showcase - RuPé (Ruang Pemula) Artspace

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PAK H R U D D I N & FAT I M A H
S U L AI M A N C O L L E C T I O N
Presented by
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S C U L P T U R E S
PAK H R U D D I N
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FAT I M A H
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S U L A I M A N
F R O M
T H E
C O L L E C T I O N
1 29 ( 0 % ( 5 ૯ ' ( & ( 0 % ( 5 The Edge Galerie, Kuala Lumpur
G5-G6 Mont’ Kiara Meridin, 19 Jalan Duta Kiara,
Mont’ Kiara, 50480 Kuala Lumpur
Tel: +603-6419 0102 Office: +603-7721 8251
Email: info@theedgegalerie.com | www.theedgegalerie.com
CONTENTS
2
Foreword
4
Preface
6
Introduction
10
Sculptures & Installations
14
Artists
72
Index
74
Acknowledgements
76
3
FOREWORD
EXPLORATION AND DISCOVERY
Describing himself, half in jest, as a “Part Time Art Collector” on his Whatsapp “status”, lawyer
Pakhruddin Sulaiman is a keen observer, criƟc and chronicler of the Malaysian art scene.
Matching his fervour for local art is his wife, FaƟmah who, like him, is also a lawyer by training, and a volunteer at the Red Crescent Society. Together, they form an inŇuenƟal team
whose opinions on local art are keenly sought aŌer by other collectors and the media.
Since the 1990s, Pakha, as he is more widely known, and FaƟmah, have been collecƟng Malaysian art with a view to keeping signiĮcant works in the country.
It is said that at the Ɵme they started to collect – early works by the MatahaƟ group, Amron
Omar and Ahmad Zakii Anwar, among others – their only serious compeƟtor was the Singapore
Art Museum, then posiƟoning itself as the centre of Southeast Asian art.
But unlike some collectors who equate quanƟty with importance, Pakha and FaƟmah have a
discerning eye honed by years on the acquisiƟon trail. They have also culƟvated a grapevine
that oīers them invaluable Ɵps on the art scene. Despite not being connected on Facebook,
very liƩle of what goes on within the walls of art galleries, studios and aucƟon houses escapes them.
What drives them is their “sense of exploraƟon and discovery”. They are criƟcal of what they
call the “sheer money muscle” of certain collectors in driving the market up. The downside of
that, they say, comes when money supersedes scholarship.
Over the years, Pakha and FaƟmah have also established their own art space known as Ruang
Pemula, or “RuPé”, located on the outskirts of Kuala Lumpur, below Pakha’s law Įrm in Ampang. The oĸce unit houses the couple’s art collecƟon and equally enormous collecƟon of
mostly art publicaƟons.
The couple frankly profess to not knowing how many artworks they’ve acquired – they’ve
never really counted. They Įnd neither meaning nor joy in the descripƟons, “the biggest or
largest collector”. They prefer to grow their collecƟon in non-linear fashion, qualitaƟvely.
4
As a testament of their considered curaƟon, anyone who wants to organise a meaningful exhibiƟon on Malaysian contemporary art usually borrows works from the Pakhruddin and FaƟmah
Sulaiman CollecƟon.
The RuPé guest book has documented the visits of many collectors, arƟsts, writers, curators,
internaƟonal aucƟon house representaƟves and art experts. One well-known collector even
describes Pakha as “sifu”.
Now in their 50s, the couple keep a look out for upcoming arƟsts whose works resonate with
them. But they sƟll can’t resist acquiring yet another Jai (Jalaini Abu Hassan) at The Edge Galerie
show or a Bayu Utomo Radjikin or a Wong Hoy Cheong work at aucƟon.
While Pakha has a weakness for artworks depicƟng owls, FaƟmah has a fondness for painƟngs
of cats. But this is only a whimsical side to their important and serious collecƟon.
But it is also their collecƟon of sculptures and installaƟons that characterises their taste in Malaysian art. Largely ignored by other collectors, it is these works that reveal another dimension
of local art. For the eternally curious among us, the ensuing essays by Pakha and Rachel Jenagaratnam, the exhibiƟon curator, oīer deeper insight into the selected works.
&ŽƌƚŚĞ/ŵĂŐŝŶĂƌLJ^ƉĂĐĞ͗^ĞůĞĐƚĞĚ^ĐƵůƉƚƵƌĞƐΘ/ŶƐƚĂůůĂƟŽŶƐĨƌŽŵƚŚĞWĂŬŚƌƵĚĚŝŶΘ&ĂƟŵĂŚ
^ƵůĂŝŵĂŶŽůůĞĐƟŽŶ, marks the third non-selling exhibiƟon that The Edge is presenƟng at The
Edge Galerie. The Įrst was &ĂǀŽƵƌŝƚĞƐĨƌŽŵƚŚĞĂŝŶnjĂŚĂƌŝŽůůĞĐƟŽŶ and the second was
^ĞůĞĐƟŽŶƐĨƌŽŵƚŚĞ^ŝŶDŝŶĂŶĚdŽŽ,ŝŶŐzĞĂƉŽůůĞĐƟŽŶ͘
As part of The Edge Media Group, we conƟnue to oīer art enthusiasts the opportunity to enjoy
meaningful artworks from the private collecƟons of Malaysians, to inspire, educate and inform.
Ho Kay Tat
Publisher & Chief ExecuƟve Oĸcer
The Edge Media Group
5
PREFACE
FaƟmah and son, Iqbal, with Pakha at RuPé (Ruang Pemula), their art space in Ampang just outside Kuala Lumpur
Detail from Memory of Stones
6
COLLECTING FOR THE IMAGINARY SPACE
FaƟmah and I do not collect art purely for the walls or space in our house or oĸce. Well, as
with most beginners, perhaps this wasn’t the case in the beginning, but it was certainly abandoned and forgoƩen very early on in our hitherto almost 20-year journey in collecƟng art on
the Malaysian art scene.
We collect art for the imaginary wall or space in our heads—a virtual wall or space that has no
limit or boundary, so to speak! Hence the Ɵtle for this inaugural exhibiƟon of selected works
from our collecƟon at The Edge Galerie, &ŽƌƚŚĞ/ŵĂŐŝŶĂƌLJ^ƉĂĐĞ͗^ĞůĞĐƚĞĚ^ĐƵůƉƚƵƌĞƐĂŶĚ/ŶͲ
ƐƚĂůůĂƟŽŶƐĨƌŽŵƚŚĞWĂŬŚƌƵĚĚŝŶΘ&ĂƟŵĂŚ^ƵůĂŝŵĂŶŽůůĞĐƟŽŶ. As for the Ɵtle, it is interesƟng
to note that I had in my essay in tribute to the late art collector-cum-dealer Rahime Harun way
back in 2009 already alluded to my intenƟon of using it when we had the opportunity to unveil
and exhibit our collecƟon to the public1.
The early decision to shiŌ from being bound or circumscribed by a tangible wall or space
somewhat helped us solve a major dilemma facing most prospecƟve collectors of art—conƟnuing to collect and Įnding space to display one’s art acquisiƟons beyond the domesƟc
walls and space. In this connecƟon, we have oŌen heard collectors lamenƟng the fact that
they had either slowed down or totally stopped buying artworks because they had simply
run out of walls or space in their homes to accommodate them.
To buy or not to buy? This (with necessary apologies to Shakespeare) is indeed a quesƟon that
has tormented generaƟons of art collectors past and present and I am sure it will conƟnue to
torment new and prospecƟve collectors at one point or another in their art-collecƟng journey. This situaƟon may be especially acute in this country as most people sƟll buy art for their
homes and the idea of a private art museum, though commonplace in the West, is preƩy much
unheard-of here.
As for me and FaƟmah, notwithstanding the lack of space in our home, if the opportunity avails
itself, we will just buy the artwork in quesƟon and then worry about where to store it. Necessity
being the mother of invenƟon, we created RuPé (Ruang Pemula) in 2004 —a discrete art space
to store and showcase a selecƟon of our collecƟon. Of late, other collectors have been equally
invenƟve, seƫng up their own “ruang”. In fact, one prominent collector bought a disused shipping container and turned it into addiƟonal storage space for his ever-expanding art collecƟon.
I have since been informed that there is also available now commercial and professional art
storage space for rent. Given these developments, serious art collecƟon—beyond the domesƟc
seƫng—has become much more sustainable.
1. “Sang Pemburu
Mimpi” in <ŽůĞŬƐŝ
^ĂLJĂʹZĂŚŝŵĞ,ĂƌƵŶ,
2008, Balai Seni Lukis
Negara Kuala Lumpur,
page 34.
To me, this is an interesƟng and useful “litmus test” of whether someone who buys art has
indeed crossed over into the world of serious collectors. In this context, I oŌen tease friends
who collect art but are constrained by the walls of their homes that they have yet to pass the
litmus test and therefore cannot consider themselves to have arrived as serious collectors on
the art scene!
7
If not for the “paradigm shiŌ” early on in our art collecƟng acƟvity, FaƟmah and I would have
ceased to collect art a very long Ɵme ago because we quickly ran out of wall space aŌer we
began collecƟng earnestly in the early 1990s. And we would not have ended up with a hoard
of several hundred pieces, all stored either at RuPé, our home or my oĸce.
For this maiden exhibiƟon of works from our collecƟon—the third in the series of The Edge
Galerie’s showcase of private collecƟons —we have decided to exhibit only sculptures and
installaƟons, although the predominant works in our collecƟon are painƟngs and drawings.
Together with Rachel Jenagaratnam, the curator of the exhibiƟon, we have chosen a total of
60 sculptures/installaƟons—less than a third of what we have in our collecƟon. The idea for
and intenƟon of this exhibiƟon is to cast the net as wide as possible to demonstrate the sheer
range and diversity of the medium in this country.
In tandem with that, we also endeavoured to select as many sculptors as possible by
limiƟng the number of their works to between one and three each. Of course, this process
of selecƟon has its limitaƟons. Hence, in the context of our collecƟon, the exhibiƟon will
not do jusƟce to those sculptors whose works we collect so passionately. For example, we
have more than 20 sculptures each by Raja Shahriman and Mad Anuar in our collecƟon
and a mere two or three cannot project the depth of our collecƟon with respect to two of
Malaysia’s most prominent sculptors.
REFERENCES
2. Galeri Petronas,
2008, Kuala Lumpur,
page 66 from 10 Collectors, Ruang Pemula Sdn
Bhd, 2014, page 13
3. Galeri Petronas,
2009, Kuala Lumpur,
page 146
4. Quek Tse Kwang,
2010, Singapore,
page 152
5. Quek Tse Kwang,
2014, Singapore,
page 148
6. The Edge Galerie,
2013, Kuala Lumpur
7. The Edge Galerie,
2014, Kuala Lumpur
8
As for interesƟng anecdotes and moƟvaƟon behind our acquisiƟon of several key sculptures
in this exhibiƟon, I am afraid space does not permit me to talk about them here. Furthermore, I have wriƩen quite extensively about them elsewhere and for those readers who are
interested, I list below some references:
(a) "A Collector’s Adventures In The Malaysian Art World” in TK Sabapathy’s /ŵĂŐŝŶŐ^ĞůĨƐ͗
^ŽƌĂLJĂdĂůŝƐŵĂŝůʹWŽƌƚƌĂŝƚƐŽĨƌƟƐƚƐ2;
(b) "Struggling with the Forbidden – A Collector’s ObservaƟons on the Sculptures of Raja
Shahriman" in ZŚLJƚŚŵŽĨƚŚĞϮϭƐƚĞŶƚƵƌLJʹDŽŶŽůŽƋƵĞƐŽĨZĂũĂ^ŚĂŚƌŝŵĂŶϯ;
(c) "The Past and The Present In 3 Selected Works by Amron Omar, Mad Anuar Ismail and
Sharmiza Abu Hassan” in ϯϬƌƚ&ƌŝĞŶĚƐʹƉƉƌĞĐŝĂƟŶŐ^ŽƵƚŚĞĂƐƚƐŝĂŶƌƚϰ; and
(d) Essay by Pakhruddin Sulaiman in ϯϬƌƚ&ƌŝĞŶĚƐϮʹŽůůĞĐƟŶŐ^ŽƵƚŚĞĂƐƚƐŝĂŶƌƚϱ;
In a preliminary discussion with The Edge Galerie, I inƟmated my intenƟon to showcase a
selecƟon of artworks by one of the country’s prominent contemporary arƟsts in an aƩempt
to oīer a proĮle of his works in our collecƟon. This, I thought, would oīer a diīerent Ňavour
to the public from the potpourri-like exhibiƟons of our two eminent predecessors at The Edge
Galerie: Pak Zain Azahari’s &ĂǀŽƵƌŝƚĞƐĨƌŽŵƚŚĞĂŝŶnjĂŚĂƌŝŽůůĞĐƟŽŶϲ and the Toos’ ^ĞůĞĐͲ
ƟŽŶƐĨƌŽŵƚŚĞ^ŝŶDŝŶΘdŽŽ,ŝŶŐzĞĂƉŽůůĞĐƟŽŶϳ.
However, that intenƟon was abandoned when it dawned on me and FaƟmah that an exhibiƟon that was diīerent from the previous two yet sƟll challenging would comprise only
sculptures and installaƟons. Here, I thought, was a great opportunity not only to unveil to the
public a selecƟon of our quite considerable collecƟon of these 3D objects but also to change
common misconcepƟons about the appreciaƟon and collecƟon of sculptures in this country.
MISGUIDED VIEW
When it comes to sculptures, there is this belief among connoisseurs of Įne art, not just in
this country but also in the West, that they are a lesser form of art (and therefore of lower
standing) than painƟngs or drawings. Similarly, drawings are considered inferior to painƟngs.
Now this view —a misguided one, if you ask me —appears to have greater inŇuence on the
general public, including collectors of art. This misconcepƟon has, in turn, been perpetuated by collectors who tend to subscribe to the idea, thinking that this is the convenƟonal
wisdom regarding art. Perhaps, this is one of the main reasons sculptures are not as popular
as painƟngs and drawings with collectors and are considered the poor cousins of the laƩer.
Sculptures, being 3D objects, are seen as much more diĸcult to understand and appreciate as
well as problemaƟc to display at home or the oĸce.
However, from the perspecƟve of those who collect sculptures/installaƟons, this poor cousin
status is a boon. First, it helps keep the prices of sculptures relaƟvely low compared with
those of painƟngs and second, there is much less compeƟƟon and hence no ugly clamour
among collectors for sculptures at exhibiƟons, which is usually the case nowadays when it
comes to painƟngs by the more popular arƟsts, young and old. So, from my experience,
collecƟng sculptures is quite hassle free.
With the holding of this exhibiƟon, FaƟmah and I earnestly hope that in our own small way,
we have been able to help promote and elevate sculptures and installaƟons to their rightful place—on par with painƟngs and drawings. In the process, we hope that the prevailing
negaƟve mindset with regard to collecƟng sculptures and installaƟons turns posiƟve. In my
recent essay for the DĂůĂLJƐŝĂŶƌƚ&ƌŝĞŶĚƐϮ exhibiƟon catalogue8, I wrote about the breaking
down of the metaphorical “Reluctant Wall” —a general reluctance among collectors in this
country to show and share their art collecƟon with members of the public-- and hope that a
similar reluctant wall viz-à-viz treaƟng sculptures and installaƟons as equally as painƟngs and
drawings will ulƟmately be torn down.
Our art collecƟon has indeed—for the last two decades—consumed our lives but it has been
a most wonderful, enjoyable and rewarding experience and journey for us. And now, thanks
to The Edge Galerie, we have been given the opportunity to showcase 60 of our sculptures
and installaƟons to the public at large.
8 “Malaysian Art
Friends and the
Breaking Down of the
‘Reluctant Wall’” in
DĂůĂLJƐŝĂŶƌƚ&ƌŝĞŶĚƐϮ
ʹ^ĞůĞĐƚĞĚtŽƌŬƐĨƌŽŵ
ϭϬŽůůĞĐƚŽƌƐ, Ruang
Pemula Sdn Bhd, 2014,
page 13
Pakhruddin Sulaiman
Ruang Pemula (RuPé)
24 October 2014
9
INTRODUCTION
UP CLOSE AND PERSONAL WITH SELECTED SCULPTURES
FROM PAKHRUDDIN AND FATIMAH SULAIMAN’S
COLLECTION
Working with art collectors is an interesƟng ball game for a curator. For one, such an endeavour is bound to become personal. Art collectors pour their own feelings into the mix, adding
idiosyncraƟc behaviour and stories to the selecƟon and should anything, God forbid, go
wrong, they take it very personally. But aren’t private art collecƟons just that, personal?
In many ways—and this is certainly applicable to the larger collecƟons—the artworks in a
personal collecƟon funcƟon very much like friends or extended family to the collector. And
emoƟons cannot be discounted from the picture. AŌer all, some artworks would have been in
the collectors’ possession for decades and usually have a signiĮcant meaning to their owners.
Case in point: Pakhruddin and FaƟmah Sulaiman, a couple with two decades of art collecƟng
under their belt and whose humble early eīorts have grown over the years into a life-encompassing aīair. Today, with over hundreds of works under their custody —a mélange of modern and contemporary Malaysian art—theirs is one of the country’s largest private collecƟons
and one that reŇects their keen eye and dedicaƟon.
For The Edge’s ongoing theme of showcasing selected works from private collecƟons, Pakhruddin and FaƟmah have, interesƟngly, decided to focus on sculptures, a medium that
hasn’t enjoyed the same kind of popularity and demand as painƟngs but which possesses
strengths that are no less alluring or signiĮcant.
THE SCULPTURES
To pick out the works for the exhibiƟon, we—Pakhruddin, FaƟmah, Johnni Wong of The
Edge and myself—assembled one quiet Saturday morning at RuPé, the couple’s unoĸcial
art space in Ampang, and aŌer we had circled the enƟre space twice, about 95% of the
works had been picked. Pakhruddin later added a handful of sculptures to the list, bringing
the Įnal count to 60.
10
This is a large number—why, sculptures don’t even feature in some private collecƟons—and
indeed Pakhruddin and FaƟmah had to restrain themselves and reduce the number of artworks desƟned for the show. What you see today is a mere drop in the ocean. RuPé houses
a lot more sculptures that are awaiƟng their turn to be in the spotlight. Apart from that, we
also made a conscious eīort to avoid too many arƟst duplicaƟons, aiming to oīer variety and
breadth in the Įnal exhibiƟon.
Breadth was also apparent in the number of catalogues that the couple extracted from
their equally impressive collecƟon of art publicaƟons for research. And poring over
them—all as prisƟne as the day they came oī the prinƟng press—that personal aspect
again became evident. There were catalogues from the 1990s with the arƟsts’ signatures
sƟll intact and furthering the personal eīect were calendars daƟng back to 2000 that
featured the artworks from the couple’s collecƟon and included the personal annotaƟons
of appointments.
The personal sense extends to the artworks as well, each a signature of its maker and the
physical encapsulaƟon of the arƟst’s thoughts and beliefs. The themes of cultural or personal
idenƟty can be seen in works like Anurendra Jegadeva’s The Line and Chang Yoong Chia’s
painted shells, which feature self-portraits of the arƟst and his wife. Some others take on a
more allegorical or playful form, as Sharon Chin’s works from her Monster series, Umibaizurah
Mahir’s ceramic toys that form part of a larger installaƟon, Azahari Khalip’s ChapaƟ Man and
Nur Hanim Khairuddin’s Grimoire.
Can religion or poliƟcs be considered personal? Certainly. Mohd Faizal Ramli demonstrates
the former in Siri Dialog: Iradat Tuhan while the metal sculptures of ZulkiŇi Yusoī —whose
installaƟon works in the 1980s catapulted him to fame—carry a social message. A similar
socio-poliƟcal Ňavour can be found in Paiman’s The Fake ICs.
11
What’s highly personal about sculptures —three-dimensional objects that they are—is their
form. Subtle curves of a wooden piece can elicit meaning or movement as will a cast of shadows that play against a wall. Sculptures in the show that nestle within this category include
Abdul Multhalib Musa’s two pieces or Azman Ismail’s Ku Genggam Merdeka, a Ňoor-based
piece that forces the viewer’s line of vision to mirror its spiralling curves. In Sharmiza Abu
Hassan’s Alegori I: HaƟ Nyamuk, acquired from her 2004 exhibiƟon at the now-defunct Galeri
Seni Maya, our vision traces both the sculpture itself and the shadows that it throws on the
walls. The argument of form extends further in works like Ramlan Abdullah’s Tee Oī with the
geometric lines of its aluminium pieces. In Rosli Zakaria’s Pregnant Series—an amalgamaƟon
of found objects to create a pregnant Įgure—the curves are less linear.
The aforemenƟoned examples don’t always fall within the classical sense of what a
sculpture is, although there are pieces in the exhibiƟon that Įt the deĮniƟon. Works by
Terri Law, Heng Eow Lin, Bayu Utomo Radjikin and Chin Wan Kee are all classic bronze
creaƟons. You also have Tengku Sabri’s wooden sculptures and Tan Chin Kuan’s aluminium
take on the male and female forms. But there are also arƟsts, for example Mohd Faizal
Ramli and Rosli Zakaria, who obviously were not medium-monogamous in their studios.
For an idea of what a sculpture can be, we have the very modern duratron lightbox of
Roslisham Ismail, aka ISE. It is a work that stands in sharp contrast to the primiƟvism and
raw expressions of Azahar Manan’s Two Masks or even Mad Anuar Ismail’s seminal Storm
Riders 7, which is a grand sculpture that features welded steel boatmen charging through
an invisible storm.
Just like the variety oīered by the sculptures, there is diversity in the line-up of arƟsts. Some
are sculptors and sculptors alone while others have traversed across diīerent mediums in
their careers. In terms of the former, Raja Shariman Įts the bill the best, parading works from
three diīerent periods in his career that give us a glimpse of the arƟst’s evoluƟon in style.
12
Such career introspecƟons are also present in Ahmad Shukri Mohamed’s Incubator Series:
Muse—a sprawling installaƟon of Įbre-glass eggs that are a world away from the painƟngs
that have dominated his career.
THE COLLECTOR AS CURATOR
It seems apt to end this invesƟgaƟon into the exhibiƟon of selected sculptures from Pakhruddin and FaƟmah’s collecƟon with Juhari Said’s sardonic jab at art criƟcism. The Art CriƟc—a
work that has physical qualiƟes that don’t exactly indicate ŇaƩery—was one of the pieces that
were added to the fray aŌer the visit to RuPé and when Pakhruddin pointed that out at a later
meeƟng, he sniggered at the reference to the very criƟc whom the work pokes fun at.
Pakhruddin’s harmless humour is like an inside joke, but really it is inside knowledge and the
work’s meaning does hold some weight; the criƟc in Paiman’s work is a grotesque Įgure with
textures that seem to scream of decay and diminishment and it speaks posthumously of the
situaƟon today. Where is the Malaysian art criƟc? Where are the curators?
We inhabit an interesƟng art landscape where the two aforemenƟoned roles are lacking, but
in their place is a salient crew of collectors who have unoĸcially taken on their tasks with
gusto. Pakhruddin and FaƟmah are formidable examples and in the case of this exhibiƟon and
their other eīorts (namely the Art Friends project), one would be hard-pressed to disagree
that they are curators in their own right. These are two individuals who make their art personal. And in that, our art scene is not lacking.
Rachel Jenagaratnam
Kuala Lumpur
October 2014
13
14
SCULPTURES
& INSTALLATIONS
15
Abdul Multhalib Musa, By Default, 2002, Steel, 195cm x 85cm, laser-cut mild steel plates
16
Abdul Multhalib Musa, Centrifugal ±20°, 2005, 120cm x 120cm x 75cm, mild steel with clear enamel coat
17
Abdul Multhalib Musa, Involute Study No. 6, 2005, EdiƟon AP, 61cm x 61cm, digital print on canvas
18
Ahmad Shukri Mohamed, Incubator Series: Muse, 2003, Size Variable; Įbre glass (31 units)
19
Anurendra Jegadeva, The Line, 2001, 25cm x 34cm x 15cm, painted found object
20
Anurendra Jegadeva, Jesus’ Tools, 2005, 19cm x 49cm x 9cm, painted found object
21
Azahar Manan, Two Masks, 1996, 150cm x 41cm x 14cm (leŌ) & 164cm x 38cm x 14cm (right), carved wood
22
Azahari Khalip, ChapaƟ Man, 2006, 132cm x 52cm x 20 cm, acrylic on painted wood
23
Azman Ismail, Ku Genggam Merdeka, 2007, 107cm x 83cm x 40cm, mixed media
24
Bayu Utomo Radjikin, Growing, EdiƟon 5/5, 2004,23cm x 20cm x 44cm, aluminium & brass powder reinforced with resin
25
Chang Yoong Chia, MW & Self-Portrait with Whiskers, 2006, 1.8cm x 1.8cm x 0.8cm & 1.8cm x 1.7cm x 0.8cm, oil on seashells
26
Chang Yoong Chia, Cochlea II, 2005,15.5cm x 15.5cm, oil and snail shells on wooden board
27
Chin Wan Kee, The Familiar Stranger No: 21, 1997, 39cm x 33cm x 30cm, bronze
28
Chin Wan Kee, The Familiar Stranger No: 50, 1999, 50cm x 18cm x 15cm, bronze
29
Heng Eow Lin, The Reader, 1987-1988, 29cm x 72cm, mixed media
30
Juhari Said, Portrait of the Art CriƟc, 2007, 50cm x 54cm, latex mask
31
Juhari Said, Laga, 2006, 232.5cm x 45.5cm x 8cm, carving and oil on woodblock
32
Juhari Said, Taji, 2006, 239cm x 44cm x 8 cm, carving and oil on woodblock
33
Mad Anuar Ismail, Storm Riders 7, 1994, 214cm x 94cm x 112cm, welded steel
34
Mad Anuar Ismail, Telur Kencana 1, 1986, 78cm x 28cm x 24cm, wood
35
Mad Anuar Ismail, Storm Riders Studies (Diptych), 1994, 104cm x 129cm,. mixed media on paper
36
Mohd Faizal Ramli, Siri Dialog: Iradat Tuhan, 2007, 110cm x 55cm x 8 cm, mixed media on wood
37
Nur Hanim Khairuddin, Grimoire, 1996, 34.5cm x 26.5cm x 9cm, mixed media
38
Paiman, MigraƟon,1995, 172cm x 49cm x 9cm, mixed media on wood
39
Paiman, The Fake IC’s, 1996, 178cm x 153cm x 3cm, mixed media on wood
40
Ramlan Abdullah, Tee Oī, 2003, 122cm x 122cm x 15 cm, graphite on aluminium
41
Ramlan Abdullah, Monument of Freedom, 1998, 222cm x 46cm x 46cm, metal & glass
42
Raja Shahriman, Nafas 34, 2004, 73cm x 43cm x 73cm, metal
43
Raja Shahriman, Gembala, 2007, 230cm x 30cm x 54cm, metal and kijang (deer) horns & skull
44
Raja Shahriman, Killing Tool No. 4, 25cm x 110cm x 23cm, metal
45
Raja Shahriman, Nafas Drawing 31, 2004, 76cm x 53cm, charcoal, ink & paint
46
Raja Shahriman, Nafas Drawing 32, 2004, 76cm x 53cm, charcoal, ink & paint
47
Raja Shahriman, Nafas Drawing, undated, 35cm x 17cm, pencil on paper
48
Roslisham Ismail a.k.a ISE, Single Fighter No 1, 2012, 102cm x 81cm, duratran lightbox
49
Rosli Zakaria, Pregnant Series, 1993, 151cm x 41cm x 38cm, metal & found objects
50
Rosli Zakaria, GunƟng Dalam Lipatan... Bagai Pahat Dengan Pemukul…. Bagai Lembu Dicucuk Hidung…Belakang Parang
Kalau Diasah, 2008, 70cm x 120cm x 20cm, metal, wood & found objects
51
Sharmiza Abu Hassan, Alegori 1: HaƟ Nyamuk, 2004, 65cm x 40cm x 20cm, steel, magnifying glass, wire mesh, copper tubing & shadow
52
Sharmiza Abu Hassan, Alegori Ledang Study, 2004,
47cm x 37cm, Charcoal & Silver Ink on Paper
53
Sharmiza Abu Hassan, Nur Pintu HaƟ (Diptych), 1998, 123cm x 30cm x 15cm (x2), copper, wood & metal
54
55
Sharon Chin, Monsters - Ghoul (Japan), 2002, 58cm x 38cm, colour pencil & digital print on paper wooden box
Sharon Chin, Monsters - Headless Ghost (China), 2002, 73cm x 54cm, colour pencil & digital print on paper wooden box
Sharon Chin, Monsters - Gargoyle (Europe), 2002, 78 x 43cm, colour pencil & digital print on paper wooden box
56
Sharon Chin, Monsters - Unicorn (Europe), 2002, 74 x 93cm, colour pencil & digital print on paper wooden box
Sharon Chin, Monsters - ManƟcore (Europe), 2002, 64 x 92cm, colour pencil & digital print on paper wooden box
57
Sharon Chin, Killing Jars: City Scurvy, 2005, 30cm x 21cm x 13cm, acrylic on glass
Sharon Chin, Killing Jars: Lover, 2005, 30cm x 21cm x 13cm, acrylic on glass and windshield fragments
58
Sharon Chin, Killing Jars: No Substance, Disc 1 and Disc 2, 2005, 30cm x 21cm x 13cm, acrylic on glass
Sharon Chin, Killing Jars: Dream, 2005, 30cm x 21cm x 13cm, acrylic on glass and acetate sheet
59
Tan Chin Kuan, Male and Female, 1994, 35cm x 30cm, Aluminium
60
Tengku Sabri, The Warrior, 1988, 62cm x 52cm x 35cm, wood
61
Tengku Sabri, Column XV (Seri Sarawak), 1992, 206cm x 24cm x 201cm, wood
62
Tengku Sabri, Study for Column XV, 1992, 53cm x 7cm x 7cm, wood
63
Terri Law, Echoes of the Past, 2001, 35cm x 10cm x 6cm bronze, wood & Įllings
64
Umibaizurah Mahir @ Ismail, The Sky House, 2014, 38cm x 99cm x 14.5cm, ceramic & mixed media
65
Umibaizurah Mahir @ Ismail, Toys (Gerabak), 2006-2007, 186.5cm x 300cm x 14cm, ceramic, wood, wheel, concrete, screw & steel rod
66
67
ZulkiŇi Yusoī, Yang Arif, 2001, 101.5cm x 35.6cm x 20.3cm, steel
68
ZulkiŇi Yusoī, PemerhaƟ, 2001, 96.5 x 20.3 x 20.3cm, steel
ZulkiŇi Yusoī, Sherif Masuk Penjara, 2001, 35.6cm x 17.7cm x 17.7cm, steel
69
ZulkiŇi Yusoī, Kebodohan, 2001, 40.6cm x 68.6cm x 25.5cm, steel
70
ZulkiŇi Yusoī, Miang, 2001, 28cm x 76.2cm x 17.7cm, steel
71
ARTISTS
72
Abdul Multhalib Musa
Ahmad Shukri Mohamed
Anurendra Jegadeva
Azahar Manan
Azahari Khalip
Azman Ismail
Bayu Utomo Radjikin
Chang Yoong Chia
Chin Wan Kee
Heng Eow Lin
Juhari Said
Mad Anuar Ismail
Mohd Faizal Ramli
Nur Hanim Khairuddin
Paiman
Ramlan Abdullah
Raja Shahriman
Roslisham Ismail a.k.a ISE
Rosli Zakaria
Sharmiza Abu Hassan
Sharon Chin
Tan Chin Kuan
Tengku Sabri
Terri Law
Umibaizurah Mahir @ Ismail
Zulkifli Yusoff
73
INDEX
Alegori 1: Hati Nyamuk
52-53
Alegori Ledang Study
53
By Default
16
Chapati Man
23
Centrifugal ±20°
17
Cochlea II
27
Column XV (Seri Sarawak)
62
Echoes of the Past
63
Gembala
44
Grimoire
38
Growing Edition 5/5
25
Gunting Dalam Lipatan... Bagai Pahat Dengan Pemukul….
Bagai Lembu Dicucuk Hidung…Belakang Parang Kalau Diasah
51
Incubator Series: Muse
19
Involute Study No. 6
18
Jesus’ Tools
21
Kebodohan
70
Killing Jars
58-59
(ii) Killing Jars: City Scurvy
(iii) Killing Jars: Lover
(iv) Killing Jars: No Substance; Disc 1 and Disc 2
(v) Killing Jars: Dream
Killing Tool No. 4
45
Ku Genggam Merdeka
24
Laga
32
Male and Female
60
Miang
71
Migration
39
Monster Series
- (a) Monsters - Ghoul (Japan)
- (b) Monsters - Headless Ghost (China)
- (c) Monsters - Gargoyle (Europe)
- (d) Monsters - Unicorn (Europe)
- (e) Monsters - Manticore (Europe)
74
56-57
Monument of Freedom
42
MW & Self-Portrait with Whiskers (2006)
26
Nafas 34
43
Nafas Drawing
48
Nafas Drawing 31
46
Nafas Drawing 32
47
Nur Pintu Hati
54-55
Pemerhati
69
Portrait of the Art Critic
31
Pregnant Series
50
Sherif Masuk Penjara
69
Single Fighter No 1
49
Siri Dialog: Iradat Tuhan
37
Storm Riders 7
34
Storm Riders Studies (Diptych)
36
Study for Column XV (wood)
63
Taji
33
Tee Off
41
Telur Kencana 1
35
The Fake IC’s
40
The Familiar Stranger No: 21
28
The Familiar Stranger No: 50
29
The Line
20
The Reader
30
The Sky House
65
The Warrior
61
Toys (Gerabak)
66-67
Two Masks
22
Yang Arif
68
75
Organised by
G5-G6, Mont’ Kiara Meridin
19, Jalan Duta Kiara, Mont’ Kiara
50480 Kuala Lumpur
Te+603 7721 8251 / +603 6419 0102
Email: info@theedgegalerie.com
EXHIBITION PERIOD:
19 November -19 December, 2014
DESIGN BY
The Edge Communications Sdn Bhd
PHOTOGRAPHY BY
Kenny Yap
Arif Fauzan
Chang Yoong Chia
Puah Chin Kok
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COVER
Mad Anuar Ismail, Storm Riders 7, 1994, 214cm x 94cm x 112cm, welded steel
76