Stories of 11 Artworks

Stories of 11 Artworks represent stories, thoughts and processes by 11 emerging star artists namely Al Khuzairie Ali, Anniketyni Madian, Azam Aris, Cheong Tuck Wai, Chong Kim Chiew, Fazrin Abd Rahman, Haafiz Shahimi, Meor Saifullah Lullaed, Mohd Akhir Ahmad, Ronnie Mohamad and Sabihis Md Pandi.

For this exhibition, each of the artworks will be accompanied by the artist statements explaining their works. Artists always have something to say in their artworks and some works are quite vague in delivering them; the purpose in accompanying the statements on this show is to supplement the viewer in reading and understanding the works.


Al Khuzairie Ali

Money Never Sleep
Ceramic, gold playing card, acrylic with wood frame & glass
38.5 x 74 x 10.5 cm | 2018 | RM 4,200 (each)

Anniketyni Madian
History of the Iban Tribe
Mixed of hardwood & oil paint | 91 x 243 cm | 2018 | RM 38,000

Azam Aris

Muddy Confluence
Fabric & thread | 152 x 69 cm | 2018 | RM 9,500

Cheong Tuck Wai

City Pier – White Platform No 5
Special effect transfer, oil, acrylic on non-woven fabric, latex, rabbit glue and gloss gel finishing
155 x 236 cm | 2018 | RM 23,000

Chong Kim Chiew

Negative Space / Index To The Infinity Float
Acrylic, marker & paper on canvas | 244 x 164 cm | 2018 | RM 20,000

Fazrin Abd Rahman

Spray paint on aluminium | 152.5 x 152.5 cm | 2018 | RM 6,300

Haafiz Shahimi

Batu ‘Api’
90 degree inverted burn, direct petrol burn, rusted chemical wash(hydrogen peroxide,vinegar,salt), fabric dye on jute | 167.5 x 167.5 cm | 2018 | RM 30,000

Meor Saifulah Lulaed

‘Self Conflict’
Acrylic, paper collage, charcoal, pencil, bitumen on canvas
186 x 164 cm | 2018 | RM 8,700

Mohd Akhir Ahmad

9 May Banzai
Acrylic on canvas | 146 x 143 cm | 2018 | RM 5,800

Ronnie Mohamad

Obession #4
Charcoal & acrylic on canvas | 152 x 182 cm | 2018 | RM 30,000

Sabihis Md Pandi

Woodcut print on canvas | 215 x 92 cm | 2018 | RM 6,800

Opening Reception

Appresiasi : Duo by Aely Manaf & Nor Tijan Firdaus

“Appresiasi” an exhibition by duo emerging artist, Aely Manaf & Nor Tijan Firdaus that explores the artists appreciation towards medium that has been used and pushing it to the fullest potential. The show centralized on how both of the artists handling and tackling of their selected mediums. 

“Appresiasi” will exhibit the outcomes of each artist’s outcome from their experimentations when creating the artworks.

Aely chooses oil paint for his medium where he experiments with various techniques to create bold textures thus creating abstract form for his works. Meanwhile for Tijan she chooses e-waste from electronic parts such as motherboards, cables and fans as well as discarded materials like simcards to recreate masterpiece works of the old masters like Claude Monet, Frida Kahlo and Steve Magada.

“Appresiasi” starts on 19 April 2018 with the opening ceremony happening on Thursday, 19 April 2018 at 8:30 PM in HOM Art Trans, KL. The exhibition will goes on until the 3rd of May 2018.


Appresiasi: A Tale of Contrasts
by Amar Shahid Salehudin

Artists had often suggest intrinsic connection with their mediums, as well as justifying it through mystical and spiritual connotations. Most of the time, this exercise translates into a form of personal meditation, often intertwined with personal experiences. Some attempted for a jab at commentaries, with varying degree of effectiveness. As with cases where the intrinsic (or economic) value of the chosen medium is the focus of a piece (as in Hirst’s “For the love of God”), it is justifiable in its own context.
Such is the case with the current two-man show of Nor Tijan Firdaus and Aely Manaf. Both artists have a certain respect and intimacy with their chosen medium. Representations might vary, but don’t be tricked into accepting that the surface aesthetic value is the sole intention here. Backstories and personal appreciations often accompanies their chosen narrative, which often concerns their immediate surroundings.

For Nor Tijan Firdaus, this references to immediate concerns translates into her need to emulate and reconstruct the work of modern masters. Particularly interesting is in her attempt to recreate Monet’s Japanese bridge. A contrast of materials but nevertheless a similarity in style, one could almost make out a certain vague term of techno-impressionism in a single observation. Her heavy collage style suits well with the impressionist subject, as both styles aim to do suggestions rather than implying a full and accurate representation. Her work might be best viewed closely in order to appreciate the details, but from a distance the overall effect and unification of forms could very well be appreciated in its own right.

When she is not emulating or suggesting forms, Tijan creates differing contrast. Case in point is her work after Roy Lichenstein, where an illustrative and flat work is given a heavy collage treatment. Viewers are forced to switch back and forth between appreciating the flat plane of image and the enticing invitation to examine the minute details. The static nature of the e-waste used on the surface defies the nature of the original work by Steve Magada, which Tijan attempted to translate. The original work was full of life and vibrating lines, whereas this particular translation forces it into a static mode. This is to be expected however, given that the artist used inorganic mediums to represent the fluidity of the original. Such consequences might very well be its arresting quality.

From the inorganic to the organic, we come to appreciate the works of Aely Manaf. The artist put much concern into the source of his chosen materials, which often involves the focus on pigments and its mineral sources. A link towards these sources and their nature led to an appreciation in nature itself. At times, it is translated into concerns of humanistic dishonesty and exploitation, such as in the case of Selepas Hujan Di Kuantan. In other times, it is a plain exploration and experimentation into the possibility of a given medium, such as in the work Black RS 35 and CR-58-2. 

Aely speaks highly of Awang Damit as his reference, which could be seen in his works. This appreciation could also be sensed in his tendency to imply a spiritual connection with his subject matters. This connection towards Gaia sits heavily on the artists, as it is often the main theme in explaining his works. Previous experience of directly working with the materials in the industrial sector also contributes to the appreciation of the material. Over years of handling and working with pigments, a certain intimacy and respect was developed. One would need to take a meditative approach in order to appreciate the source of the image-making process. The medium is allowed to take its own form, as heavy strokes are applied in a very sensual manner.

Summarizing the two artists in the current show is an attempt to appreciate their contrasts. Both are well-versed in their medium, and have well understood the strength of their chosen set of skills. Their differing views on surface aesthetics as well as the underlying motivations is a particularly enjoyable exploration, should one chose to appreciate it. Wherever there is a collision of values, there would also be the emergence of new perspectives. This is the case for both of the artists, as they try to give birth to fresh understandings. With that, I would like to leave the readers with a beautiful quote by Mellvile:

“There is no quality in this world that is not what it is merely by contrast. Nothing exists in itself.”
Herman Mellville


Aely Manaf

Black Gold
Oil on canvas | 183 x 159 cm | 2018 | RM 10,000

Lovely Earth Line
Oil on canvas | 183 x 159 cm | 2018 | RM 10,000

Selepas Hujan Di Kuantan
Oil on canvas | 183 x 159 cm | 2018 | RM 10,000

Oil on canvas | 183 x 159 cm | 2018 | RM 10,000

Industrial materials on canvas | 160 x 244 cm | 2018 | RM 13,000

Black RS 35
Carbon on canvas | 92 x 76 cm | 2018 | RM 3,800

Pigment on canvas | 92 x 76 cm | 2018 | RM 3,800

Nor Tijan Firdaus

I Will Never Forget You, After Frida Kahlo and Nickolas Muray
E-waste & discarded materials on panel finished with epoxy clear resin + 2K matte resin
137 x 107 cm | 2018 | RM 8,000 | Sold

‘Drowning Girl’ After Roy Lichtenstein
E-waste & discarded materials on panel finished with epoxy clear resin + 2K matte resin
92 x 122 cm | 2018 | RM 6,500 | Sold

Trio 1, After Steve Magada
E-waste on panel finished with epoxy clear resin + 2K matte resin
92 x 122 cm | 2018 | RM 7,000

 Trio 2, After Steve Magada
E-waste on panel finished with epoxy clear resin + 2K matte resin
92 x 122 cm | 2018 | RM 7,000

Trio 3, After Steve Magada
E-waste on panel finished with epoxy clear resin + 2K matte resin
92 x 122 cm | 2018 | RM 7,000

Pond of Water Lilies, After Claude Monet
E-waste on panel finished with epoxy clear resin + 2K matte resin

107 x 137 cm | 2018 | RM 8,000