Ceritera Gembala Arca Instalasi oleh Jamil Zakaria

Sculptor Jamil Zakaria presents Ceritera Gembala (The Story of a Shepherd), his second solo exhibition featuring five installations constructed by hand using an industrial material and tools such as wire mesh, plyer and hammer. Inspired by traditional Malay proverbs, the idea was conceived from juxtaposing the meaning of each proverb with the realities of life as described by the artwork titles. By adapting the universality of animals, Jamil is able to metaphorically convey the complexity of human traits.

Historically, mankind has been associating animal instinct with human nature since the Old Testament era. Scriptures from religious books namely the Torah, Quran and the Bible have references of animals in their respective teachings. In Western modern literature, George Orwell wrote an allegorical book, Animal Farm in 1943 to tell a story characterised by animals to reflect historical events leading up to the Russian Revolution of 1917 followed by the Stalinist era of the Soviet Union. The animal populace of pigs, horses, donkeys, sheep, hens, cows, dogs, raven, goat and cat are central figures to the fable.

Mat Bunga depicts a large-scale primate donning a pair of sunglasses and holding a flower. Its oversized figure is disproportionately placed on a single seater sofa, painted in white. Deriving from the idiom “seperti kera mendapat bunga” (like an ape getting flowers), which means someone who takes things for granted, Jamil playfully incorporates the title Mat Bunga - a casual term to describe Casanovas - and in this case, not a very attractive one.

Another installation features a flock of sheep and a wolf. Inspired by the children’s tale “kambing dan serigala” (the sheep and the wolf), which tells the story of a wicked wolf attempting to trick the flock of sheep. Jamil also refers to “musang berbulu ayam” or the Biblical idiom “a wolf in sheep’s clothing” as one of his inspirations for this work.

Makan Besar (Feast) depicts an eagle attacking a swine with its claws and is elevated to portray its flight motion. Deriving from the idiom “rezeki helang takkan dapat dimakan oleh musang” (one's sustenance cannot be pilfered by others), this work conveys life lessons on greed.

Other sculptures include a cat, a dog and a mouse to depict “seperti kucing dapat tikus” (like cats getting mice) and “bagai anjing dengan kucing” (like cats and dogs) as well as a snake tightly coiled around a wolf to portray the proverb “seperti gajah ditelan ular lidi” (like an elephant swallowed by a snake).

Kedah-born Jamil Zakaria (b. 1985) obtained his Masters in Fine Art from Universiti Teknologi Mara, Shah Alam in 2013. His artistic practice in contemporary sculpture specialising in galvanized steel wire mesh makes him one of the few Malaysian visual artists to explore this medium. Having actively participating in local and international group exhibitions since 2004, Jamil’s receent exhibitions included Young Malaysian Artists III (2016) and Readrawing (2013) at Galeri Petronas, Kuala Lumpur; Art Triangle (2010) and Destiny: Young Group Show (2013) at the National Visual Arts Gallery, Kuala Lumpur. In 2016, he presented a two-man show at Ritz Carlton, Kuala Lumpur organised by Gallery 69 Fine Art. He was one of the finalists for the international OITA Sculpture Competition, Japan in 2010. With Andrew Shire Gallery (Singapore), Jamil participated in the Art Fair International, New Delhi, India and Spoon Art Fair, Hong Kong, China, in 2012 followed by a group show at the Malaysian Embassy in Beijing, China a year later.

- Sarah Abu Bakar



Batu Api
Dawai mata punai & cat industri
Ukuran pelbagai
RM 6,000

Jiwa Besar
Dawai mata punai & cat industri
Ukuran pelbagai
RM 8,500

 Makan Besar
Dawai mata punai & cat industri
Ukuran pelbagai
RM 13,000

Mat Bunga
Dawai mata punai bergalvani, kerusi kayu & besi 
Ukuran pelbagai
RM 11,500

Si-Taring Ajar Menyalak
Dawai mata punai bergalvani & cat industri
Ukuran pelbagai
RM 28,000


Catalysis – Phases of Transition

The ending of postmodernism marks the beginning of contemporary art, also known as ‘the art of today’. Due to the possibility of worldwide communication; newer techniques, approaches and considerations were soon engaged to produce greater range of artworks that involves two-dimensional, three-dimensional visuals and figurative images to reduced forms, pure geometrical patterns or planes, and adopting a wider range of materials where fresh new art ideas had to be built upon or installed. Although the era of contemporary art has lasted till this present day, one can still feel the transitional influence going back to the era of modernism and postmodernism.

With this insight, Catalysis – Phases of Transition presents artists: Agnes Lau Pik Yoke, Alicia Lau Pik Yen, Chok Ming Hoong, Chong Soon Leong, Choo Ai Xin, Choo Yan Xin, Fong Jia Lok, Ho Mei Kei, Lee Mok Yee, Liew Mei Toong, Tan Lu Man, Thong Yoong Onn and Wong Yi Leng. The artists have taken into consideration a wide range of daily situations in their surroundings and engaged a conversation with the viewers through their artistic journey. By capturing a moment of the development in their art practice, Catalysis – Phases of Transition, has been curated to provide an explorative view of how transitions play a major role in building up the next level of artistic talent. 




 Agnes Lau Pik Yoke

100 Sets of 10 Tonings
Pencil on acid  free paper
100 x 70 cm
RM 3,600

 Alicia Lau Pik Yen

A Conversation Between The Wind and Rain 2
Acrylic on canvas
150 x 150 cm
RM 5,600

 Chok Ming Hoong

Boundaries With Interconnection 2
Ink and acrylic on canvas
121.92 x 121.92 cm
RM 3,000

Chong Soon Leong

Oil on canvas
175  x 100 cm
RM 6,000

Choo Ai Xin

The Relationship
Digital printing on card and video
18.5 x 144.5 cm  
18.5 x 8.5 x 9 cm (10 mins 40 secs)
RM 2,000

 Choo Yan Xin

Every Day Is An Amazing Day
Acrylic, charcoal and oil pastel on canvas
120 x 180 cm
RM 3,600

 Fong Jia Lok

Charcoal on unprimed canvas
133.3 x 133.3 cm

RM 3,500

Ho Mei Kei

Yes, You Can Take a Photograph
Oil and acrylic on canvas
150 x 120 cm
RM 7,000

 Lee Mok Yee

Pyramid No. 1
Pine wood, mirrored acrylic board & plywood
81 x 122 cm
RM 6,800

Liew Mei Toong

Moving Through Streets
Paper, pastel, gloss gel & acrylic on canvas
135.5 x 96 cm
RM 3,400

Tan Lu Man

100 x 177 cm
Oil on canvas
RM 5,200

 Thong Yoong Onn

Street 30min -1/2
Industrial glue, oil paint & acrylic on used canvas 
140  x 147 cm
RM 3,900

 Wong Yi Leng

Acrylic paint and metal shield paint on acrylic sheet
124 x 101 cm
RM 2,500