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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.

DOCUMENTATION
 

Mixed media installation

Dimensions variable

ABU
DINO

DINO HAFIAN
+ MASTURAH SHA'ARI

OMBAK BERKICAUAN 
(CHIRPING OF THE WAVES)

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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.

DOCUMENTATION
 

Mixed media on canvas

and installation

200 x 150 cm

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FAJRINA RAZAK
+ SUJAK RAHMAN

NO FEELING IS FINAL

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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.

DOCUMENTATION
 

Print on organza fabric + Temasek batik

Dimensions variable

FAJ
FAZELA

FAZELAH ABAS
+ JEFFREY WANDLY

SUARA DALAM LUKISAN
(VOICES IN ART)

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Pedoman 1

Ink & acrylic on canvas

200 x 150 cm

 

Pedoman 2.1 to 2.6

Ink & acrylic on canvas

Variable sizes on wooden scrolls

 

Perahu

Ink & acrylic on canvas

305 x 105 cm

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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.

DOCUMENTATION