ABU JALAL SARIMON
+ NAFSIAH MOHAMAD
DI MANA DIA, ANAK KAMBING SAYA?
(WHERE IS MY LAMB?)
Bringing us back to the famous Malay folk song that has been passed down from generation to generation, "Di Mana Dia, Anak Kambing Saya" has been sung on the entertainment stage, at parties, in the classroom and by mothers who serenade their children to sleep. It is also inclusive to other races who are familiar with the Malay community. "Di Mana Dia, Anak Kambing Saya" has become a bridge that is synonymous with the spirit of gotong-royong, giving a picture of an entire village putting their hearts together to raise a child. The lyrics gives a hint of someone searching for their missing lamb which symbolizes how the loss leads to someone who misses their loved ones.
In this work, a sculpture of an Alpha Goat is displayed standing on
a high place surrounded by the maze, while looking for the missing lamb. The maze is pays homage to viewing problems as healthy challenges. The colourful crochet flowers surrounding the entire maze depicts harmony, security and peace that we enjoy in this blessed country.
Mixed media installation
+ MASTURAH SHA'ARI
(CHIRPING OF THE WAVES)
Ombak Berkicauan (Chirping of the Waves) is inspired by two poems from APAD co-founder, the late Mr. Abdul Ghani Hamid. The first poem, “A Touch of the Legendary Waves”, which tells the story of Mahsuri Pandak Maya who was slandered and killed by the villagers, says that when one is in tranquility, he or she is able to hear the stories carried by the waves.
The second poem, “A Black Bird”, depicts the flight of a black bird in search of food but is taken advantage of by others and even its own prey. Akin to life, as we work hard and strive for success, there will be those who profit from our generosity and kindness.
Our artwork comments on the aspirations of artists in Singapore in search of their own identity or style. As we seek to explore our unique identities towards a successful career in the arts, we unconsciously expose ourselves to the dangers of being sabotaged.
Mixed media on canvas
200 x 150 cm
+ SUJAK RAHMAN
NO FEELING IS FINAL
This work is a juxtaposition between two modes of art-making, image and batik, in its expansiveness. The light text scribbling, long exposure photo technique (an art technique that is familiar in Fajrina’s work) is applied onto Sujak’s Temasek batik (a term coined by Sujak expressing mixing of batik with other contemporary mediums in his paintings).
In an attempt to juxtapose Sujak’s painting, Fajrina’s text scribblings “No feeling is final' on his painting are her thoughts on individualistic journeys of art practices. This collaborative encounter reflects on the artists’ relationship with batik and their multi-disciplinary approach towards art-making.
Print on organza fabric + Temasek batik
+ JEFFREY WANDLY
SUARA DALAM LUKISAN
(VOICES IN ART)
Ink & acrylic on canvas
200 x 150 cm
Pedoman 2.1 to 2.6
Ink & acrylic on canvas
Variable sizes on wooden scrolls
Ink & acrylic on canvas
305 x 105 cm
In celebration of APAD’s 60th Anniversary and in remembrance of APAD co-founder, Mr. Abdul Ghani Hamid, a prolific writer, poet and artist, Suara Dalam Lukisan is a series of artworks created in response to one of his literary works, “Desa Ini Hatiku”, first published in 1985. A drama of the same name was staged by Perkumpulan Seni on 26 September 1980 at the Victoria Theater, in conjunction with the 1980 Drama Festival organised by the Ministry of Culture. The drama script received the “Award of Appreciation” (Drama) Literary Prize 1979-80. He then rewrote the story into a novel with the same title.
Central in the novel is “Syair Perahu”, a poem that reflects
one’s life journey, preparedness, experiences and “pedoman”
(words of wisdom). Extracts of the novel with the word "pedoman" are expressed on the canvas and scrolls. The
wooden paddle boat or “perahu” was the common mode of transportation, especially for those who lived in coastal villages. “Perahu” in the novel serves as the metaphor of a human being aging through time. The poem’s message is enveloped by the backdrop of a coastal village.
Monochromatic colours of black, white and shades of sepia give the sense of timelessness and stillness, handwritten to the art of penmanship, a skill that is fading in our society today.
+ NOOR EZAN KHATIB
Untitled is a collaborative work that explores the notion of time through lost and undefined movements, by way of combining painting, kinetic sculpture and video work.
The paintwork utilises an interplay of colours and bold strokes
to emulate the uncontrollable march of time. The paintwork textures depict our physical efforts to contain the metaphysical nature of time. While the kinetic sculpture and video work further rehashes the idea of time, having both a physical and non-figurative representation of lost movement through time.
Mixed media paintwork, kinetic sculpture, performance art on video projection
We have a few things in common. We are both designers
(in Interior Design and Graphics), both self-taught artists, and
both focusing on figurative art. In creating this semi-sculptural work, we played to our strengths while pushing the boundaries
of each other’s practices.
As we are both interested in the human figure, we wanted to explore body gestures, particularly in dance movements.
This piece attempts to capture that idea through both its
three-dimensional and two-dimensional aspects. It is also a juxtaposition of abstraction and representation. While the structure is an abstract human form, body details on its surface are painted in a more representational style. Taken as a whole,
we aim to give an illusion of a multifaceted dancing figure.
Indirectly, The Dance becomes a symbol of our collaboration, where we see ourselves as dance partners trying to choreograph our movements to the same rhythm and purpose.
Mixed Media on Plywood
160cm x 190cm x 67 cm
+ EZZAM RAHMAN
BROTHERS FROM OTHER MOTHERS
[ACHILLES AND PATROCLUS]
Hairline Dibond Aluminium Print
84 x 120 cm (each print)
The artwork deals with the idea of care and concern between life and death; through the perspective of two different male bodies; whose lives have intertwined for more than a decade.
The response is made through the personification of death masks; juxtaposing the feeling (filling) of emptiness (death) with warmth (life) that is full-bodied.
And this is further imagined by adopting the relationship between Achilles and Patroclus, two figures made known during the Trojan War.
After the death of Patroclus
Achilles agonizes, touching Patroclus’ dead body, smearing himself with ash and fasting. He laments over Patroclus’ death and requests that when he dies, his ashes be mixed with Patroclus'.
NUR FAZERA MAKROF
+ SALLEH JAPAR
ORANE / EXISTENCE
Orane / Existence is an installation of unfinished fragments of cultural artefacts, objects, histories, narratives, motifs, and other inventions. It is an improvised construction in reconnecting to a cultural heritage from the Javanese tradition, questioning the generational loss of the meaning and significance within the rapidly changing covering of time and environment.
The installation invites the viewer to negotiate between the layers of spaces from the organic robe-shaped fabric with batik motifs, the earthly charcoal fragments, the plasticity of the three-dimension gunungan (Javanese “mountain’ motif in the Indonesian theatrical performance of the wayang) and seduction of the video as augmented reality.
*Orane in Javanese, translates as existence
+ NOOR RAHMAH SAINI
OF HIDDEN DRAWERS
AND EMPTY CANS
Epoxy and acrylic paint, digital prints, found objects
Our minds work in wondrous ways. Science and psychology itself still grapple to fully understand how it works. Our minds can compartmentalise thoughts, just as how we organise things in drawers.
And just like how we keep our personals private in our drawers, our minds can hold and store information or secrets. It can think and process information, choose to delve, reveal or express itself in fleeting moments - creating emotions like how colours can vividly move us.
With this installation, we envisioned a trip into the mind. We marvel at its fluidity and beauty of how the colours flow and interact, like the electrical charges the brainwaves send to its different compartments or parts.
And in this mindscape, we imagined ourselves like mindless empty cans, wandering aimlessly, just admiring and enjoying the beauty of the mind at work, rather than wondering how it works.
While the drawers are the soul keepers, the Cans are the embodiment of its manifestation of what has been stored in it. The more it is stored and not sorted, one can get delusional
and blurred between the realms of reality within this social fabric called Life.