Sunday, August 5, 2012
Friday, July 25, 2008
By Sonia Kolesnikov-Jessop
Di petik dari
The International Herald Tribune New York
SINGAPORE: With arms stretched out, the head either raised to the sky or cowed toward the ground, and with detailed, sensual musculatures, Ahmad Zakii Anwar's Standing Figure series comprises beautiful illustrations of a man's body and an oblique reference to the Christian imagery of Jesus on the cross. But within the context of Muslim Malaysia, they're also highly unusual.
Islamic painters have traditionally avoided figurative styles, which have long been viewed as controversial, stemming from a belief that the creation of living forms is unique to Allah. The majority of Malaysian contemporary artists favor abstraction over figurative styles, often focusing on installation, performance or conceptual work over painting.
But Zakii prefers to tackle the issue head-on.
"The issue of figurative works has been addressed and debated for centuries by Islamic scholars with no clear consensus," the artist said recently at his home and studio in Johor Bahru at the southern end of peninsular Malaysia. "My take is very simple. Does painting a Christlike figure or a Buddha make me less of a Muslim? Is my faith in my religion so easily shaken? The answer is no. I go very deeply into my religion and I find Islam to be a beautifully tolerant religion."
As an artist deeply interested in theology and the divine, Zakii has over the years drawn inspiration from all sorts of iconic religious imagery, including Buddha's face, Hindu deities and a single rose flower, symbol of Sufism, a mystical branch of Islam. He said he attempts to "distill the truth" of human existence through his work.
"One of the most important things in my work is the sense of something absolute. I want to reflect the order of life, as well as internal beauty," he said. "I want to paint something more spiritual. I want people who look at the work to feel inner peace."
By and large, the artist's work has attracted little negative reaction in Malaysia, a testament to the country's more tolerant Muslim culture, the artist said, but there have been a couple of violent reactions, ironically from different religions. A painting after the style of Velásquez's "Christ on the Cross" was slashed by one of his fellow students when he was at a local art school, while his paintings "Man With Mask" and "Kris 1 & 2" were burned by their owners when the former collectors converted to Christianity.
Zakii is considered to be one of the hottest contemporary artists in Malaysia, with a long list of collectors lining up to buy his work. In May, at Christie's Modern and Contemporary Southeast Asian Art sale in Hong Kong, "Mantra 2," depicting a serene Buddha's face, set a world record for the artist at 336,000 Hong Kong dollars, or about $43,000.
"Zakii is one out of three Malaysian artists who has enjoyed an avid following outside of his home base in Malaysia, the other being abstract painter and poet Latiff Mohidin and watercolorist Chang Fee Ming," said Valentine Willie of Valentine Willie Fine Art gallery. Willie used to represent Zakii and mounted the artist's first solo show in 1997.
"I think he is one of the most important contemporary artists in Malaysia," added Irene Lee, director of the Singapore Tyler Print Institute, which will show a mini-retrospective of Zakii's work, starting Aug. 25. "He never stops exploring new ground and his imageries are strong, arresting and unpretentious. They exude a quiet strength. His works can be understood on many levels, visually, but also intellectually."
Zakii, who was born in 1955, said that seeing a Renaissance nude painting in the American magazine Life when he was only 5 years old started his lifelong fascination with the human body. As a child he kept copying nude drawings again and again, but did so in secret, feeling extremely ashamed because he grew up in a conservative family. "Drawing those nudes aroused me and I was afraid my family would find out," he recalled. "I think even at that age I sensed that sex was something one should hide."
With his parents opposed to him becoming an artist, because they thought he "would starve," Zakii studied graphic art at a university in Selangor, western Malaysia, which led him to a successful career as a freelance designer and illustrator, producing advertising graphics campaigns for the Singapore Tourism Board and Singapore Airlines.
Because he was a graphic designer in his previous career, "his paintings are invariably meticulously composed and beautifully rendered," Willie said. "These works tend to overshadow his charcoal works on paper and portraits, which is perhaps truer to his calling as an artist."
In 1991, at the age of 36, Zakii took a leap of faith and turned to art full time. However, his success was not immediate. Not only did the artist find it hard to muster inspiration - "It was like I was waiting for someone to write me a job brief," he recalled, laughing - but Malaysian galleries were not really welcoming. "A lot of them did not accept the work. At the time I was doing still lifes and they thought the subject was too conventional. I still have demands for the still life paintings today," he said. "I guess it's because they are the most accessible of all my series. Someone enters a gallery filled with abstracts and conceptual pieces won't dare ask what they mean for fear of being branded ignorant or unsophisticated. But faced with a still life, they understand immediately."
Throughout the years, the artist has worked on several series, often concurrently. His first series, Still Life, started with influences from Orientalist techniques, but evolved toward a more somber style in the late '90s after his mother died and the artist started to paint objects he associated with her in the house and particularly in the kitchen. Later, Zakii returned to a more lighthearted depiction of still lifes with a series of erotic fruit and vegetables.
It was his Smokers Series, started in 1995 and inspired by the "oppression facing smokers today," that made his name. With the cigarette smoke often obstructing the face, a metaphor for some sort of psychological mask, the work raises issues of identity and alienation in modern society. In 1997, Zakii started to show more interest in portraying more Asian themes in his work. A trip to Bali in the late '90s deeply influence him and led to a series on traditional dancers and actors.
The artist is also known for his etchings of Malay Mak Yong actors, who perform a traditional dance-drama in secret, at night, because they have been banned by the government. "I'm just interested in recording an art form that is dying," he explained. Reflecting on his painting philosophy and his choice of realism as a mode of expression, Zakii said, "I don't find the need to distort when I'm drawing the human figure to find what I'm looking for. I'd like to find it within the principle of the human figure as it is."
Ahmad Zakii Anwar (b. 1955, Malaysia) - better known as Zakii - has emerged as one of the most exciting, engaging and
eloquent 'urban realist' artists in the region.
A graduate of the School of Art and Design, MARA Institute of Technology Malaysia, the artist began his career as a graphic artist, producing some of the leading advertising graphics of his time before turning to fine art practice.
Zakii came to attention for his virtuosity and command of a spectrum of media from charcoals to oils, building a reputation for stunning photo-realist still-life paintings and expressive portraits. Later, a more contemporary edge surfaced in his works as Zakii introduced urban subjects and settings into his canvases. He is lauded for capturing not just city motifs and urban features but also a distinctive psychological dimension and cinematic quality in these scenarios. Zakii's preoccupation with the spiritual or metaphysical aspects of urban life, as seen through his use of icons, symbols and allegories (including metaphors of theatre, performance and masks) have also marked his practice.
The artist's studio and viewing gallery is in Johor Bahru, Malaysia where he resides with his wife and children.
AHMAD ZAKII OIFFICAL WEBSITE
2008 DISCLOSURE, Survey Exhibition by Ahmad Zakii Anwar, Petronas Gallery, Suria KLCC, Kuala Lumpur,Malaysia
2007 Ahmad Zakii Anwar : Paintings, Drawings & Prints,
1991-2007, Singapore Tyle Print Institute, Singapore
Kota Sunyi: Solo Exhibition by Ahmad Zakii Anwar | CP Foundation,
CP ArtSpace, Jakarta, Indonesia
2006 Subliminal, The Drawing Room, Manila, Philippines and Numthong Gallery, Bangkok, Thailand
2005 Ahmad Zakii Anwar: Primordial Dream, Singapore Tyler Print Institute, Singapore Icons, Richard Koh Fine Art, Kuala Lumpur, Malaysia
2004 Borobudor, Amanjiwo, Jogjakarta, Indonesia Arangbali, Taksu Jakarta, Indonesia
2003 Interpreter of Desires, Taksu Kuala Lumpur, Malaysia
2001 Shadowland, Plum Blossoms, Hong Kong
2000 Stills, Taksu Kuala Lumpur, Malaysia
1999 Presence, Barbara Greene Fine Art, New York, USA
1998 Distant Gamelan, Art Focus, Singapore
1997 One Man Show, Valentine Willie Fine Art Kuala Lumpur, Malaysia
2007 50th International E.V B.K, Prum, Germany Force of Nature, Darling Muse, Kuala Lumpur, Malaysia
2006 Feed Me, Rimbun Dahan, Selangor, Malaysia
Signed and Dated - Our 10th Anniversary, Valentine Willie Fine Art, Kuala Lumpur, Malaysia
ArtSingapore, Suntec City, Singapore
2005 You Are Here, Valentine Willie Fine Art, Kuala Lumpur, Malaysia
ArtSingapore, Suntec City, Singapore
Interface, Taksu Singapore
Spirit of Wood and other Treasures, Taksu Kuala Lumpur, Malaysia
New Works, Taksu Singapore
2004 Portraits, Valentine Willie Fine Art, Kuala Lumpur, Malaysia
2003 Games People Play, Rimbun Dahan, Selangor, Malaysia
Grand Opening, Taksu Jakarta, Indonesia
Exhibition 2003, Valentine Willie Fine Art, Kuala Lumpur, Malaysia
2002 Kembali ke Bali, Valentine Willie Fine Art, Bali, Indonesia
Contra / Indications, Taksu Kuala Lumpur, Malaysia
Touch, Rimbun Dahan, Selangor, Malaysia
2001 Exhibit X, Taksu Kuala Lumpur, Malaysia
Flashpoint, Rimbun Dahan, Selangor, Malaysia
Malaysia Still Lifes, Valentine Willie Fine Art, Bali, Indonesia
Exhibition 2001, Taksu Kuala Lumpur, Malaysia
Singapore Art Fair, Suntec City, Singapore
2000 Headlights, Valentine Willie Fine Art, Kuala Lumpur, Malaysia
Arang, Taksu Kuala Lumpur, Malaysia
1999 Aku 99, Petronas Gallery, Suria KLCC, Kuala Lumpur, Malaysia
14th International Asian Art Exhibition, Museum of Asian Art, Fukuoka, Japan
Perception & Perspective: A Malaysian Eyeview, Hotbath Gallery, Bath & Pittville Gallery, Cheltenham, UK
Three Person Show, Taksu Kuala Lumpur, Malaysia
1998 Malaysian Expressions, Panorama Gallery, Beijing, China
Culture Colour Connection, Fremantle Arts Center Perth, Australia
No Retreat, Oberoi Gallery, Bali, Indonesia
Just Drawings, Artcase Galleries, Kuala Lumpur, Malaysia
Commonwealth Games Exhibition, Taksu Kuala Lumpur, Malaysia
Culture Colour Connection, Artcase Galleries, Kuala Lumpur, Malaysia
Keeping Pace, Artcase Galleries, Kuala Lumpur, Malaysia
Eights Artists, GalerCitra, Kuala Lumpur, Malaysia
Menjelang Syawal, Maybank Gallery, Kuala Lumpur, Malaysia
1997 Dance, Rhythm & Motion, Maybank Gallery, Kuala Lumpur, Malaysia
Figuratif, Andi's Gallery, Jakarta, Indonesia
Malaysian Drawings, National Art Gallery, Kuala Lumpur, Malaysia
Art for Nature, NN Gallery, Kuala Lumpur, Malaysia
Movement, Artcase Galleries, Kuala Lumpur, Malaysia
Tresors, Singapore International Convention & Exhibition Centre, Singapore
Pekan Seni Ipoh, City Hall, Ipoh, Perak, Malaysia
12th International Asian Art Exhibition, Centro de Actividades Turisticas, Macau
Maya, City Hall, Kuala Lumpur, Malaysia
1996 Men on Women, MIM, Kuala Lumpur, Malaysia
Karyawan Seni Johor, Hyatt Regency, Johor Bahru and Artfolio Kuala Lumpur, Malaysia
Open Show, Galeri Shah Alam, Shah Alam, Selangor, Malaysia
1995 Culture Colour Connection, Takashimaya Gallery, Singapore
Recent Works - A two person show with Oh Chai Hoo | The John Erdos Gallery, Singapore
Pursuing a Dream - The Collection of Rahime Harun, Petronas Gallery, Kuala Lumpur, Malaysia
Dimension 95, Petronas Gallery, Kuala Lumpur
1993 Titian 111, Hanoi School of Fine Art, Vietnam
The Vietnam Experience, Maybank Gallery, Kuala Lumpur, Malaysia
Imbauan Ledang, Maybank Gallery, Kuala Lumpur, Malaysia
Exposure, Quo Quo, Hong Kong
Dimension 93, Petronas Gallery, Kuala Lumpur, Malaysia
1992 Islam Contemporary Works of Art, Holiday Inn, Singapore
1979 Salon Malaysia, National Art Gallery, Kuala Lumpur, Malaysia
1976 National Drawing Exhibition, National Art Gallery, Kuala Lumpur, Malaysia
1975 Young Contemporaries, National Art Gallery, Kuala Lumpur, Malaysia
Thursday, July 24, 2008
"Well, the world is a haunted house, and Helnwein at times is our tour guide through it.
Sean Penn- Actor, Director
Untuk melihat lebih banyak karya Johan Marjonid serta melihat karya karya terbaru beliau sila lawati laman dan mendaftar di http://myarthost.com/johmar
A. Johan Profile
|Full Time Artist|
|Oil Painting , Acrylic , Watercolour|
|MELEBU ALAS MELEBU is a Javanese word for ‘to enter, to sit down and to observe’, while ALAS is Javanese for ‘forest’ or ‘jungle’. Johan Marjonid chose ‘forest’ because to him, ‘forest’ acts as ALAS (base) to the earth’s surfaces.|
Basically, less than 6% of earth’s surfaces are covered with rainforests, but these rainforests are the habitats to three quarters of all animal and plant species known to mankind; and also to a lot more still unknown species. Rainforests are in fact precious natural heritages to human’s livelihood and as sources for researches to economists, ecologists and scientists that they become a global resolve, our country included, to further explore the full potentials of bio-diversities in accordance to the ninth principle of ISLAM HADHARI concept, Environmental Restoration.
Johan Marjonid is one among a small number of realist naturalist painters in Malaysia. The number is so significantly small if compared to the dominating Abstract Expressionism, Conceptual Realism, or Figurative Libre that become parts of common menus for the citizens of metropolis in visual art genre of this decade, especially Kuala Lumpur.
Though, if perceived thoroughly beyond the pictorial forms, we can see his works are rich with metaphors that consist of reflective contrast of typical landscapes of urban buildings are substituted by natural fibers and cores of rainforests.
To share this conscience and splendor, Johan Marjonid became active with rainforest subjects since 1994, and has emerged with several series of works; Preservation series and Arca Alam series which consists in it sub-series (Gunung Stong, Rimba Kanching, Jeriau, Tekala, Twin Towers, etc). His works were picked for display at Balai Senilukis Negara’s (National Art Gallery, Malaysia) major exhibitions such as Masterpieces from the Permanent Collection (Redza Piyadasa), 2001 and Warisan (Dr. Najib Dawa), 2003.
Apart from that, he also involved with many special exhibitions, specifically themed on rainforests in local private and corporate galleries. On this commitment, he was invited to exhibit and paint for Rainforest Painting Demonstration at World Expo 2000, Hannover, Germany in 2000. Born in Kampung Jelutung, Ayer Baloi, Pontian, Johor in 1968, Johan Marjonid received his Ijazah Sarjana Muda Seni Halus (Degree in Fine Art) from UiTM, Shah Alam in 1991. He has since taught fine art in several local public and private funded art institutions within Kuala Lumpur, and later on chose to be fulltime artist from years 2000 onwards.
Johan Marjonid is fully dedicated a painter whose choice is rainforest as his subject. All his works are real depictions of Malaysian forests. To approach and fully understand his subject, he frequently participates in expeditions and conducts his own visits to his favorite locations such as Gunung Stong in Kelantan, Gunung Tahan and Taman Negara in Pahang, Endau-Rompin, Royal Belum in Perak and recreational forests around Kuala Lumpur and Selangor.
If we truly observe his paintings, we will realize that there are several locations frequently portrayed, and those locations are the favorite spots he will visit annually to record physical changes and moods within which he will submerge into to study the characteristics of every buttress root and tree trunk, and several visits to the local national forest research institute to see its arboretum and reference books in its library. Producing Realism paintings on big-scaled canvases is a challenge and a reflection of his wisdom in dealing with space, selecting colors, and understanding compositions. With varied and elegant visual angles, it is as if the paintings are enticing the viewers to take a long stroll inside.
Even though Johan’s style is different from traditional East Asian landscape paintings, it can be appreciated the same way where viewers are persuaded on a ‘passage’ meditatively through the forest paths and to relish spiritual meanings or philosophies on every natural element they encounter. In his efforts to spread the idea about the significance of preserving the environments, Johan rouses the public to feel the surrounding atmosphere.
For instance, the aesthetic feelings and artistic appearances of the atmosphere after the rain; fresh, cool, calm, mysterious and at times terrifying are prevalent in Preservation Series and Arca Alam series. He tries to give us awareness about how a certain ambiance is shaped by the surrounding factors, for example the condition after the rainfall at reserved forest of Gunung Stong is different from the condition after the rainfall in Rimba Rekreasi Kanching. Nature is to be viewed holistically, not materialistically or just physically.
Landscape paintings have long been treated as the main subject by several well known civilizations as indications to locales, seasons, or as impressions for narrative and figurative compositions. Reading the work of rainforest painting by Johan can be likened to viewing the forest as if we were inside it; its every image, its temperature, its topography, its flora, its fauna, and whatever the signs, whether as the main subjects or in the background, are symbolically most important for the visitors / appreciators. By: Amerrudin Ahmad Curator, National Art Gallery
A. Pak Abu Profile
|Part Time Artist , Art Teacher|
|Oil Painting , Watercolour , Pastel , Pen/Ink|
|Abu Seman Awang Besar|
|Saya lahir pada tahun pada tahun 1952. Sudah melukis sebagai hobi semenjak kecil. Tahun 50an orang kampung masih buang air besar dalam semak terutama kanak-kanak. Sekali saya masuk semak saya pasti lambat keluar sebab saya suka melihat binatang, pokok dan apa saja dalam semak. Balik ke rumah saya akan melukisnya dengan pensel atas kertas yang saya curi dari buku abang saya. Saya tidak belajar melukis secara formal.|
Hanya pada awal 1980an saya mula belajar dari kawan-kawan saya yang terdiri dari pelukis-pelukis cat air terkenal Kelantan seperti Cikgu Mokhtar Abdullah, Ismail Mat Hussin dan Cikgu Zakaria Abdullah. Saya seorang guru matematik di sebuah sekolah menengah kerajaan. Di samping itu saya juga mengajar mata pelajaran pendidikan seni. Untuk menambah pengetahuan saya menyambung pelajaran dalam bidang pendidikan seni visual di Institut Perguruan Ilmu Khas Kuala lumpur selama satu tahun pada tahun 1990.
Namun ia tidaklah membantu dalam meningkatkkan kemahiran saya dalam teknik-teknik melukis. Saya boleh dikatakan self-taught. Pada tahun 1980an saya mula melanggan majalah seni lukis dari Amerika Syarikat iaitu The Artist dan American Artist. Majalah-majalah ini banyak membantu saya dalam memperbaiki kemahiran saya.
Selain itu saya banyak membaca buku-buku yang berkaitan dengan teknik-teknik melukis. Dari situ saya memperbaiki kemahiran saya dalam penggunaan bahan dan alat. Apa pun perjalan saya masih jauh dalam bidang ini. Oleh itu komen-komen dari rakan artis sangat saya perlukan dan saya hormati. Kini saya bertugas sebagai pensyarah (attach ke bahagian grafik) di sebuah institut perguruan di Semenanjung.
Sebagai pegawai kerajaan ruang masa untuk saya aktif sangat terhad. Saya pernah menjawat sebagai Penolong Setiausaha Persatuan Seni Lukis Kelantan (PESENI) pada penghujung tahun 1980an. Masa itu juga saya diberi peluang oleh Perbadanan Muzium Negeri Kelantan untuk mengajar seni lukis untuk orang-orang dewasa pada setiap hari Khamis.
Saya mampu menyertai pameran-pameran tempatan sahaja. Semenjak berpindah tempat bertugas dari kota Bharu ke Sungai Petani aktiviti agak lesu. Pun saya cuba juga melukis bila berpeluang. Namun saya mempunyai laman web sendiri. Anda boleh mengunjungi saya di http://www.artmyas-portraits.cjb.net. Untuk komen lukisan saya anda boleh melakukannya di sini atau di http://artmyas.blogspot.com.
A. My Art Profile
|I am , Part Time Artist , Art Student , Art Lover|
|All Medium , Acrylic , Watercolour , Pastel , Pen/Ink , Pencil/Colour Pencil , Collage , Mix Media , Sculpture|
|All Style , Hyperrealism - Photorealism , Realism , Surrealism , Exspressionism , Abstract , Abstract Expressionism|
|Nik Mohd Hazri Nik Shairozi|
|,Abdul Latif Maulan,Hoessien Enas,Jaafar Taib,Johan Marjonid,Amron Omar .|
|*Encik Kamaluddin (Ayahanda Pengetua Smk Kuala Krai 2007)-Potrait. *En Abdul Halim & sekeluarga.(potrait) *Saudara Nasharuddin (art student 2007) *Nik Rosliza Yusoff 2005 (Fakulti Seni Bina Uitm Shah Alam 2006-sekarang)-Catan Alam Rimba Fantasi. *Suhana (student 2007)-Frankfurt Villa Lanscape. *Saudara Sirajuddin Zakaria (art student 2007)-Potrait Permaisuri Agong.|
|Yups!!saya Hazri''''''' dilahirkan pada 30 november 1988(sagitarius) dan sekarang saya Berumur 19 tahun.Berasal dari Negeri Kelantan. saya meminati seni sejak kecil lagi..sering menyertai pertandingan mlukis dan mewarna sejak umur 7 tahun lagi...|
|Tak ada & tak pernah menyertainya. InsyaAllah..akan buat exhibition sedikit masa lagi..|
|Why you want to be an artists ??|
|Ingin Menjadi Pelukis Yang Terkenal Setanding Dengan Pelukis Negara Barat.|
|ada la skit2 dari pertandingan melukis di peringkat daerah dan negeri.|
|Abdul Latif Maulan,Hoessien Enas,Jaafar Taib,Johan Marjonid,Amron Omar|
|Why you want to be an artists?|
|Ingin Menjadi Pelukis photorealism Yang Terkenal Setanding Dengan Pelukis Negara Barat.|
A. My Art Profile
|Part Time Artist|
|Just want to do the thing that I need to do all this time - oil painting.|
|1. Never paint when you are not inspired, because it never fails to fail you 2. I hate drafting..it's messy|
|Collete,Dali, da Vinci & the rest of the Rennaisance gang|
|Why you want to be an artists ??|
|Don't ask me that|
|Creative Road Show - Kuantan - 2007 Lakarasa Inderapura - National Art Gallery, Kuala Lumpur - exhibition of works by Pahang artist, - one of my art pieces was selected for the exhibition|
|1 Creative Art Corner Gallery, Kuantan (3 pieces) 2 Pahang State Art Gallery, Kuantan (4 pieces) 3 Resource Centre SM Teknik Seri Pelindung, Kuantan (3 pieces) 4 Pn Mazuraini Zulkefli, Kuantan (1 piece ) 5 My studio and all over the internal walls of my house (minus the above)|
|anybody as long as they are not cocky|
|Why you want to be an artists?|
|The answer is out there|
C. Physical Description
|Salt & Pepper|
|Not for me|
B. Generic Questionaire
|My TV Watching Habbits?|
|My Native Tongue Is?|
|My Second Language is?|
|Prefer Not To Say|
|Sense of Humor?|
|What is this humor you speak of ??|
|Prefer not to say|
|Friends Describe Me As?|
|Hard to Figure Out, Steady and Reliable|
|Favorite Type of Movies?|
|I Drive A?|
|My Biggest Pet Peeve?|
|Using cell phones in Theatres, People that interrupt others, Smokers smoking in non smoking areas|
|Favorite Genres of Music?|