the philosopher and father of analytical geometry, Rene Descartes. The materialist representation in the artwork is seen on the actual image of the artist success in being credit 'Champion' and the actual object of his successful medals which validates his clear vision on 'I Want To Be A Champion'.
(Figure 3)
In figure 3. The artwork title is 'reconstructed By Heart Series: Value It While You Can', by sculpture artist Sharmiza Abu Hassan charged significantly among the other wall sculpture artworks in this exhibition.
The fairly Feminist approach on this artwork is evidently seen in the choices of the media object by the artist which are conventionally associated with the femininity side of women, such as velvet cloth and red rose. The artist's exploration in the interplay of contrast and emphasis of the chosen dominant colour red, found on the artist media of the red velvet, the red rose, and such round shaped outline in the colour red signals the 'alarming tone'! of the pandemic situation we find ourselves in currently, especially the moral imperative towards freedom of choices in the basis of equality.
This idea of equality can be seen in the emphasis of the concept of 'equilibrium' or balance in the nature of the chosen media object by the artist, which is evidence of the inclinometer slope level or understood as the 'water level' on the left side of the artwork, and arranged close within the main subject form of the artwork. It is reasonable to consider the elements of equality itself as fundamental as the 'Heart' of Humanism.
The freedom flow in direction and decision of one's personal choice is represented as equally important as the voluntarily circulation of the blood through the valves and towards the heart of humanity itself, despite selections of gender, race, ethnicity, class, or religion in obtaining the freedom of one's personal state of truth.
In this artwork, the manifestation concept of freedom as one's personal state of truth is as equally interesting in reference to the artwork 'I Want To Be A Champion' by artist Rosli Zakaria. Sharmiza Abu Hassan portrays her interpretation of truth in a semi-representational form of a humankind 'Heart', chosen as the main subject form in a very subtle approach, as well as the same time directly honest in the nature of the material chosen as her medias.
The articulation of the main subject form of a human's heart in this artwork, is dominated by the direct color of black. This choice on the selection of black is not coated accidentally or intentionally, but applied in the very rawness of the material itself, which is a black wire mesh grill material, and is significant towards the journey of the artist and her previous artworks in the Malaysian art scene. The nature of the material wire mess and the rose flower is in the state of 'metal', representing the qualities of strength, persistence, and transparent in the test of time. The specifically chosen media epitomize the reflection of the artist's courageous journey in seeking direct and transparent truth in herself as a women, mother, artist, and educator, especially in this uncertain pandemic situation of Covid-19 in Malaysia.
Thus the artwork is a reactions towards the important directions and decisions humankind can make, in this fight against the coronavirus situation, especially towards the balance of our own physical and emotional well-being, as entitled 'reconstructed By Heart Series: Value It While You Can'.
(Figure 4)
In figure 4. The artwork title is translated as 'Changing Orbit' by sculpture artist Saharuddin Supar charged significantly among the other wall sculptures in this exhibition, fiercely the treatment of acid lines which penetrates the metal plate addresses the fierce situation that the artist and the whole humankind experience during this devastating pandemic.
The rhythm and movement of the contour lines which is predominant in this artwork, represents domination of uncertain directions and decisions to be taken my humankind in this devastating pandemic situation in ensuring the existence of the whole species. The changing ability of the coronavirus in adapting to the spatial change is portrayed by the artist within the name of the artwork 'Changing Orbit', which is viewed as rapid, however evident in a very subtle way, to one that is beyond the naked eyes of humankind. This process is in fact the evident of vulnerabilities existing within humankind in the process of surviving this new-normal.
The rust effect on this artwork, is a result from the treatment of applying acid on the metal plate by the artist, manifesting the process of 'natural selection' in nature, or popularly understood as 'The survival of the fittest' in the society that we find ourselves living in. The rules and regulation seems to favor the exclusive minority 'ruling-class' who are labelled as playing more significant roles in society rather than the majority. This idea of a favored political, economical, or social class which is superior above others does not only brings safety and security towards the vast majority, however acts more as an acid which penetrates and destroys society from the inside.
Thus the artwork title 'Changing Orbit' depicts the freedom imperative of humankind with the ability to take directions and make precautions in this rapidly changing new-normal landscape of a fierce war againts Covid-19.
(Figure 5)
The representational painting which dominates the background of the artwork is the representation of the coronavirus in its crude and vicious appearance as seen under a microscopic view. Apart from the iconic image painted in the artwork, it is evident of multiple object materials in the form of children toys used as the media at the lower part of the artwork. The process of gluing or attaching the object materials reasonably describes the nature of a collage artwork produced by the artist.
The narrative of the intended message delivered by the artist in this 'Versus' artwork is as equally interesting in reference to the artwork 'Changing Orbit' by the artist Saharuddin Supar. The idea of the 'natural selection' in the survival of the fittest is brought back, however in a different approach where in the former artwork, the survival selection was on the superiority upon the ruling political, economical, or social class, whereas in this artwork, the survival selection is on the superiority base upon freedom of choice.
In this artwork, freedom of choice is manifested in the nature of children with the imperative towards happiness in playing, the urge to play is stronger than its opposite. The artwork portrays the freedom imperative to play from a children's mind in the lower part, and the contrasting survival imperative to stay-aware from the adolescence mind in the upper part, this sort of imperative marks the superiority of 'freedom over survival' in the eyes of a kid, who is the early building blocks towards the development of our humankind society.
The title of the artwork which is 'Versus', also encapsulates the struggle taken by children's during this devastating pandemic situation. As vulnerable as humankind is in taking directions and decisions, the children's are sacrificing one slice of their early ages in the struggle between the 'freedom and survival', which is with utmost respect hard to comprehend by adults who have already past that part of the life phase. The toys are coated with a white color coating, which can be viewed as representing the children's state of mind, on the manifestation of 'Tabula Rasa', a plain cloth to be colored and shaped accordingly.
The artwork 'Versus' is a conscious reflections upon our taken actions towards our fresh young generations in this uncertain pandemic situation.
(Figure 6)
In figure 6. The artwork title is 'The Ficus' by painter artist Hisammudin Ahmad charged significantly among the other painting artworks in this exhibition.
The treatment of the peculiar vanishing point in the central part of the artwork is dominant, which fairly represents the central part of the painting. The movement of the strokes, moving outwards from the vanishing point, is evidently seen as an organic explosion of line, shape, color, texture, and value encapsulating the viewers attention on this mix media artwork 'The Ficus'.
'Ficus' is a tropical tree, shrub, or woody vines growing in tropical and warm climates such as Malaysia. The approach used by the artist in manifesting this semi-representational form of the ficus in the artwork, signals the close attention of the artist towards his natural surroundings, especially in the tropical rainforest climate in Malaysia where trees, shrubs, and woody vines erects freely in the freedom of its natural habitat, nevertheless the artist capitalize this naturalistic process by acquiring floras natural sap as apart of this unique 'Batik' painting artwork.
Furthermore the semi-representational form of the ficus unfolds the close representation of the freedom imperative in humanity, especially in the home soil of the artist being born in Malaysia. This is evidently seen in the dynamic rhythm of the contour lines and strokes of colors applied by the artist in the artwork, growing organically freed, as if piercing and transcending beyond the outer plane of the artwork.
The plane of the artwork is seen to be divided by one of the strokes in the middle, if viewed vertically which perhaps separates the upper and lower part of the painting. As an alternative foreground and background section separated by the horizontal line at the center of the vanishing point. This is evident in the black strokes of lines crossing the dark vanishing point in the artwork plane.
It would be reasonable to view the different contrasting sections invading the spaces within the surface of the painting as a connection between the natural and supernatural, which both epitomize the wonders of humankind, nature, and the pandemic situation experience globally.
Thus, the artwork 'The Ficus', encapsulates the essence and presence of the human will towards freedom and the act of gratitude between man and his maker in this catastrophic pandemic situation.
(Figure 7)
In figure 7. The artwork title is 'Intoxicated' by painter artist Azahari Khalip charged significantly among the other painting artworks in this exhibition.
The representational form of the artwork is dominated by a figurative subject at the center of the painting plane represented by the artist. The movement of lines, colors, shape, value, and form depicted from the vanishing point area which is the head of the figurative subject, treated in such disturbing and alarming approach which remarks the artwork title 'Intoxicated'
'Intoxicated' is a sub-conscious effect on the human mind. Such response-effect is cause by a stimuli 'substance', commonly affected by alcohol or drugs, in a point where the physical and mental control is apparently diminished.
In this artwork, an evident concept on the importance of physical and emotional state of well-being is equally interesting in reference to the wall sculpture artwork 'reconstructed By Heart Series: Value It While You Can' by artist Sharmiza Abu Hassan. Nevertheless, the artist Azahari Khalip expresses his approach in a unique representational painting form, as much as the same time maintaining an iconic image of a dominant red colored flower.
The red flower in the artwork, reasonably represents the 'Hibiscus flower', which is significant to the nation of the artist in producing the artwork, which is Malaysia. The Hibiscus flower or locally understood in Malay as 'Bunga Raya' is carefully chosen by Malaysia's first prime minister Tunku Abdul Rahman Putra Al-Haj after independence, which symbolize courage, vitality, and love for the birth of our nation. This signals the sensitivity and awareness of the artist towards his surroundings in the current pandemic situation.
The red Hibiscus also denotes the rebirth of freedom in the pride of his fellow countrymen nation, especially the persistence of the Malaysian front liners in battling the coronavirus (Covid-19) pandemic.
The figurative subject in the artwork, apparently representing a health worker front liner wearing the Personal Protective Equipment (PPE). This is evident in the PPE set of the cloth, mask, and goggles applied by the figurative subject in the artwork.
The dynamic juxtaposition on the treatment of lines varying at different size, strokes and thickness applied by the artist encapsulates the uncertain 'intoxicated' situation the health worker or subject finds him/herself trapped within, this is evidently seen in the arrangements of lines and colors intentionally arranged in a linear perspective moving towards the vanishing point, which is the mind of the subject.
Thus, the artwork epitomize the unavoidable circumstance the nation is address towards, in a challenging state against this pandemic 'Intoxicated' situation.
(Figure 8)
In figure 8. The printmaking artwork entitled 'nCov19: Isolation Cube II' by artist Diana Ibrahim charged significantly among the other artworks in this exhibition.
The representational form of the subject, which fairly is a microscopic view of the coronavirus (nCov19), depicted in its crude form, dominated the first impression of this interesting printmaking artwork. The unique treatment of the collagraphy printmaking process and the sewing effect of the threads creates a coherent texture which centers at the main focal subject of the artwork.
'Isolation' is understand as a process of isolating oneself or being isolated, the term remarks significant, especially in the current pandemic coronavirus (nCov19) situation, where such process is meant as appropriate regulations and measurements in taking precaution and preventing the spread of the pandemic virus.
The whole process of isolation contributes to uncertainty and anxiety, not only towards the well-being of the human society, but also on the collapse or uncertain future well-being of the other connected institutions within the system, such as political, economical, and social development in the fight against the coronavirus (nCov19). This intertwine connection is evidently, in the emphasis treatment on multiple movements and directions portrayed by the artist, as evidently seen in the sewing lines of threads piercing the paper plane in multiple size, interval, orientation, and directions all collaborating as a system contributing towards the manifested message of the artwork.
Inside the representational microscopic coronavirus (nCov19) subject, situated at the center of the artwork, is the figure ground between the positive and negative space, representing the shape of a house. This part of the artwork is seen as intentionally treated by the artist, with an intended message to emphasis the importance of isolation during the current pandemic situation, especially in our own respective house. Precaution measures such as Isolation at home has been contributing towards positive changes globally, where the concept is worth to be materialized.
Thus, the artwork unfolds the interconnected system of human social institutions in battling the current pandemic situation, enhancing self measures as equally important such as home isolation order, epitomize in this artwork 'nCov19: Isolation Cube II'.
(Figure 9)
In figure 9. The artwork title is translate as 'Brush' by painter artist Ahmad Zuraimi Abdul Rahim charged significantly among the other drawing artworks in this exhibition.
The artwork plane is dominated by the representational form of a painting brush situated in the center of the mix media drawing. It is evidently seen that the artist applies collage techniques of gluing and attaching iconic image and objects on the artwork. The emphasis on balance is visible in the treatment of the harmonious lines of the brush bristles moving outwards, uniquely etched by the artist on the hard shinning aluminum plate medium.
The symmetrical balance brush bristles, apparently separate the artwork into two sections of the left and the right area. In the right section area, it is evident of iconic attachment object and image intentionally made by the artist. The object is a wooden slate, perhaps one of the raw materials used to construct the traditional Malay house as visible on the iconic image on top of the wooden slate.
The image might fairly be a reminiscent of the artist memories or pride of his home soil, which perhaps brings the essence of re-visiting the artist primordial identity. In the left section area of the artwork, a metal flower is visible, attached on top of another wooden slate. This particular wooden slate is different in shape compared to the previous, which is visible in a slightly square shape. Apparently the flower is a rose, interestingly made using a shinning material of perhaps aluminum or metal.
It would be reasonable to say that there are evident of the 'Cartesian' dialectical approach in the manifestation of the freedom will to art, which is as equally interesting in reference to the artwork 'I Want To Be A Champion' by artist Rosli Zakaria. Nevertheless, Ahmad Zuraimi Abdul Rahim portrays his interpretation of 'Idealist' and 'Materialist' in an equally unique way. The idealist manifestation can be visible on the significant subject of the painting brush, which acts as a companion tool of every artist. A tool of expression which can construct or deconstruct the reality of individuals and society
The evident iconic objects and image from the left and right sections encapsulates the power in the expression of freedom by humankind in the 'Materialist' context. This is visible in the contradicting elements of the readymade objects and image applied by the artist. The metal rose and the image of the traditional Malay house symbolize the meaning of construction, whereas both used wooden slate symbolize the meaning of deconstruction.
This interplay between both ideas of construction and deconstruction epitomize the freedom of the human will in comprehending the current pandemic situation, where directions and decisions are apparently capitalize by the ability to will and capability to act towards, in making a clear difference.
Thus, the artwork 'Brush' embodies the unique abilities and capabilities of humanity in the current challenging pandemic landscape, especially commemorating the artists of this unique moment in time.
(Figure 10)
In figure 10. The printmaking artwork entitled 'Allahu Akhbar I' by the artist Wan Mohd Zulkifle Wan Yaacob charged significantly among the other artworks in this exhibition.
The watercolor paper plane of the artwork is dominated by the dominant representation of geometrical squared cubes superimposed with a microscopic view of the coronavirus (Covid-19). This is apparent in the juxtapositions of the peculiar geometric squares intertwine with the interesting printmaking process technique applied by the artist in the artwork.
It is reasonable to view the dominating cubic square structures in the artwork as representing a 'Quick Response' (QR) Code which is significantly used as means of accessing, collecting, and disseminating information's within a split of second, during this rapid interchanging uncertain pandemic landscape. The nature of QR code resembles the rapid mutation development of the coronavirus (Covid-19) in which the artist address as one of the act of the creator, which is embedded in the title, broadly translated as 'God is Great'.
The interesting patterns of geometrical shapes which forms the QR code invites the viewer from the natural realm of uncertain impossibilities in the current pandemic situation towards the supernatural realm of certain possibilities which shall be achieved within the connection between man and his maker. The QR code symbolize a gateway towards the ability and capacity of humankind in achieving greatness in whatever trials and tribulation has been bestowed upon him.
The artist remarks his beliefs, which by submitting the will and act of oneself towards the creator is the true freedom of humanism, in the belief system of the artist religion as a Muslim. Such courage of freedom is equally true as any other in the hope against the current catastrophic pandemic situation.
Thus, the artwork encapsulates the transcendental possibilities to be achieved during this challenging pandemic situation, when the creation engages with the creator in the message of 'Allahu Akhbar I'.
(Figure 11)
In figure 11. The artwork title on the left is 'New Norm', whereas on the right 'Fight For Your Right' by artist Mohd Ali Azraie Bebit charged significantly among the other drawing artworks in this exhibition.
The representational form of the artwork is dominated by multiple figurative subject which encapsulates the narrative of time and space within the current pandemic situation. The movement of time can be apparently trace on the multiple circle shapes which represents the formation phase of the moon progressing within time.
Rapid mutation development of the coronavirus penetrates within time, as such as the democratization progress of living cost materials in the new-normal landscape. While prices of certain items soar upwards during the uncertain period, other items in particular the price of 'face-mask' slightly falls downwards through time due to the increase in production and demand.
The concept depicting the narrative of space is treated by the artist in the apparent similar spatial situation composed upon both the artworks 'New Norm' and 'Fight For Your Right'. Interestingly, it is evident that both artworks by the artist, connects the narrative of social progress in engaging within the new-normal in the current pandemic situation, whereas certain progress is seen as positive, others are seen seen as negative, inappropriately acceptable, in an unfavorable manner penetrating within the society by time.
This unfavorable manner is portrayed in the artwork 'Fight For Your Right' where the multiple figures, which fairly resembles the actual appearance of the Malaysian national monument, depicts the unfavorable struggles the nation is facing, due to the inappropriate behavior resulting within the lack of attitudinal awareness on the proper disposing procedure, of such intimate personal belongings, which is the 'face-mask'. This is evident in the juxtaposition of the scattered face-mask materials, inappropriately disposed which acts as one of the challenges the nation is facing in the struggle against the currant coronavirus (Covid-19).
The preceding artwork 'New Norm' invokes the alarming precautions and regulations which are place upon the nation, while the succeeding artwork 'Fight For Your Right' provokes the alarming measures faced by the nation, in the battle against the coronavirus (Covid-19), where by the challenges does not takes part physically but as well as mentally.
Thus, both the artworks epitomized the equal challenges in battling the current coronavirus (Covid-19) situation by the nation physically and mentally on the unprecedented message of 'New Norm' and 'Fight For Your Right'.
(Figure 12)
In figure 12. The artwork title is 'Please! Put On Your Mask' by artist Salmah Ali charged significantly among the other artworks in this exhibition.
The representational form of the artwork is dominated by a circle figure ground and a figurative subject in the center of the tapestry artwork. Emphasis on the harmonic colorful threads compose by the artist is visible on the application of perhaps different woven or embroidery techniques which draws the attention of the viewer towards the main subject in this interesting piece of tapestry artwork.
Apparently, the idea of using the different size, color, and texture of the threads depicts the artist careful expression on addressing the importance of self-protection during this current pandemic situation. The figurative subject evidently represents a male subject wearing his face-mask. The chosen gender represents the 'Paternal' common responsibility, whereby the male is viewed as the symbol of the breadwinner of the family or understood as the back bone of the family.
The different size, color, and value of the the circular shape evidently surrounding the main subject in the artwork, represents the coronavirus (Covid-19) which are encapsulated or wrapped with different anticipation of 'happiness' which is visible on the colorful treatments of each unique distinct circular shapes juxtapose by the artist. The 'happiness' concept here is on the freedom in achieving the opposite of self-protection measures, such as the freedom of movement, the freedom of personal space, the freedom of direction and decisions regardless of the current situation.
It is visible that the approach concept on the importance of face-mask in this artwork is equally interesting as in references to the artwork 'Fight For Your Right' by artist Mohd Ali Azraie Bebit. However Salmah Ali epitomized the different attractions which acts as the antithesis or understood as the anticipated struggles towards 'happiness' of her fellow countryman on the battle against this uncertain pandemic situation. The struggles upon accepting the new-normal, and establishing new forms of 'happiness' conforming towards the rules and regulations.
Thus, the artwork 'Please! Put On Your Mask' is a conscious awareness message on the importance of self-protection, especially as an alarming one which promotes the idea of leading by example.
(Figure 13)
In figure 13. The artwork title is 'Kiting A Dream' by artist Shahariah Mohamed Roshdi charged significantly among the other artworks in this exhibition.
The representational form of the artwork is dominated by the iconic image situated in the center of the collage artwork. The interplay between the unity of the dominant iconic image and linguistic drawings evokes the spontaneous apprehension the artist find herself in, this current pandemic situation.
The iconic image in the central section of the artwork, is evidently seen as the composition resulting from the treatment of superimposed and manipulated images by the artist, all together encapsulated to form the apparent artwork entitled 'Kiting A Dream'. The overall situation in the image represents two figurative subject respectively seen as a father and child, both struggling in controlling and maneuvering the fairly huge scale kite.
The iconic image can be separated into two sections vertically consisting of the upper and lower section. The upper section of the artwork depicts the dreams or fantasy of a child which is never restricted nor boundless. This is visible in the representation of such 'surrealist' object forms, depicting a huge scale fish, wrapped in colored silk, and floating in the air, moving freely outside its natural habitat, such unconscious encounters only happens in one of a kind of the Childs wildest dreams.
Nevertheless, the lower section of the artwork depicts the conscious reality as evident in the treated image, this is apparently seen on the reasonable proportions between the size of the two figurative subjects, as compared to the mountain at the background of this interesting artwork. The artwork portrays a conflicting struggle between the boundless dreams of the child in the subconscious realm of dreams and the rationalize realm in the conscious world.
The materialized idea of this artwork lays upon the intended message from the artist, which highlights the fundamental role of parents in channeling appropriate directions towards the upcoming journey of the younger generations who are creative in nature and exposed with technological means such as smart phones in assisting the new-normal education. If the parents pulls the string too hard, the string of the kite would break easily, however if it is pulled too soft, the kite would not conform towards the respective direction it needs to fly.
Thus, the artwork 'Kiting A Dream', encompass the challenging directions and decisions to be harness by parents, especially during this uncertain pandemic situation.
The framed theme of 'Humanism' in portraying the ability of the humankind within its relatively crude and vulnerable nature in conforming towards the 'Will-to Art', or road towards the spirit in freedom, is encapsulated by the artists in this G.A.S Exhibition.
A plethora of significant artwork collections are evidently visible in this significant exhibition, which extends to all the acquired facets on the manifestation of the 'freedom' and 'expression' in Humanism, demonstrated by these respective professional Malaysian artist enlisted, such as Rosli Zakaria, Sharmiza Abu Hassan, Diana Ibrahim, Hisamuddin Ahmad, Shaharuddin Sabu, Saharuddin Supar, Azhari Khalip, Ahmad Zuraimi, Wan Zulkifle, Munir Kaulan, Ali Bebit, Bahrim Samuri, Shahariah Mohammed, and Salmah Ali.
Apparently, the natural inborn capacities of the artist to capitalize their artistic abilities in dissecting and disseminating their expression, confronting and materializing ideas, thoughts, and feelings, of the situation in which they find themselves, is to be seen, with 'equal' respect and honor apart from all the appreciation as well as gratification bestowed in the name of freedom, given towards our courageous front liners in the battle of this devastating pandemic war.
In a nutshell, it is reasonable to say, that it is certain that within great moments of uncertain devastation lays the unfolding freedom of truth celebrated in the ability of humankind to produce art and consume beauty which resolves as the 'Zeitgeist', or the spirit of Humanism respectively in its own time.
The contributions of several PACAQ (Public Art Creative Aesthetic Quality) members in this premiere G.A.S Exhibition, particularly the contributing artists, is being seen as bringing pride and honor towards the sustenance of Malaysian art scene, especially during this global pandemic situation.
'Keep on Charging!'
MUSADDIQ MOHAMAD KHALIL
Department of Liberal Studies
UiTM Alor Gajah
PACAQ- UITM RIG 2021
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