ARTOBER - Art & Soul 2023


Faizal Yunus

Words I Never Meant

Oil and metallic paint on canvas
153 x 122 cm

“Shifts and Transitions” is built upon the foundation laid by my previous work, 'Unprecedented Order" which highlighted the contrast between order and chaos, structure and unpredictability. This new series revolves around the intriguing science of human's ability and willingness to break their norms or routines to adapt to life changes—a newfound realization I had as I embarked on the journey of 'fatherhood'.

As an artist, I have always believed that my experiences and life stages are intimately linked to the evolution of my art. Each new phase of life brings with it a unique perspective and a fresh approach to my work. This transformation is reflected not only in the content of my pieces but also in the techniques and mediums I choose to work with.

In this latest series, I have incorporated an airbrush stencil technique to create intricate and detailed patterns. This technique also allows me to layer colours and develop complex, precise compositions. Embracing this approach demands meticulous planning and attention to detail, which I later realized may not always apply to fatherhood. If anything, being a father has taught me that not everything you plan will come to fruition. You are in a constant state of learning and adaptation, prioritizing the needs of your child above all else.

And sometimes, simplicity holds the key.

Lately, I have been exploring a new art form and experimenting with various mark- making techniques. While intended geometrical structures and ambiguous formations remain integral to my work, this time, I am departing from my usual conventions and allowing simpler, free-form expressions to take the lead in some pieces. This shift coincided with a significant change in my personal life and inspired me to challenge myself creatively, pushing the boundaries of my comfort zone.

In 'Shifts and Transitions' I employ 3D effects to create the illusion of depth and space, fostering a sense of presence and engagement impossible to achieve with flat, 2D works. This invites viewers to explore and interact with the artwork from multiple angles, resulting in a dynamic and engaging experience. Through the use of 3D effects, I hope to transform how viewers engage with art.

Ultimately, this series mirrors the changes and growth I am experiencing in my personal life. The process of experimentation parallels the sense of exploration and discovery that accompanies being a new father. Through these pieces, I aim to convey the beauty and complexity of life's stages and how we evolve to adapt to them.

Amar Shahid

Bride in Green and Teal

Oil and wax on jute
152 x 152 cm

This work represents the culmination of my ongoing exploration into the materiality
and definition of painting, employing the method of photorealist representations. In this
second part of a triple series of photorealist paintings, I employ unconventional
framing and select images from discarded compositions sourced from the ends of
negative film strips, subtly alluding to the spontaneous choices made by artists like
Degas and Klimt. 

In comparison to the previous series, the current one leans more
toward abstraction, with the final third iteration of works expected to be fully abstract,
yet still technically maintaining a photorealistic definition—an imitation without direct

Siund Tan

Tiger Lord

Oil Painting on Canvas
100 x 100 cm

Inspired by my daughter's question about the presence of a tiger statue during our visit
to a Chinese temple, this painting aims to explore the stories of mythical creatures,
seeking to breathe life into ancient tales and archetypal figures.

The painting depicts Huye (虎爺), or the Tiger Lord, whose origins date back to ancient
China. He often functions as a supporting deity rather than the main deity in folk
religions such as Taoism. Although associated with animals, people believe that Huye
has the power to attract wealth by biting money, safeguard homes, and pray for the
safety of family members. As a result, he is widely worshipped. Bai HuYe (the White
Tiger Lord) is also believed to possess the ability to ward off gossip, rumours, disputes,
epidemics, and subdue demons, especially protecting children from various
frightening illnesses, making him their guardian god.

In the face of the complexities of the modern world, I offer my mythological painting as
a reminder of the enduring significance of these ancient tales and the wisdom they
hold for our lives today. May it inspire a sense of awe and curiosity, igniting the spark of
imagination and inviting viewers to embark on their own mythic journey.

Al Khuzairi Ali

Dystopia : Floating City

Ceramic,plastic stiker and acrylic on canvas
146.5 x 95.5 cm
RM8,000 / Reserved

Currently, over half of the world's human population resides in urban areas, posing
significant challenges for their inhabitants and exerting substantial environmental
pressures. Global urbanization and resource exploitation come at the expense of many
species, as human greed alters natural ecosystems, geological structures, and even
the climate. This has resulted in issues like air pollution, rising sea levels, droughts, heat
islands, deforestation, and the loss of biodiversity.

In this work, the artist imaginatively explores the future relationship between the next
generation, their fellow creatures, and the natural world. Given the rapid pace of
development and the prevalence of sophisticated technology, it's crucial to monitor
how the new generation interacts with these advancements. Without proper attention,
they may inadvertently neglect the importance of preserving the environment.

Through this artwork, I aim to raise awareness in society about the critical need to care
for our climate, habitats, and environment. We must acknowledge that we share this
planet with other beings and strive to ensure that our generation doesn't leave behind
an ailing Earth.

Cheong Tuck Wai

The Herald of Autumn

Acrylic on canvas
120 x 150 cm

The Herald of Autumn

In the topsy-turvy expanse,
Dispersed beams of light,
In the abyss of the unknown,
One is mesmerized and meandering,
In the ceaseless cycle of time and space.

As leaves descend,
And flowers fade,
Next year they will bloom anew,
More vibrant than before,
Yet can the ephemeral be preserved?

My artistic creation delves into the realm of space and time. The Classical era sought
the perpetuity of time, viewing it as static. The Modernist era perceived time as a blend
of instants and eternity, following a linear trajectory. In our contemporary world, time is
an enigma, transient and interwoven with past and present, brimming with limitless

My work conveys an emotional temporal stasis, rooted in reflection and nostalgia for
the objects that inhabit my existence. The weathered textures and cool, ashen hues
employed in my pieces cultivate a sense of temporal distance, making it arduous for
viewers to readily approach. This evokes a post-departure emptiness, detachment,
and a poignant ambience.

The spaces between objects and emotions beckon our imaginations to fill in the gaps,
to delve into what lies beneath, what has transpired, what has been forgotten, and
what still necessitates our attention.

Syazwan Rahim

The Theory of Plate Tectonics

Collage & Mixed Media on Canvas
152 x 122 cm

The ongoing environmental crisis has always been a central theme in my work. I use
my art to bring attention to this issue, which has been neglected for many years.
Instead of being too direct, I incorporate abstract elements like lines, shapes, and
contours, along with techniques like collages to spark discussions. I like to explore
nature's landscape from different perspectives.

In today's world, there are many important topics to discuss, but two that I focus on are
the economy, which often requires us to work tirelessly to survive, and climate change,
caused by human negligence and ignorance. These are the main themes of my
current work.

Sabihis Md Pandi

Schumacher , Pinjam Jap

Acrylic and oil on canvas
152 x 182 cm

This work draws its inspiration from the artist's childhood, when he was just 7 years old.
Back then, the talk of the town was all about F1 racing and the legendary Michael
Schumacher. At school, every friend would mimic the roaring sound of a racing car
engine, and some mischievous students even faced fines for their enthusiastic noise-
making. The artist still vividly remembers the name of their friend, Safuan B. Salleh, who
received one of those fines. Today, Safuan is a firefighter in Segamat, Johor. The fiery
motif in the painting pays homage to this friend's brave background. Sadly, there are
no more F1 races in Sepang now, which could potentially be costly.

Hafizuddin Azman

4° 21' 31.20"N, 100° 58' 2.20"E Tanah Berjasa II

Oil painting on canvas
135 x 254 cm

At coordinates 4° 21' 31.20" N, 100 58' 2.20"E lies a remarkable piece of land with its own rich history. This location is meticulously explored through observation, personal experiences, and an examination of how the land and its resources have shaped the development of a community. The narrative begins in the colonial era, tracing the utilization of this land for human benefit, culminating in a history that continues to exert its influence today. The historical legacy of this land endures through community

The transformation of the land's structure and ecosystem, resulting from shifts in power
dynamics and ongoing community activities, has brought about significant changes.
Various events, ranging from subtle shifts to more pronounced disruptions, are documented and portrayed on the canvas. These paintings capture the serene beauty of the landscape as well as the tumultuous changes that have left their mark on the land.

The disappearance of sand mounds and the accumulation of construction debris have
altered the tranquil landscape, making way for new colonization and development
efforts aimed at benefiting humanity. In an indirect manner, this situation reflects the
interplay between the strengths and weaknesses of individuals with power in shaping
the destiny of the community and the meritorious land.

Aiman Zamri

Happily Ever After

Mixed Media on canvas
152 x 122 cm
RM4,500 / Reserved

This piece portrays the untold story of every family. In a family portrait, everyone
appears united, radiating joy, just as we see in our own. But what is actually transpiring
behind the image? No matter how long this "togetherness" endures, whether until one of
the members passes away or must move elsewhere, each of us will inevitably find
ourselves separated or distant from one another at some point in our lives. 

The faces in the painting bear the marks of uncertainty, with each stroke suggesting an indefinite future. It depicts a complete family, yet everything remains uncertain and ambiguous. We perceive our family portrait as 'happily ever after' but it's merely a term of closure for events that we can never fully foresee.