‘My Idea’ is a concept, and like any other concept, it belongs to the framework of ideas. Ideas, and series-of-ideas which endeavors originality, identity, as well as novelty. This Academic-Artist exhibition is a converging platform which converts the tension dichotomy between both academician and artist, towards the celebration of passions and visions on Art-Ideas.
Hosted at Angkatan Pelukis SeMalaysia (APS) Gallery, Floor 1 GMBB Mall, Kuala Lumpur, the ‘My Idea’ theme relates significantly to Artis Gomen (AG) as an academic-artist Art Group, confronting between the praxis of artistic ideas, as well as practical practice.
‘Artis Gomen (AG)’ is an Art Group based in Melaka, where most of its group members are fine art academic-artist, lecturing at the College of Creative Arts, Univeristi Teknologi MARA (UiTM) Melaka. When translated ‘Artis Gomen’ refers to ‘Government-Artist’, where every group member shares a common vision, on being truthful towards one’s practice and discipline in Art.
Most of the artists featured in this exhibition have developed their practices to greater heights engaging themselves in the Malaysian Art Scene ecosystem. Among the celebrated names are, Wan Mohd Zulkifle, Sharmiza Abu Hassan, Shahariah Roshdi, Shahrul Munir Mohd Kaulan, Salmah Ali, Rosli Zakaria, Mohd Saharuddin Supar, Mohd Saharuddin Sabu, Mohd Ali Azraie Bebit, Muhammad Fitri Samsuddin, Hisammudin Ahmad, Haslinda Abd Razak, Diana Ibrahim, Baharim Samuri, Azhari Khalip, and Ahmad Zuraimi Abd Rahim.
In Malaysia, the Pluralist Era in the 1990s marked a progressive shift from the aesthetic preference of a mono-culture NCP (1971), towards a more Fragmented-Narrative approach of the multi-culture, in fusion of a newer celebrated universal style. This narrative serves as an expression towards aesthetic values which shapes the cultural unity and identity of the country. Moreover, at this period in time (1990), most of the members of Artis Gomen (AG) had already graduated, or started their formative carrier in the Malaysian Art Scene. This exposure during such formative stage has been a fundamental point, in the practice and discipline these artists addresses themselves, through their works of Art.
Muliyadi Mahamood (2007) 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". Malaysian artist who attended and responded towards the newer pluralist approach and aesthetics, majority are now a part of the Artis Gomen (AG) Art Group, especially graduating from the School of Art and Design, ITM/UiTM.
In the New Aesthetics, rather than exploring Aesthetic dichotomy such as 'Beauty and Sublime' of the past, Adorno paid close attention on 'Art and Society' as a semblance of subjectivity in the new fusion which mocked and mimicked the narratives of the past, in discussing philosophical works of Kant, Hegel, Marx, Nietzsche, and Freud, in a new direction of contemporary Aesthetics (Huhn & Zuidervaart, 2007).
As a result, Artis Gomen (AG) art members through this ‘My Idea’ exhibition, questioned boundaries and limitations of their social settings, responding through idea, and conceptual ideas in Art itself. These critical artists responded on unjustifiable, as well as undeniable issues circulating the political, economic, and social arena, surrounding system-structure where they find themselves.
Works of art such as ‘Cerita Politik-Perjuangan……….Selesai (2021)’, and ‘WHY BE’ black envelope (2022)’ probe political questions describing issues of Malaysia’s political situation-setting. Works of ‘Bunga Saku (2022)’, ‘Capsule Vitamin Integrity #1, *C-VT1+ (2022)’, ‘Al-Mizan ii (2023)’, and ‘Do it if you DARE (2022)’, address issues of unjustifiable economic consumption in regards to features of corruptions, in an individual as well as collective level and layers. Works as ‘Melaka dimata dunia (2023)’, ‘Mencari Arah (2022)’, ‘Infinity Way (2023)’, and ‘Inclined Man (2023)’describes the social compass of mankind in life through the trills, as well as trenches of navigating one’s life towards an eternal-end.
Exhibited works of ‘QR ID (2021)’, ‘Auto Didact (2022)’, ‘Shovel; Gali (2023)’, and ‘The Last Tooth (2023)’ explores the social discovery of social-Identity, social-dignity, social-belonging, as well social-responsibility in a vibrant social settings we find ourselves. Nevertheless, exhibited works as ‘Hujung Penghujung Titiwangsa Series (2023)’, and ‘Mayang Series (2023)’, unveils the social relationship between Man and Nature, these works of art invites its audience to confront, as well as conform towards such sublime relationship, where our ancestors discover themselves.
WAN MOHD ZULKIFLE from the work ‘Melaka dimata dunia (2022), translated as ‘Melaka in eyes of the world’ invites the audience towards the artist’s apprehension on the artist’s social surrounding between the past and present. The artist describes the work of art as drawings in the process of printing, which the artist views as a valuable process in confronting ideas and concepts, preliminary towards the process of creativity in Art. The artist ascribes that Melaka once had a hegemony in the past, as one of the earliest kingdoms to embrace Malay language as lingua franca, as well as embrace Islam as an official religion throughout the Malay World (Archipelago).
SHARMIZA ABU HASSAN from the work ‘QR ID (2021), guides the audience towards ideas and concepts, of social-identity and accessibility. The artist describes the title of the work connoting towards the acronym of ‘Quick Response Code’, as well ‘Identification’. Moreover, the artist shares in producing this work of art, it is a process of capturing a situational experience, into symbols which translates as social context we uncover ourselves. Slowly we are exposed towards digital information in regards to identification (ID) which are globally exposed through data and pixels.
SHAHARIAH ROSHDI from the work ‘Al-Mizan ii (2023)’, takes the audience towards the balance and imbalance of resource, as well as consumption we confront in life. The artist describes that in the world we live in today, almost everyone neglects the balance of need and greed, where we often take more than what we need or give. The artist further ascribes that calculation or decisions on the rate, or ration we take for ourselves are rarely to be shared with others. Here, the artist draws a correlation between the global climate changes we face today, and the direct consequence of imbalance.
SHAHRUL MUNIR MOHD KAULAN from the work ‘The Last Tooth! (2023)’, evokes the audience towards a social exploration of decision-making in life through our own formative stage in life, as children’s playing with toys. The artist describes the title and subject of the work of art as inspired from the game ‘Crocodile Dentist’, which the artist ascribes as a children game which challenges one’s mind to think critically or conveniently. The decisions we choose shapes the story of the game, as reflected in our journey in life.
SALMAH ALI from the work ‘Do it if You DARE!! (2022)’, recalls the audience towards the impacts of corruption through her symbolic visuals presented as implications in regards to a convicted felon. The artist describes the work of art as a narrative, which a corrupted person would face in this world as well as the hereafter. The artist further ascribes that the implication one shall receive in the afterlife, would be more critically harsh rather than as addresses in the world we find ourselves.
ROSLI ZAKARIA from the work ‘Cerita Politik-Perjuangan……….selesai (2021)’, brings the audience towards the artist’s comprehension in regards to the political scenario presented during the major pandemic outbreak, and movement control order the artist finds himself. The artist describes that making works of art in the phase of the pandemics, is at times challenging, and most of the times confusing, due to the unrest political issues the nation faces. The artist further ascribes that the confusion an artist must address between to respond, or restraint divides, where finally, he believes that politics should stay as politics, for the politicians.
MOHD SAHARUDDIN SUPAR from the work ‘Mayang Series (2023)’, invites the audience towards the sublime beauty in creations of nature by our almighty creator. The artist describes the Mayang Series as the artist’s current artistic exploration in art practice, during his residency workshop with celebrated sculpture artist Raja Shahriman. The artist moved by the unique characteristics of the palm tree flower, compressed through process and pressures in nature, finally giving birth towards beautiful lines, shapes, space, textures, as well as forms. The concept of compression and expansion encapsulated by the artist’s subject, manifests a reflection of growth and decay, as a crucial process throughout our conscious reality in life.
MOHD SAHARUDDIN SABU from the work ‘The Inclined man (2023)’, invokes the audience towards characters of mankind through the artist’s material, approach, as well as process in metal casting. The artist describes the form of his work of art, connotes to the physicality of humankind in a challenging context as of today. The artist further ascribes that every individual is unique by his/her physical, as well as spiritual character, molded by the social background setting they find themselves, these characters shape us into a person who seeks for opportunity or takes opportunity, between oppressions and depressions in life.
MOHD ALI AZRAIE BEBIT from the work ‘Infinity Way (2023)’, takes the audience towards an infinity journey in life, where knowledge and experience is a process to embark, rather than a race to compete. The artist describes that the work of art is inspired by humankind’s journey in life, where everyone wants something, or everything. The artist further ascribes that the staircase in this work of art represents the paths to be taken in life, with obstacles sometimes as a product of ourselves, sometimes we compete with no one other than ourselves.
MUHAMMAD FITRI SAMSUDDIN from the work ‘Mencari Arah (2023)’, translated as ‘Finding Direction’ guides the audience towards mankind’s compass of eternal success. The artist describes everyone created by the almighty creator Allah S.W.T, has a role and story in life. Even though these roles differ uniquely from one creation and another, the ending story is the same, which is to confront death. The artist further ascribes that hope and despairs in life, does not take our image of happiness, however it reminds us of the eternal life, to seek one’s alignments of one’s direction, towards the objectives given by one’s creation.
HISAMMUDIN AHMAD from the work ‘Hujung Penghujung Titiwangsa Series (2023)’, translated as ‘The Corners of Titiwangsa Mountains or Big Range (2023)’ recalls the audience towards the artist’s sublime self-exploration journey in completing his hike at the Titiwangsa Mountains. The artist describes that his presence between the corners of the Titiwangsa Mountains are separated between wet valleys, at one side filled with geometric forms of rocks, and at the other structured with rocky cliffs which forms mountains, supporting trees and ecosystems of nature. The artist further ascribes his corresponding experience between both entity of man and nature, which he cherishes in his work of art, through the moving characters, colors, lines, space, as well as shapes.
HASLINDA ABD RAZAK from the work ‘Bunga Saku (2022)’, translated as ‘Pocket Flower’ evokes the audience towards questions on identity, as well as personality we carry throughout our lives. The artist describes the title ‘Pocket Flower’ addressing certain visual symbols of images and motifs, in regards to the Malaysian RM currency. The artist further ascribes that ‘Flower’ is a metaphor of growth, as represented on the ‘Ringgit’ visual representation, connoted as currency, which brings happiness as well as satisfactions in life. Nevertheless ‘Poket’ refers to an ephemeral space, which changes through context. The interplay between both ideas, presents the ‘Pocket Flower’ concept.
DIANA IBRAHIM from the work ‘Capsule Vitamin Integrity#1, [C-VT1] (2022)’, brings the audience towards the artist’s apperception on values of integrity, moral, as well as ethics. The artist describes the work of art as cynical, in regards to the moral issues which takes place at the heart of the society, we find ourselves. The artist further ascribes that currently, we are being served with political news regarding our political leaders addressing lack of responsibility, upon serving the nation’s trust. However issues regarding the lack of integrity does not belong to a specific class, race, or institution, it is fundamental issue, we find inside ourselves, which needs more medical attention, less physically, and more spiritually, such as an idea of a capsule-vitamin of integrity.
BAHARIM SAMURI from the work ‘WHY BE’ Black Envelope (2022)’, takes the audience towards a political dilemma, questioning the self-awareness of citizens as victims of an unjustifiable political crime. The artist describes the theme of the work of art as inspired by the issues during the selection of a political candidate. Bribing’s, slandering’s, as well as empty promises are normalized, casually as a normal situation and strategy upon winning. The artist further ascribes that the title of the work of art specifically refers to one of these strategies, such as the ‘Black Envelope’ (bribing) voters, in corrupting the future of the nation, through unjustifiable political crime.
AZHARI KHALIP from the work ‘Auto Didact (2022)’, invokes the audience towards a social dilemma which impacts the credibility, as well as criterion of knowledge. The artist describes ‘Auto Didact’ as ‘a person who teaches himself or herself rather than being taught by a teacher (formally)’. Through such conceptualization, knowledge in the reality we find ourselves are portrayed in a fragmented situation, where data as well as information in digital media, is justified as credible knowledge in the eyes, and lies of an Auto Didact. The artist further ascribes that ideas on this work of art, are sparked from his previous ‘Bush Jacket’ work, exhibited in the early 2000.
AHMAD ZURAIMI ABD RAHIM from the work ‘Shovel; Gali’, draws the audience towards the artist’s visions on identity and belonging, on sculptural approaches which witnessed the versions and variations of humankind’s phenomenal existence. The artist describes the title of the work of art as a subject, which addresses the artist’s own experience in life, as a son of a house builder. Taking the shovel object as his subject, which is convenient towards a house builder’s occupation, the artist himself explores and experiments, the possibilities of the material of subject, through its given characteristics; wood (support or decay), and metal (support or rust). The artist interplays between the existence of chaos and order, in one’s journey in life, as process to viewed to embrace rather than disgrace.
In a nutshell, through the contemplation of idea, and Ideas of ‘ART’ itself, this ‘My Idea’ art exhibition dedicated by the Artis Gomen (AG) Art Group members, celebrates the five (5) features of ART;
1) Art provides satisfaction-sensation, in regards to the process/aesthetics; it in itself is a paradigm of Ideas, on layers of beauty.
2) Art mirrors reality-experience; like a window to the soul, it reflects its society through the continuum of time and space, period styles and progress.
3) Art elevates our taste-preferences, from realms of the physical to intimate metaphysical contemplation, of artistic pleasure, as well as purpose.
4) Art conceptualized creations of novelty, in synthesizing creative process of originality, identity, and novelty, unconfined by the state of cliché.
5) Art speaks itself as a prestigious possession, a sense of gratification in the-eyes of its collector.
'Keep on Charging'
MUSADDIQ MOHAMAD KHALIL
Department of Liberal Studies
UiTM Alor Gajah
PACAQ-UITM RIG 2023
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