Contemporary Art Empowering Collective Taste : Rosli Zakaria Sculpdraw '#Motif Saraf Jantung (2022)'

 

Figure 1: Rosli Zakaria's recent Sculpdraw '#Motif Saraf Jantung', courtesy from Synthesis Poster, Galeri Prima

Exhibiting exclusive artwork by the Malaysian Queen herself, Synthesis is grace by her majesty KDYMM Seri Paduka Baginda Permaisuri Agong Tunku Hajah Azizah Aminah Maimunah Iskandariah binti Al-Marhum Al-Mutawakkil Alallah Sultan Iskandar Al-Haj, on 8th August 2022. 

An Art acknowledgement on empowering the gems of visual arts through this years independence celebration (31 August 2022), synthesising abundant majestic beauties from the Malaysian Arts, Culture, and Heritage altogether in todays Contemporary Art scene. Taking place at Galeri Prima, the exhibition was born out of 'LOVE, DREAM, and HOPE' through freedom and independence of celebrating Batik as an art subject of the past and present.

Rosli Zakaria, Malaysian celebrated sculptor were among the other establishing and emerging artist who were selected for the Grand Exhibition. 

Interestingly, Synthesis showcased some of Rosli Zakaria's new artwork explorations 'Sculpdraw' as represented in figure 1, entitled '#Motif Saraf Jantung (2022)'.

#Motif Saraf Jantung can be literally translated as 'Heart Nerves Motif'. Patterns and Motifs are significance towards the art fabrication of traditional as well as contemporary 'Batik' Art. 

Mohd Jamil Mat Isa in 'Synthesis: Batik Painting and Painting Batik (2022)', remarked "Batik" as the making or decorating clothes using stamp or canting or using both techniques. "It is one of the resist techniques where wax is used as a blocking material from the inclusion of dyes on the surface of the fabric". Resulting in distinctive colourful patterns and motifs.

The pattern motifs on '#Motif Saraf Jantung (2022)' encapsulates the Fauves (wild-beast) approach through depiction of dominant colours such as Red, Green, Blue as well as other complimentary counterparts. The vibrant colours and patterns compliments its audience as how 'Harmony in Red (1908)', as seen in figure 2, how Henri Matisse would address it, paving his way as founding fathers of Fauvism and Modern Art. However the majestic floral patterns and motifs from Rosli Zakaria's artwork suggest a local collective taste, popularly celebrated by Malaysian Batik textile such as stylised motif such as 'Pucuk Rebung', as well as other interesting elements. 

Figure 2: The Dessert - Harmony in Red (1908) by Henri Matisse

The term 'Sculpdraw' itself is a synthesis of Rosli Zakaria's more than 30 years of existence in local and international sculpture art scene. Despite his artworks being listed as permanent art collections of the National Visual Art Gallery (NVAG), Public Universities, Private Institutions, and other private collectors, he continues to represent Malaysia on several significant sculptural symposium internationally, in Southeast Asia, such as the 3rd International Sculpture Symposium (Vietnam, 2004), 8th Changgung International Sculpture Symposium (China, 2006), 1st International Public Art Symposium, Bhubansewar Odisa (India, 2018), and many others locally.

In the late 1940's, when Henri Matisse was approaching the age of 80, he produces 'Cut-Out' artworks consuming papers and scissors as his primary medium. The approach, at one point in time, is seen as a democratising gesture in Art especially through its domestic medium which were considered 'Kitsch' or Banal, one which proceeded Marcel Duchamp's readymade 'Fountain (1917)'. 

The way Rosli Zakaria elevates mundane materials by utilising cut-out MDF Boards and applying Crayons as elements which synthesis the form of his artwork, transcends the artist's ability to comprehend as well as apprehend ideas into represented conceptual reality. Henri Matisse at one point in time remarked his cut-outs as a process of 'Sculpturing Colours', nevertheless Rosli Zakaria insist his creative process as 'Sculpdraw'

Synthesis can be understood from many levels of understanding. In 'New-Aesthetics', art writers such as Theodor W. Adorno are more concerned about the inclusivity aspects of aesthetics, one which connects Art and Society. He highlighted G.W.F Hegel as among his subject of discourse in Aesthetics as Semblance and Subjectivity. 

Hegel on his 'Phenomenology of Spirits (1807)', provides the relative state of 'Aesthetic Subjectivity'. Where he argued beauty as 'Zeitgeist' an expression of the human desire for freedom, which sets standards for what is beautiful. Where freedom (Independence) of humankind exist in an unfolding series of dialectical opposition which resolves as the synthesis, one as evident in this exhibition.

Figure 3:  'Bottle of Vieux Marc, Glass, Guitar and Newspaper (1913)' by Pablo Picasso

In Modern Art, 'Synthetic Cubism' was profound within the years of 1912-1914. Cubist such as Georges Braque, Pablo Picasso, Juan Gris and others would have articulated 'artificial reality (artworks)' through the combination process of convenient materials such as newspapers strips and patterned paper, where such method was viewed as an added value, introducing its own perspective, depth, as well as space in reality. As evident in 'Bottle of Vieux Marc, Glass, Guitar and Newspaper (1913)' seen in figure 3, 'Bowl of Fruit, Violin and Bottle (1914)' by Pablo Picasso, and 'The Sunblind (1914)' by Juan Gris. These artworks were evidently significant towards the synthesis process of these Avant-Garde artist.

In '#Motif Saraf Jantung (2022)', Rosli Zakaria may have suggest the synthesising process of 'Wire Sculpture' as well as conceptualise representation on the essence and presence of Batik motifs, articulated into a whole 'Sculpdraw' entity which depicts the artist's reality, altogether encapsulated as a collective taste of the past and present. The Zeitgeist of Malaysia's Independence. 

Wire Sculpture trace its past through the Modernist sculptural artworks such as Alexander Calder as well as Ruth Asawa. Celebrated contemporaries such as French sculptor Matthieu Robert Ortis through artworks in his series of 'Capitalocene/epigenetique' (Figure 4) which experiments the depth and volume of reality through wire lines which connects the viewers through multiple layers of personal as well as collective experience. However, Rosli Zakaria in '#Motif Saraf Jantung (2022)' portrays his dynamic directions of cable wires articulated to embrace the fluidity as well as electricity of the nerves complimenting the human heart in a whole contemporary taste. 

Scientifically, in the human 'Heart' there are nerves which channels electrical flow through the heart to ensure heart-beats. Unfortunately, there are times where these nerves system would experience disturbance or blackout, thus forcing the Heart-beat to vibrate faster. The 'Heart' representation can be viewed at the central order position of  '#Motif Saraf Jantung (2022)', with its striking Red colour as well as its biomorphic shape. Rosli Zakaria addresses the primordial message of Art and Beauty as a significant compartment towards mind and matter. 

The fluidity of the cable wires from '#Motif Saraf Jantung (2022)', suggest the movements and rhythms of electrical charges interpreted as the nerves systems which controls the operational continuity of the whole heart-beat system. This is a paradox towards ability as well as capability of Art itself, on the constructive or deconstructive progression of society, one we find ourselves today. Art is an embedded identity which reflects its society as well as culture.

Figure 4: Wire Sculpture 'Capitalocene/epigenetique' by Matthieu Robert Ortis

In a nutshell, the Sculpdraw '#Motif Saraf Jantung (2022)' by Rosli Zakaria itself is a synthesis of almost 40 years of experience as a celebrated Malaysian Sculptor Artist. The artist may have suggested a synthesising process between 'Wire Sculpture' as well as conceptualise Batik Motifs representations, articulated in a whole 'Sculpdraw' entity, altogether encapsulated as a collective taste of the past and present. The Zeitgeist of empowering Malaysia's Independence through Art Development.

The exhibition is available to the public from 1st August until 18th September 2022, everyone is invited to indulged upon the collective taste of Malaysian Batik Art Scene at (Synthesis) Galeri Prima!

PACAQ is honoured to have Dr Rosli Zakaria working hand by hand as permanent member in sharing experience, thoughts, as well as guidance in his related areas to Public Art in Malaysia's rapidly developing art scene.

'Keep on Charging!'

MUSADDIQ MOHAMAD KHALIL

Department  of Liberal Studies

UiTM Alor Gajah

PACAQ- UITM RIG 2022