Figure 1: The Prizing Ceremony between the Participants with NAG Representative, Dr Sharmiza Abu Hassan, and Mrs Diana Ibrahim
9th December 2024 - Marked the most awaited moment for 30 students from the department of Fine Arts, College of Creative Arts, UiTM Alor Gajah Melaka, participating in the 'Sayembara Lukisan Karya Agung' competition held by the National Art Gallery, in conjunction with the Ministry of Tourism, Arts, and Culture (MOTAC). UiTM Alor Gajah Melaka, was one of the few IPTA's and IPTS's (Public/Private Higher Educational Institution), which participate on such significant Visual Art event, celebrating visual art through text masterpiece's.
The coverage on the exhibition opening witnessed a dynamic convergence between several Art institutions; National Art Gallery (Representatives), University Teknologi MARA (Contestants/Facilitators), as well as Tukang Arca Art Space (TuAS - Dr. Rosli Zakaria). Taking place at Gallery Art Studio (GAS UiTM Melaka). The session started with a brief talk by Dr. Sharmiza Abu Hassan (KPSK Head of Centre Studies - UiTM Melaka), followed by the exhibition launching by National Art Gallery (NAG) representative, and the prizing ceremony.
The work 'The Fall of the Great Magical Serpent (2024)' by Muhammad Ikmal Hakimie, won the 1st Prize, followed 2nd by the work "Tun Fatimah: A Crown of Dignity and Grace (2024)" by Nik Ardine Sorfeena Nik Emree, and 3rd by the work "Benteng Akal Tun Perak (2024)" by Nurul Fatihah Khairul Faidzul.
'KARYA AGUNG' translated in english is 'Masterpiece', and the whole objective of this 'Sayembara Lukisan Karya Agung' art competition and exhibition, is to harness these young undergraduates into an art process which celebrates textual Masterpiece, re-interpreted into visual works of art. Here at UiTM Melaka, most of the visual formats are paintings of 92cm x 61cm. Furthermore, the interpretation or re-interpretations of textual data are then developed into visual documentations, which due to formalistic aspects can be categorised into; naturalistic representations, semi-abstract, as well as abstract subjects which collectively articulates the final form fo these works of art.
Figure 2: 'Pameran Seni Susur Karya Agung dari Teks ke Visual' exhibition poster - Project Lead by Mr Mohd Ali Azraie Bebit and Mrs Diana Ibrahim
Interestingly, the art process from textual to visual grants a sense of freedom by exploring visual possibilities on canvas, utilising their visual vocabularies in terms of technical skills, and artistic practice as Fine Arts undergraduates. Here, by channeling ideas into images, these contestants explorations are not limited to direct visual representations alone, experimentations on textual writings may accompany the works of art, in sparking the sense of in-situ or a contemporary element of being in time, being one with the work. On the early preliminary process, the participants explore textual ideas from impromptu sketches, celebrating the divergent thinking possibilities, before validating these subject and visual contents with their respective facilitators (Fine Art Lecturers), entering the convergent thinking of identifying on which-when to proceed on the next level. Walid Muhammad Syafrein Effendi acts a consultant in regards to the visual icons and figures represented according to the text chosen by UiTM Melaka; Sulalatus Salatin. By playing the game well, the participants are exposed and equipped through the Lateral thinking process, from both convergent and divergent thinking process; producing a synthesis of idioms, as well as mediums.
'Sulalatus Salatin' or 'The Genealogy of Kings' is an iconic literary work edited by celebrated Malaysian writer A. Samad Ahmad. This specific text was based from the previous handwritten version owned by Haji Othman Abdullah (Code DBP MSS 86). The version we are currently referring is the twentieth printed version, published in 2021. ‘Sulalatus Salatin’ invites the audience towards a deeper insight on the Malay World ‘Genealogy of Kings’, through its origin, evolution, as well as hegemony, based on some of the earliest celebrated Malay kingdoms, such as the Malacca Sultanate. Interestingly, the text chosen describes the Pre-Malacca kingdom era, the Golden Age of Malacca kingdom era, as well as the Post-Malacca kingdom era after being invaded by the Portuguese in 1511. Altogether describing the extensive achievements, and establishment on the religion of Islam, the Malay language as Lingua Franca, as well as the Malay Sultanate genealogy and hegemony in the Malay World.
In todays art scene, the narrative of a work of art is as important to the styles it builds upon, in a contemporary art setting - (The Style is Product of its Environment). For example on a classical art of the 'Grand Narrative'; Hang Tuah is the hero of Melaka, upon defeating Hang Jebat, on this narrative there is a dualism factor between the good, and bad establish in how the society interprets the story. However, on a modern art version of the 'Meta Narrative'; Hang Jebat would be the hero of Melaka, for standing as an individual recognised through his concern to question the truth, and discern the commands of the Sultan through his beliefs, in this part 'Art is for Art Sake', where the antagonist on a certain degree is celebrated as the protagonist, take Robinhood as an example; Robbing money from the rich and giving to the poor, as proven in a heroic fashion. Nevertheless, on a contemporary or postmodern art narrative of the 'Fragment Narrative'; One would consider both Hang Tuah and Hang Jebat do not exist in one's reality, where on a practical scale, truth or false, good or bad, might appear the same when one is trapped in political or economical system where both loops represents, two sides of the same coins, in fact, on a certain level, whatever sides it brings a 10 penny coin (10 cent) will still be a 10 penny - where, the poor gets poor, and the rich gets richer. Hence, its no harm to explore more and delve into such narratives or concepts in todays vibrant and dynamic art scene and situations. On a Queer Theory basis, perhaps the real hero is Tun Teja, if we dissect the fragments adding a Critical Theory narrative.
Moreover, whether it is the narratives or styles these participants are confronting, its good to note that both textual and visual documentations comes from a whole world between the lines of imaginations and reality. where adaptations and expressions of one's pre and post conceptions are involved. Its safe to say that any textual or visual Masterpieces comes from a Maker, and this maker as human being has its strengths and weaknesses, invincible through bias of the mind.
As human beings, being invincible is a value to reflect, being empathy makes us different from robots as well as artificial intelligence (Ai). We have a soul, which shapes our personality, upon portraying the reality of ourselves, in the world we find ourselves. Thus, this proves that upon experimenting between; styles, mediums, subjects, material, and texts such as Sulalatus Salatin does not limit the whole process, however it sparks new paradigm in the Body of Work (BoW) produced. A synthesis of the past and present, in a whole contemporary theme, approach, and setting.
In a nutshell, the journey that these participants has acquired is a testament to the whole objective of why this 'Sayembara Lukisan Karya Agung' was held in the first place. The effort by the National Art Gallery has proven to be significant approach which garnishes the interest of these young art undergraduates to explore more on the diverse possibilities of Masterpiece texts such as 'Sulalatus Salatin', besides being a platform to promote their works of art with other institutions later on at GMBB Mall, Bukit Bintang, Kuala Lumpur on the 19th December 2024.
'Keep on Charging!'
MUSADDIQ MOHAMAD KHALIL
Department of Liberal Studies
UiTM Alor Gajah
PACAQ- UITM RIG 2024
G.A.S UiTM Melaka 2024
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