Imposing Dimensions: A Malaysian Contemporary Sculptural Exhibition

 

A Malaysian Sculpture Exhibition: Courtesy of Imposing Dimensions E-Catalogue

17 December 2022 - 15 January 2023, a celebrated Malaysian Contemporary sculpture exhibition took part at China House Gallery, Penang. A platform for Malaysian Sculptural Art Scene Co-Organised by HOM and RAG. 

Hosted at one of Malaysia's promising state, accountable for the earliest Malaysian pioneering Modern Art Group; Penang Watercolorist Group (1930). Almost a 100 years today, a historical journey through the nations sculptural art platform takes charge.

This cutting edge platform is showcasing Malaysia's established and emerging sculpture artists through Modern and Contemporary epoch, epitomise in a whole sculptural showcase persenting: Mad Anuar Ismail, Ramlan Abdullah, Raja Shahriman Raja Aziddin, Zakaria Sharif, Rosli Zakaria, Sharmiza Abu Hassan, Daud Rahim, Aznan Omar, Shaharuddin Supar, Zuraimi Rahim, Zulkifli Lee, Idrus Rani, Irsyaduddin Maktar, Fakhrurrazi Fatziruddin, and Aqil Mahmood.

A common denominator which embarks the sense of belonging and homecoming between these 15 Sculptures were set on the common ethos, whereby these artist altogether apparently were ITM/UiTM Alumni's. Significantly a formative-development in Fine Arts, at one of Malaysia's earliest Art School to embrace Modern Art Education.   

ITM/UiTM has been the manoeuvring vessel, responsible in producing the nation's pioneering celebrated Art and Design Alumni's ever since 55 years of its establishment. In conjunction, this progressive effort of the past and present has brought to light this proud Malaysian Contemporary sculpture exhibition, entitled 'Imposing Dimensions' 

TATE Art Terms defines Contemporary Art; "The term contemporary art is loosely used to refer to art of the present day and of the relatively recent past, of an innovatory or avant-garde nature". 

A cumulative process of ideas, thoughts, and expressions. However there are five (5) more definitions, if we may set Contemporary Art respectively throughout its own nomenclature.

Fist (1); The term Contemporary originated from the Medieval Latin word 'Contemporarius', defined as "existing at the period of time", or literally as 'In Time'. An artist or work of art taking existence in its respective contemporary period of time

Second (2); Contemporary art in the context of Art History, superseded the establishment of Modern Art (1960 Onwards). If we may address Modern art as sets of movements from the Impressionism - Pop Art (1860-1960), then Contemporary Art apparently would claimed itself as the successor of Modern Art. 

Third (3); Contemporary art are often related to the Art of the Postwar (WWII 1945). After WWII, the Modern-Contemporary art scene shifted from cities such as Paris to New York. In this case, artwork 'Erased de Kooning Drawing (1953), by Rauschenberg perhaps would have made some of the earliest turning points in Contemporary Art. Moreover don't forget the Cold War (East-West Blocs), for instance the demolishment of the Berlin Wall starting of 1989, perhaps this indicates the concept why institution such as The New Museum of Contemporary Art New York, and Tate Museum of Contemporary Art chosen the 80's-90's as their contemporary art timeframe. 

Fourth (4); Contemporary Art are embraced inclusively rather than exclusively. If Modern works of art are to be experience in gallery floors and walls, contemporary works of art challenges this tradition, in favour of conceptual art, installation, performance art, happenings, video art, public art and more. These works of art are inclusive to the audience to experience, which most of the time brings inclusive engagement and connection respectively between both artwork and audience. After the postwar, indeed the globalisation shifts has brought changes on the horizons of art, in terms of inclusive subjects, materials, as well as approaches. 

Fifth (5); Contemporary Art is acknowledge on the basis of a philosophical 'Fragmented-Narrative'. Such Narrative is manifested in the 'Dionysian-Appolonian' dichotomy.  Remarked by Nietzsche as the fusion between order and chaos, celebrating the vibrant of multiculturalism and pluralism, in regards to versions and variations of its own. In the Contemporary Art scene, process of decentralisation takes place, in aspects celebrating a pluralised-globalised society, where modern status-quo of the postwar are often questioned, in favour of seeking art through identity-existence, as well as belonging-experience of oneself. 

Nevertheless, Muliyadi Mahamood describes "The Pluralist era refers to the development of Malaysian art in the 1990s that witnessed a variety of styles, approaches and meanings. The artist of that decade can generally be divided into three large groups; first, the artists who use traditional art as the subject of their study; second, those who refer to the aesthetics of Islamic art; and third, those who employ a western or universal style in their works" (Modern Malaysian art: From the pioneering era to the pluralist era, 1930s-1990s, published 2007). 

Malaysian artist who attended and responded towards the newer pluralist approach and aesthetics, mostly were Academic-Artist, especially from ITM/UiTM.

Despite, the criteria which surrounds the meaning of Contemporary Art, Art has always been holding a significant value in society and culture. There are five more (5) ideas to contemplate about Art, albeit 'Art for Art Sake', nor 'Art for Society'. 

First (1) Art transcends beyond practicality needs, in regards to Maslow's hierarchy of Needs; from the physiological towards self-actualisation (psychological), art itself is a mindset. 

Second (2) Art is the window towards reality, it reflects society in time and place, through the different styles which portrays progress in identity and belonging. 

Third (3) Art boost our preferences and taste, not only towards the beauty, however beyond the realm of pleasure in contemplation, literally there are people who spend hours in museum and galleries in front of a piece of artwork. 

Fourth (4) Art brings novelty and dignity, such nationalistic pride in creation, is evident through the various Modern Art movements in the 20th century (Art History); Art portrays Pride in Creation. 

Fifth (5) Art is prestige in Creation as well as Possession, although art could be exclusive nor inclusive, it does not jeopardise its own value as a prestigious Possession and Ownership. 

Hence, Sculptural fine works of art has never compromised all the above significant aspects of Art. Since the earliest prehistoric sculpture circa 40,000BC of 'The Lion Man' masterpiece, celebrated through its great symmetry, originality, and technical skill from the mammoth ivory.

Sculptural making spearheads to evolve all the way into Modern Society, through immaculate emotional works of 'The Burghers of Calais (1884) by Rodin, encapsulation of speed, movement, and change of 'Unique Forms of Continuity in Space (1913)' by Boccioni, Construction of  'Model for the Monument to the Third International (1919) by Tatlin, casting Abstract forms of 'Golden Bird (1919) by Brancusi, carving nature's stability and beauty 'Recumbent Figure (1938)' by Moore, Entrapped shadows of existence and reality of 'Piazza (1947)' by Giacometti, wire landscape epitomises of 'Hudson River Landscape (1951) by Smith, motion movements of 'Four Directions (1956)' by Calders, simplified elements of 'Early One Morning (1962)' by Caro, Mundane ideas of 'Floor Burger (Soft Hamburger) 1962' by Oldenburg, wild ideas of 'I like America and America Likes Me (1974) by Beuys, to Contemporary sculpture artist as evident in this exhibition show, Sculpture has always been the cutting edge of Imposing Dimensions.

Dimensions in the art making of sculpture since the days of monuments and statues, has changed beyond its progressing nature of classic, modern, and contemporary existence, upon recognition and boundaries of available materials, approaches, and techniques, until which today continues to be challenged and reinvented. 

This art of 3 dimensionality (3D) or more, craves the desire to commemorate, celebrate, confront, contemplate, as well as correlate the connection bridging between the 'work of art' and 'the artist'. 

Questions, manifestations, and  connection of expressions surrounds, as well as spearheads the sculpture's attitude towards challenging and reinventing dimensions of; Shape, Space, Surface, Scale, and Situation of the Imposed Dimensional reality. 

Thus, Sculptural work of art is beyond utilitarian, directly influence styles, contemplate's pleasure, creates pride, as well as impose possessional value, through its forms and process.

By all accounts, in this significant 'Imposing Dimensions: Malaysian Sculpture Exhibition (2022-2023', we will be discussing on five selected (5) works of art by five (5) established artist such as; Ramlan Abdullah, Rosli Zakaria, Sharmiza Abu Hassan, Zakaria Sharif, Shaharuddin Supar, and Zuraimi Rahim. 

These selected works of art and artist are PACAQ (Public Art Creative Aesthetic Quality) members who has dedicated their time, effort, and experience towards the Malaysian Art Scene through initiative linked to PACAQ.

 Courtesy of Imposing Dimensions E-Catalogue

RAMLAN ABDULLAH, from the work 'Motion in Stillness - Aryan (2022)' and 'Kerusi (2022)', invites the audience towards an inclusive framework of the artist's visions, on sculptural approaches in regards to connections between science-symbols, and mathematics-metaphors.  Ramlan describes the work of art 'Kerusi (2022)' as a chair which becomes an icon, symbolically which refers to a time and a place, which determines personal taste and at time social hierarchy. In 'Motion in Stillness - Aryan (2022)', the work of art is designed as a kinetic sculpture, where interactions with the wind changes the energy of potential towards kinetic energy, evoking the spinning ability, of speed, which sets a metaphor of progress and alive. Both works of art by Ramlan challenges and questions the aspects of energy and stability, as evident in the interplay of the a hemispherical base as well as a tripod base. 

 Courtesy of Imposing Dimensions E-Catalogue

ROSLI ZAKARIA, from the work 'Sculpdraw Series No9 (2022)' and 'Sculpdraw Series No 8 (2022)' guides the audience towards the artist's visions of 'Sculpdraw', on sculptural approaches which synthesis sculpture-drawings into exciting works of art. Rosli describes the exploration of his Sculpdraw series started since 2017 as an experimentation on different materials and techniques. Most of the materials such as Metal Rod, MDF Board, Cable Tight are evident in the artist previous sculptural works of art. The process of articulating the metal rods in both sculptures, portrays the contour and drawing elements which creates the structure of the artist's work of art. The contour lines appears in fusion of organic and geometric shapes where altogether, brings an asymmetrical balance of shape and surface. The bright colours suggest spaces which depicts values, from the shades of crayons as well as charcoals.

 Courtesy of Imposing Dimensions E-Catalogue

SHARMIZA ABU HASSAN, from the work 'Shelter For The Mind (2022)' and 'Deep Breath (2022)' evokes the audience towards the artist's visions on safety and security, on sculptural approaches aligned with the SDG's (Sustainable Development Goal) promoted by United Nations. Sharmiza describes both works of art as small scaled experimentation of collectible materials found in her studio, which invokes her personal response towards everyday life. Both works of art brings the audience towards a higher contemplation on the importance of sustaining safe and secure environment albeit political, economical, as well as social. In the work 'Shelter For The Mind (2022)', the artist ignites an abstract representation juxtaposed with elements which connotes to a form of a house or space, literally addressed upon the work of art’s title ‘Shelter For The Mind'. Another intricate work of art is 'Deep Breath (2022)', upon assembling (juxtaposing) found materials into assembled space, in contrast towards the different textural surface and colour, intricately captures an intimate yet alarming message of the past-present Covid19 situation we find ourselves.

 Courtesy of Imposing Dimensions E-Catalogue

ZAKARIA SHARIF, from the work 'Unity Circle Growth (2022)' and 'Nut Egg (2022)' recalls the audience towards the artist's visions on intense appreciation in nature's creation, on sculptural approaches focussing in regards to ideations mostly derived from memories which moves the artist by the natural shape and form of life. Zakaria describes that nature provides imagers and creative challenges that it would take even a lifetime for an artist to possibly come in terms. 'Unity Circle Growth (2022)' work of art manifest contemplation of the artist in suggesting a symphony of confrontation as well as closure in life. The form of the work of art are fused between organic and geometric elements of shapes, space, and surface which connotes towards growth and maturity. In the work of art 'Nut Egg (2022)', the shape is rather deformed, highlighting the natural forces of nature, such as gravity and energy, which continues to shape as well as solidify humankind, represented in harmony of an asymmetrical structural form. 

 Courtesy of Imposing Dimensions E-Catalogue

SAHARUDDIN SUPAR, from the work 'Mayang Duduk (2022)' and 'Mayang Terbang (2022)' guides the audience towards the artist's visions on formation and deformation of creations in nature, on sculptural approaches testifying the essence and presence of nature through wonders of the creators creation. Saharuddin describes both artwork from the 'Mayang Series' are the artist's current exploration on artistic practice through his present engagement in attending an artist residency workshop with celebrated sculpture artist Raja Shahriman in Kuala Kangsar in late 2022. The artist encapsulates the unique characteristic of the palm tree flower, compressed together through the naturalness pressure, which finally blooms into unique shapes and creations, sparking beautiful pleasure. Saharuddin is moved through the concept of compression and expansion, in  'Mayang Duduk (2022)', the beauty is compressed, and through 'Mayang Terbang (2022)', relatively it expands into growth. Interestingly, the approach how the artist situates formal qualities of each work of art, celebrates exceptional dignity through its lines, rhythms, movements, between both tensional space of compression-expansion, evolving towards the harmony of nature to be contemplated through existence, of essence and presence in-between the creator-creations.

 Courtesy of Imposing Dimensions E-Catalogue

ZURAIMI RAHIM, from the work 'Shovel#1 (2022)' and 'Shovel#2 (2022)' brings the audience towards the artist visions on identity and belonging, on sculptural approaches which witnesses the versions and variations of humankind's phenomenal existence. Zuraimi describes both work of art from the 'Shovel Series' as subjects which addresses the artist's own experience as a son of a house builder. The artist in his work 'Shovel#1 (2022)' takes the shovel object as his subject, which is closely synonym towards an occupational-operation of a house builder, and explores the possibilities on the different dimensions experimented on its Characteristic-Nature of the Wooden (Naturedness) and Metal (Rustiness) material. The way Zuraimi approaches his form of the bended and twisted shovel holder, sparks the curiosity on truth through order and chaos, where crooked lines and directions are as beautiful as symmetrical shapes and spaces. One story in life does not justify the whole journey, towards engaging the truth or path of existence. In  'Shovel#2 (2022)', the artist embarks on a different sensational value, exploring with the contour of the metal shovel holder, exploring man-made material which drives existential interpretation in the hands of its beholder.

In a nutshell, 'Imposing Dimensions' Exhibition has sparked the best out of these fifteen (15) established and emerging Malaysian sculpture artist. The sculptural works of art exhibited, lifts Malaysian Sculptural Art Scene towards another step of progress and evolution, setting benchmark beyond utilitarian standards, influential style, contemplation for pleasure, creating pride, as well as impose prestigious possessional value, through its imposed Forms and Dimensions.

This celebrated contemporary sculpture exhibition can still be witnessed at China House Gallery Penang, from 17 December 2022 - 15 January 2023!

PACAQ is honoured to have Prof Madya Ramlan Abdullah, Dr Rosli Zakaria, Dr Sharmiza Abu Hassan, Zakaria Sharif, Shaharuddin Supar, and Zuraimi Rahim in working hand by hand as permanent and associate members in sharing experience, thoughts, as well as guidance through related areas in Malaysia's Public Art Scene.


'Keep on Charging'

MUSADDIQ MOHAMAD KHALIL

Department of Liberal Studies
UiTM Alor Gajah
PACAQ-UITM RIG 2023