23 March 2013

Platform @ Galeri Chandan

Veteran art writer Ooi Kok Chuen asks the question "...are they original enough?", with regards to the multitude of new artists' exhibitions in Q1 2013. His article rightfully compared the individual pieces featured in "Platform", with significant works produced by past local masters. It is comforting to know that young artists have followed in the footsteps of Ahmad Shukri Mohamed and Ahmad Zakii Anwar, but the question of originality is valid, up to the point that we accept the recent interest in the Malaysian art scene. Supply increases with demand, where the consumer majority determines a minimum standard, and the discerning critic identifies the sublime aspiration.

Raja Azeem Idzham - Siri Raksasa - Pegun Si Rasuk, Serpih Cahaya (2013)

Daud Rahim comes to mind when appreciating Azzuan Osman and Haimiza Johan's works, also featured in the House of Matahati young artists' exhibition. Metallic elements intertwine to become insects, sculpting solidity from the elastic, of pesky lifeforms we love to hate. Azzuan's pieces are more crude and cynical thematically, contrasting with Haimiza's works that celebrate life and motion. A determination to replicate elastic textures in solid materials, similarly describes Nor Hidayaah Shahrun’s ceramic wrappings exhibited nearby.

Haimiza Johan - Hayat Hidup (2013)

Efforts to promote new blood may belie commercial exploitation, but a responsible gallery can increase its reputation with the right selections. Originality in illustration is seen in the paintings of Farihan Mawardi and Raja Azeem. A little girl stands amidst a greying urban landscape, the grotesque lines on her face not able to hide joyfulness, blotches of pink completing Farihan's enigmatic portrait. The mystery continues in Azeem's works, where reptilian forms and creeping lines proliferate across the canvas, creating a squeamish but deceptively attractive painting.

Farihan Mawardi - Mata (2013)

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