Project Team

Azhar AhmadFuad SallehKamaliah Azhar

Guest CuratorFarouk Khan

artcube

artcubegallery

WriterZena Khan

PhotographerAjako Watanabe

2013 ARTCUBEAll right reserved. no part of this publication maybe reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any other information storage and retrieval system, without prior permisson in writing from the published.

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MAKING THE MARKMaking The Mark, a meticulously curated exhibition of seventeen established, mid-career and upcoming contemporary Malaysian artists, is presented as the exhibition to launch ARTCUBE, a !ne art gallery at The Intermark mall, an upscale integrated commercial development in the heart of Kuala Lumpur. Formed by art enthusi-asts Azhar Ahmad and Fuad Salleh, ARTCUBE aims to promote and represent high-value, investment-grade Malaysian contemporary art at an international standard. An important facet of ARTCUBE will be the thorough documentation of artists and artworks as well as assisting collectors in amassing artworks of signi!cance.

Contemporary art has become the strongest arm of the Malaysian art industry. Local contemporary artists are internationally celebrated, invited to participate in key global art events and are exhibited by major museums and collections. Among the exciting recognitions Malaysian artists have achieved are Shooshie Sulaiman being the !rst South East Asian artist to be invited to the esteemed Documenta in Germany, Zulki"i Yuso# exhibiting at the prestigious Venice Biennale, Suhaimi Fadzir exhibiting at the Dublin Biennale and Hamir Soibs commissions by Louis Vuitton. Despite the unques-tionable star power of our artists themselves, there is a de!nite need for greater professionalism within the management of Malaysias art scene, and it is here ARTCUBE is looking to step in and revolutionize the industry as a whole.

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by Zena Khan

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Aspiring to meet the professional requirements of the art industry, ARTCUBE is beginning with skillfully curated shows, selecting artists who are relevant in the art movement itself. Recognizing the value of critically acclaimed art as both culturally central to a society and holding investment value, Azhar and Fuad are looking to represent artists such as Fauzan Omar, Hamir Soib and Ahmad Shukri Mohamed who have established themselves !rmly as pillars of the critical art movement, celebrate mid-career artists like Umibaizurah Mahir Ismail, Daud Rahim and Husin Hourmain, who are quickly rising through the ranks and support young artists who have the intellectual capacity and experimental "air which will enable them to contribute meaningfully to the art industry, such as Dhavinder Singh and Azad Daniel Haris. Crucially, ARTCUBE looks to showcase not only paintings and sculptures but also artworks such as installa-tions, large scale assemblage and experimental mixed media which are perhaps not easy sells but are fundamental in context of the contemporary art movement.

In the spirit of setting professional standards for the art industry, ARTCUBE has decided to tackle the issues raised by lack of docu-mentation and information available. The directors have decided to lead the way by not only documenting the works which pass through their gallery with expert photography, but also to commis-sion writings !rstly on speci!c artists to inform the public on their achievements, artistic practice and future directions, secondly on art movements with in the industry, to help educate the public on genres such as installation or minimalism which might not achieve all the acclaim they deserve without proper information and thirdly on individual artworks, surmising the content and technical techniques, so as to enable the audience to fully appreciate the merit of artworks and artists.

In raising awareness and educating the public in a detailed manner on the contemporary Malaysian art movement as a whole, ARTCUBE sits in the pole position of consultant for serious corporate and private collections of Malaysian art. Their dedication to provide relevant information as well as develop associations with reputable curators provides the perfect platform for access to the cream of works produced, thus enabling ARTCUBE to correctly de!ne art market trends. Making The Mark is a prime example of showcas-ing artists who have de!nite signatures such as Azrin Mohds handmade assemblages, Mohd Fazli Othmans astonishing realism skills, or Husin Hourmains lead as the nations foremost contemporary calligrapher. ARTCUBE looks not only to present key brand name artists but also to raise awareness on gems that previ-ously may have been overlooked in the commercial sector, such as Masnoor Ramli or Mat Nor Mahmud.

Contemporary Malaysian art has all the ingredients to take its rightful place as one of the major art industries of todays world with a cast of highly conceptual artists whose technical and experimental abilities set an international benchmark. The global shift towards art that not only possesses intellectual depth but also crucially involves great artistic skill clearly shows the relevance of Malaysian contemporary art. ARTCUBE is well poised to now occupy the open position of a gallery that has the ability to identify, represent and docu-ment the speci!c artists within our local movement, thus acting as a crucial link in Malaysias natural progres-sion into a major cultural center.

Fauzin Mustafa

Andai Aku Tuah (If I was Tuah) is a 2013 mixed media on paper and canvas work by the eminent contemporary artist Fauzin Mustafa. Featuring a large portrait of the legendary Hang Tuah, Fauzin combines traditional craft and academic art techniques with modern elements to create a wonder-fully contemporary piece that pays tribute to his identity as Malay and the pride he feels therein.

Hang Tuah, famed as one of the greatest Silat masters in history, was the most capable of all of the laksamana (warriors) for the Sultan of Malacca in the 15th century. A known loyalist who took great pride in his cultural identity as Malay, he is quite possibly the best-loved !gure in Malaysian history and literature to whom the rallying cry for Malay nationalism Takkan Melayu hilang di dunia (Never shall the Malays vanish from the Earth) is attrib-uted. Fauzin begins with the examination of this statement to further his appreciation of the special qualities that one can attribute to the Malay race, such as their skills in diplo-macy, re!ned natures and soft, calm demean-ors, concluding that they are a distinct people, and that this is re"ected in their art. The artist goes on to state that art should unify people, revealing his choice of Hang Tuah as his icon for irrespective of an individuals political loyalties or sentiments towards the monarchy, all Malaysians have a strong positive a$nity for the fabled warrior, disclosing a political undertone to the work. In the aftermath of the General Election of 2013 Fauzin identi!es divisive lines being drawn amongst Malaysians depending on where ones political a$nities lie, yet he comments that regardless of this Malaysians need to co-exist amicably.

Andai Aku Tuah (2013)

Size : 25cm x 25cm (35 panels)Media : Mixed mediaYear : 2013

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The visual reference used for Hang Tuahs portrait is the prominent bronze relief of him displayed in the Muzium Negara (National Museum) in Kuala Lumpur that all Malaysians immediately recognize. Studying Fauzins body of works it is evident that he does not generally steer towards !gurative elements in his artworks unless it explicitly de!nes his message, as in Andai Aku Tuah. Sporadically inscribed over the image in Jawi are the words Tuah and Jebat, referencing the warrior, and his companion/adversary (Hang Jebat) as a metaphor for the positive and negative elements that exist in society which are necessary to achieve harmonious balance.

Another symbol for harmonious balance can be found in the woodcarving patterns along the top and bottom borders of this 6 feet by 4.5 feet work. A highly formal art in many respects, Malay woodcarving requires the adherence to a strict formula that is based on the 'punca' (source), be it a pattern or rhyme, which determines the run of the woodcarving. Andai Aku Tuah draws inspiration from a pantun that describes the Malay philosophy of attaining success without o#ending others, and a pattern of peace-ful in!nity. Interestingly Fauzin incorporates both actual woodcarving pieces as well as prints of his wood carving, as metaphors for the co-existence of reality and illusion.

The grid like format, derived from joining sections of canvas and paper, some of which are over laid with Perspex blocks, signi!es a further exploration into the minimalist format that Fauzin !rst applied in the 2011 work Fragile. Andai Aku Tuah is particu-larly thrilling for his audience due to the marriage of this neoteric minimalist contempo-rary style with strong echoes of the Malay iconography that Fauzins career as an artist has long been marked by.

Size : 25cm x 25cm (8 panels)Media : Mixed media

Year : 2013

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Tuah Jebat di hujung Taming Sari

Husin Hourmain

IQRA (2013)Iqra is a 2013 painting by distinguished contemporary artist Husin Hourmain, who has recently garnered great acclaim for his progressive calligraphic works. Standing at 8 feet tall and 6 feet wide, the surface of the canvas is covered in Husins signature hyper-detailed calligraphic style with numerous tiny Arabic alphabets, which come together to form the Arabic word, Iqra.

Iqra, which translates into Read, was the !rst word uttered by the angel Gabriel (Jibril) to the Prophet Muham-mad (PBUH) upon the revelation of Islam in the cave of Hiraa near Mecca. When the angel recited Allahs words and said, Recite to people in the name of your Lord, the Prophet anxiously replied I am not a reciter, inferring he felt that he lacked the ability for this task. Gabriel hugged him tightly, released him from the hug and repeated the revelation. The refusal and embrace occurred thrice, each time Gabriels hug becoming stronger to the point of the Prophets exhaustion, indicating that the Prophet had no option but to submit to the directive. After the third hug, the Prophet yielded and Gabriel completed the revelation, marking the beginning of the revelation of the Quran.

It is illuminating that the !rst word delivered was the command to read and recite, underlining the importance of acquiring knowledge in Islam. A strong claim, Iqra has had a profound e#ect on devout Muslim Husin, who has been ruminating on the meaning of this term since working on his acclaimed series Awal Hurouf, Asal Hurouf. After careful study and consideration the artist concluded the concept of Iqra as divulged to the Prophet (PBUH) is more expansive than just the act of reading and reciting. To Husins under-standing, it actually encompasses the intellectual process garnering knowledge entails, that is, to understand the task at hand and immerse oneself in it so as to be able to prog-ress further in life, be it as a Muslim, a human being or an artist.

The idea of seeking knowledge to further himself as an artist ties in neatly with Husins understanding of the term Iqra, for without knowledge he feels he would be incapable of producing work that resonates with depth and quality. Indeed the audience can relate this new painting to his 2008 series Zero to Something, Zero to Nothing that was centered on the various phases of life. Husin revealed an interesting parallel between himself and Jackson Pollock in terms of technique when discussing the production of this early series by describing his predilection for painting whilst engaged in animated motion, leading to exceed-ingly energetic mark making. An almost Su!s tic hint of fatalism pervades when painting in such an expressive manner, mirroring Husins comment, Life cannot be controlled, you can plan, but its not your decision how it turns out.

Iqra marks a progression forward for abstract expressionist devotee Husin technically with a greater re!nement than before. An intensely layered acrylic painting, Husin con!dently marries the monochromatic colour palette he mastered during his Zero to Something, Zero to Nothing phase with controlled infusions of vibrant colour. Shades of yellow in mustard and canary produce a glowing e#ect that seems to emerge from behind the letters themselves, !tting in neatly with the notion that Iqra in itself is an illuminating and revealing statement.

It is interesting to note that the work immediately preceding Iqra, Yasin, was created by Husin as a tribute to his late father, as the artist states this new painting speaks about him as a father to his four children. Fitting in neatly with the concept of seeking knowledge and progressing in life, the development of content via two crucial Islamic terms provides the viewer with a personal insight into the quiet depths that resonate within Husin. The ability Husin possesses to connect the two main aspects of his identity, as a Muslim and as an artist, through the dedicated exploration of his craft mark him as a highly relatable artist in secular Islamic Malaysia.

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IQRA! Read!In the name of the Lord

and Cherisher, Who created,

Created Man, out of mere clot congealed blood.

Proclaim! And thy Lord is Most Bountiful,He Who taught

(the use of ) the Pen,Taught man that which he

knew not. (Surah Al-Alaq: verses 1-5)

Size : 244cm x 183cmMedia : Acrylic on Canvas

Year : 2013

Masnoor Ramli Mahmud

Moulding the History (2013)

October 2013 will always be remembered for the shocking partial shutdown of the United States of Americas government, the !rst event of its kind in seventeen years. The stando# between Barack Obama and a Republican-led congress displays the kind of political polarization that ruled during the twilight years of Ancient Rome between the Optimates and Populares, and heightens simmering comparisons between the fallen empire and modern day America. Interestingly, contemporary Malaysian artist Masnoor Ramli has long been drawing parallels between the two mega-republics, and his intricately painted Moulding the History could not have been debuted at a more apt moment in time.

Measuring !ve feet by eight feet, Moulding the History features the silhouette of American president Barack Obama from behind, surveying the Great Ludovisi Sarcophagus, an ancient Roman sarcophagus dated at around 250 A.D. Given that the height of the actual sarcophagus is documented at 5 feet, it is interesting to note that Masnoor has produced an almost life size replica of the famed artifact. Deeply committed to the fundamentals of his practice the artist initially rendered his entire work in pencil, perfectly shaded and completed as a drawing, before painting over it, thus creating an unseen foundation that roots this painting in technical tradition, mirroring the laborious techniques employed by the carvers in 250 A.D. who, via time-consuming drill work, produced a relief much deeper and more re!ned than others of that period. The dark palette comprised mainly of blues, greys and blacks, a#ects a forbidding sense of gloom, which coupled with the physical enormity of the piece, sits neatly alongside the political uncertainty that is currently unfolding.

The Great Ludovisi Sarcophagus depicts battle scenes between the Romans and Germans, and as Obama stands before it the audience is free to imagine his unseen face as contemplating the crossroads his own republic now faces, and which path he should lead them down. The approval he needs from the U.S. Senate, despite being commonly considered as the most powerful man in the world easily mirrors the situation of Roman politics, where no action could be taken without the blessing of the senate. Masnoors faceless rendering of Obama is strongly ominous, indeed the artist is not stating what he feels are the presidents thoughts but rather leaves it open for his audience to draw their own conclusions. Despite his hesitation to proclaim himself a !gurative artist, Masnoor enjoys the interaction the !gurative aspect of this painting a#ords the viewer, stating the use of identi!able imagery allows for discourse across all levels, thus widely transmitting his concept.

Despite the international "avor of his icons, Masnoor feels that Moulding the History is strongly rooted in local Malaysian issues. The artist argues that issues undertaken by America, such as the war in Iraq, has long lasting e#ects globally through spikes in oil prices which cause in"ation on local levels, or the dependency of most currencies including the Malaysian Ringgit on the US Dollars value. As a true intellectual, Masnoor tries to utilize his art as a platform to engage society in contemplating critical matters on a macro scale, as can be seen in Moulding the History.The wonderful juxtaposition of ancient artifact and a modern icon, heightened currency of content and technical !nesse with which Moulding the History is presented come together in a perfect storm to highlight Masnoors quietly unimpeded position in the Malay-sian art scene as a truly contemporary artist, and is a tantalizing precursor for his upcoming solo exhibition, which is eagerly anticipated by a welcoming audience.

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Size : 164cm x 279cmMedia : Acrylic on CanvasYear : 2013

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Mat Nor Mahmud

Mohd Noor Mahmuds artistic practice closely mirrors the craft traditions of Kelantan. Known as the cradle of Malaysian culture, Kelantan houses deep-seated craft traditions, such as batik, kain songket (fabric woven with gold and silver thread), silversmithing and woodcarving. The in"uence of a strong craft culture has long been evident throughout Mohd Noors career, beginning with his !rst series, Siri Imajan (1988), and continues with his two recent works, Sekebun Bunga III and Alun III.

Continuing his exploration of utilizing traditional craft techniques to represent contemporary social themes, the artist mixes acrylic with sawdust on canvas to achieve a raw, gravelly e#ect, which contrasts with the feminine colour palette employed, and is nudged ever closer to the traditional process of wood carving. Mohd Noor !rst realized this technique in his Siri Gua series, based on the Gua Cha in Ulu Kelantan. The most actively researched archeological site in the peninsular this is where the remains of Hoabhonians and Neolithics were discovered with their artifacts. These articles, including complete human burials and grave commodities such as jewellery, pottery and stone tools, inspired the artist to experiment with coarse materials such as sawdust mixed with glue in an e#ort to imitate the rough textural atmo-sphere, enabling him to achieve this highly textural, layered e#ect.

Sekebun Bunga III and Alun III

Size : 183cm x 133cmMedia : Acrylic on Sawdust on CanvasYear : 2013

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Size : 183cm x 122cmMedia : Acrylic on Sawdust on CanvasYear : 2013

Alun III is a large-scale study similar to Mohd Noors recent works Alun I and Alun II. Alun III, with its highly granular canvas surface, evokes natural textures found in rock formations, which could almost be seen as ongoing without the softness of the colours in the !nish and the hint of a "oral motif which vaguely recalls a likeness with batik, which he has employed in past works such as Siri Dikir Rambutan Rendang: Rebung (2008/2009). Mohd Noors a#ection for batik is evident in Sekebun Bunga III, which employs a gritty surface technique as well. The surface of Sekebun Bunga III is peppered with batik inspired "owers and stripes. This examination of "oral motifs in batik leads to their resulting representational value within Kelantans society, sparking dialogues on the particular responsibilities of craft and intellectualism within society today. The technical wonder of both works is further mysti!ed by the sculp-tural quality of the canvas itself. When viewed from the side it becomes apparent that Mohd Noor has stretched the canvas over a wooden frame that has waved edges, a quiet detail that adds to the surface impact and three-dimensional element of these luminous paintings

Mohd Noors art opens dialogues on the synthesis of traditional artistry in a completely new presentation, and the resultant contra-diction of convention. The artist feels that it is this paradox, coupled with a thorough under-standing of the formal aspects of technique that enable him to produce truly original works. His artworks of staunchly Malay crafts in a highly current practice can be seen as an accurate demonstration of what contempo-rary art in Asian societies should strive for.

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Suhaimi Fadzir

A critically acclaimed resident of the contemporary Malaysian art scene, Suhaimi Fadzir is well-known for his relief-like mixed media works, which straddle a boundary between two dimensional and three dimensional arts. While his works abound with an atmosphere that could easily be categorized as pop art due to the highly relatable iconography and on trend palette he employs, they resonate with a depth that is derived from the multiple layers of both content and fabrication that each individual work is infused with. The rapport he easily establishes between his artworks and his audience is evident in his new trio of works, Red Marilyn (JFK and Marilyn), Red Horns (Kapuki and King) and Red Shoes (AFK and Zena).

Suhaimi is coming o# his last major series, Merdeka, in which he explored the themes of nationalism, the Malaysian constitution and social contract as well as political issues. The commitment to such a serious subject matter over a length of time left the artist with a desire to move on conceptually to a lighter subject matter, and he has been explor-ing much more personal themes of late as he formulates his next series. Red Marilyn (JFK and Marilyn), Red Horns (Kapuki and King) and Red Shoes (AFK and Zena) are exciting in context of content, for they represent an introspective insight into a male artist who traditionally focuses on social or political discourse as artistic themes.

Red Marilyn (JFK and Marilyn), Red Horns (Kapuki and King) and Red Shoes (AFK and Zena) follow on technically from Suhaimis previous work Harimau. Each square canvas measures a neat !ve feet by !ve feet, and is worked in the intricately composed and hyper detailed style that acts as a distinctive signature for the artist. While the works are exhaustively planned, linking the process to Suhaimis architectural background, the multitude of layers results in a conclusion that the artist admits always surprises him. As before, Suhaimi began with transferring images onto a primed canvas, before adding on the layer of razor blades that form the metallic pattern over and around the surface, and then arranges his strict grid of toy soldiers, which have an echo of his acclaimed Recycled Toys and Found Objects series. The !nishing touch is the bright neon light that illuminates the images and artifacts preceding it, a highly current addition that Suhaimi has been experimenting with since the 1980s and now revisits enthusiastically.

Keeping in line with his desire to begin working on an almost therapeutic series, Suhaimi has chosen three sets of symbols for love and relationships. Red Marilyn (JFK and Marilyn) features the iconic American actress, Marilyn Monroe, who is famed for her seductive beauty, and well known for her husky rendition of Happy Birthday to the late American president John F. Kennedy. Until today, the public idolizes Marilyn Monroe, as well as the late John F. Kennedy, for their important individual contributions to society. Red Marilyn (JFK and Marilyn) can be seen simply as the formal relationship between an actress and her president, or as hinting at the rumored love a#air that the two shared, which infuses this work with a melancholic sense of longing.

Red Marilyn (JFK and Marilyn), Red Horns (Kapuki and King) and Red Shoes (AFK and Zena) (2013)

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Suhaimi Fadzir

A critically acclaimed resident of the contemporary Malaysian art scene, Suhaimi Fadzir is well-known for his relief-like mixed media works, which straddle a boundary between two dimensional and three dimensional arts. While his works abound with an atmosphere that could easily be categorized as pop art due to the highly relatable iconography and on trend palette he employs, they resonate with a depth that is derived from the multiple layers of both content and fabrication that each individual work is infused with. The rapport he easily establishes between his artworks and his audience is evident in his new trio of works, Red Marilyn (JFK and Marilyn), Red Horns (Kapuki and King) and Red Shoes (AFK and Zena).

Suhaimi is coming o# his last major series, Merdeka, in which he explored the themes of nationalism, the Malaysian constitution and social contract as well as political issues. The commitment to such a serious subject matter over a length of time left the artist with a desire to move on conceptually to a lighter subject matter, and he has been explor-ing much more personal themes of late as he formulates his next series. Red Marilyn (JFK and Marilyn), Red Horns (Kapuki and King) and Red Shoes (AFK and Zena) are exciting in context of content, for they represent an introspective insight into a male artist who traditionally focuses on social or political discourse as artistic themes.

Red Marilyn (JFK and Marilyn), Red Horns (Kapuki and King) and Red Shoes (AFK and Zena) follow on technically from Suhaimis previous work Harimau. Each square canvas measures a neat !ve feet by !ve feet, and is worked in the intricately composed and hyper detailed style that acts as a distinctive signature for the artist. While the works are exhaustively planned, linking the process to Suhaimis architectural background, the multitude of layers results in a conclusion that the artist admits always surprises him. As before, Suhaimi began with transferring images onto a primed canvas, before adding on the layer of razor blades that form the metallic pattern over and around the surface, and then arranges his strict grid of toy soldiers, which have an echo of his acclaimed Recycled Toys and Found Objects series. The !nishing touch is the bright neon light that illuminates the images and artifacts preceding it, a highly current addition that Suhaimi has been experimenting with since the 1980s and now revisits enthusiastically.

Keeping in line with his desire to begin working on an almost therapeutic series, Suhaimi has chosen three sets of symbols for love and relationships. Red Marilyn (JFK and Marilyn) features the iconic American actress, Marilyn Monroe, who is famed for her seductive beauty, and well known for her husky rendition of Happy Birthday to the late American president John F. Kennedy. Until today, the public idolizes Marilyn Monroe, as well as the late John F. Kennedy, for their important individual contributions to society. Red Marilyn (JFK and Marilyn) can be seen simply as the formal relationship between an actress and her president, or as hinting at the rumored love a#air that the two shared, which infuses this work with a melancholic sense of longing.

Red Marilyn (JFK and Marilyn), Red Horns (Kapuki and King) and Red Shoes (AFK and Zena) (2013)

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Red Horns (Kapuki and King) features a series of prints of a mother and baby eastern black rhinoceros, King and his mother Kapuki who live in the Lincoln Park Zoo. Eastern black rhinoceroses are critically endangered, and the arrival of little King in 2013 marked not only the success of Lincoln Park Zoos breeding programme, but also acted as the source of great joy for conservationists and animal enthusiasts internationally, as a cause for celebration moving into a positive period for these creatures. As is evident from Suhaimis earlier works, the environment and preservation of wild animals resonate strongly with the artist.

Suhaimi considers Red Shoes (AFK and Zena) as a highly current work, a snapshot of time being recorded instantly, which is an idea he is looking to explore keenly moving forward. It contrasts with his usual themes of working on historical contexts, and can also be viewed as an insight into Suhaimi trying to engage his content to be as contemporary as his technical skills. The image Suhaimi works with is a recent photograph of Malaysian contemporary art collectors Aliya and Farouk Khan, who are major collectors of Suhaimis work from his earlier periods up till present time, and their daughter Zena Khan, an art writer, at the seminal Great Malaysian Contemporary Art Show, where the artist displayed his work Harimau, the technical basis for these three new works. In Red Shoes (AFK and Zena) Suhaimi looks to express the signi!cance of his relationship with his major collec-tors. Historically collectors provide patronage, which instills con!dence in an artist and leads to greater artistic creativity and experimentation thus resulting in boundary-pushing artworks. Suhaimis desire to represent this relationship re"ects its value to him as an artist, and also underpins the necessary role of patronage in contemporary art, from the artists viewpoint

Red Marilyn (JFK and Marilyn), Red Horns (Kapuki and King) and Red Shoes (AFK and Zena) are a wonderfully personal insight into a dynamic mixed media artist, which is especially interesting given the generally social statement driven work produced by male artists in a contemporary landscape. Suhaimis energetic, colorful canvases clearly work well as a type of visual journal through which his audience can follow his journey, profes-sional and personal, thus allowing for direct communication between the art, audience and Suhaimi himself, and builds excitement for the series that is coming o# the back of these new works.

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Size : 152cm x 152cmMedia : Mixed mediaYear : 2013

Size : 152cm x 152cmMedia : Mixed media

Year : 2013

Size : 152cm x 152cmMedia : Mixed mediaYear : 2013