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Echoes of Possibilities2 Echoes of Possibilities 3

Echoes of Poss ibi l i t iesPROJECT TEAM

CURATORScarlette Lee

WRITERElaine Loh

CATALOGUE DESIGNHawa Basery

PHOTOGRAPHYDinn Diran

First published in Malaysia in 2018Core Design Gallery Sdn Bhd

87, Jalan SS15/2A Subang Jaya 47500 Selangor, Malaysia

http://malaysiacontemporaryart.coredesigngallery.com

2018 © Core Design GalleryAll rights reserved. No part of this publication may be 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 permission in writing from the publisher.

About Us

Core Design Gallery is an exclusive boutique art gallery that represents the face of Malaysian contemporary artists and their cutting edge artworks.

With its main philosophy of holding major shows that have critical values and museum qualities, Core Design Gallery aims to create massive awareness on the significance of Malaysian contemporary art through solid art management and important publications.

The gallery is committed to promoting and developing the artists to achieve international standard and global recognition for their quality artworks.

Lee Mok YeeThe Law of Repetition

At the entrance, an astounding twelve pieces of large Chinese calligraphy words stands tall and brooding. Mammoth and seemingly oversized, the Chinese words are anonymous, bears no semblance to any known words. Herein The Law of Repetition, young artist Lee Mok Yee draws attention to the renowned Chinese principles of Four Anchors and Eight Virtues. Taught at every Chinese school, the principles of Four Anchors and Eight Virtues are taught repeatedly to every student upon entry. The principles of Four Anchors and Eight Virtues stands as one of the most important ideology within the Chinese traditional culture. Bearing a combination of twelve words, these principles are taught and laid out as guiding principles in life. Speaking of honour, manners, righteousness, justice, love and harmony, these guiding principles have been in existence since the Song dynasty in 960 AD. Carrying strong and beneficial values, these guiding principles are very much treasured in Chinese tradition, taught not only at schools but stands firm in many Chinese families.

Of utmost importance and now more than 10 centuries later, these guiding principles continue to stand firm within our education system. Within the Chinese education system, format of memorising information and propagandas are not unusual. More often than not, one is told to frequently repeat and memorise a subject matter if incapable of understanding so as to attain good grades. With this is mind, the young artist begs to consider how well does each of us truly understand the principles of Four Anchors and Eight Virtues whilst we may all be able to recite these principles at will. He beckons inquisitively at our life’s actions in the absence of true understanding of these renowned principles. It is true, after all, that to effectively implement and practise these guiding principles, one must first truly and fully comprehend the meaning and concept behind these guiding principles.

Curious and concerned, Mok Yee researched around these guiding principles. In the course of his study, he came across twelve Chinese words of similar intonation. The Law of Repetition is actually a combination of twelve ancient Chinese words that are no longer in use, that

carries the same intonation to that of the Four Anchors and Eight Virtues. However similar sounding it may be, these twelve ancient Chinese words carry negative connotations in its meaning. Peculiar yet shedding a sense of brute honesty, The Law of Repetition questions the effectiveness of these guiding principles in our everyday lives. With the presence of words with negative connotations, is it just mere coincidence that these words are of similar intonations or does it serve a grander purpose to raise the query of the potential negative effects in not practising these principles effectively owing to the lack of understanding?

A native of Klang, Selangor, young artist Lee Mok Yee grew up in a Taoist family within the Chinese education system. He has always been curious about many matters yet restrained from questioning owing to the system that he was in. Nevertheless, Mok Yee is appreciative of the system that he grew up in and of its positive values that made him what he is today. Inquisitive and curious, it was no surprise that he embarked on the creative line that is befitting to his personality. Having secured his first-class honours degree from Middlesex University in 2014, Mok Yee’s repertoire is diverse and extensive. Primarily a conceptual artist, his art mediums are varied from mixed media to installations to paintings and sculptures. Passionately driven, he is constantly pushing the boundaries of his art and is always seeking out new ways to present his conceptual ideas. To date, Mok Yee carries a solo exhibition titled Scepticism is a Virtue in 2012 and has had various group exhibitions both locally and abroad in London, Korea and Germany.

As negative as it may seem, The Law of Repetition is not meant to be condescending in nature but it is actually a celebration of the versatility and complexity of Chinese words. It presents itself to be a murmur of that which is not to be, as a gentle reminder of that if not practiced correctly. History centuries old has duly substantiated the brilliance and ingenuity of Man with the creation of complex Chinese words. The Law of Repetition stands as a conceptual illustration of the same.

While in line with the curatorial theme, Mok Yee too subtly highlights if the act of blind repetition is always favourable or perhaps it is now time for Man to reconsider an evolution of our traditions.


8 Virtues Meaning By Artist Definition

忠Zhong Loyalty

𤯚Zhong

音終,人亡絕The end, death

孝Xiao Filial piety

𪛀Xiao

龜縮頭也Retraction of turtle head

仁Ren Benevolence

䴦Ren

扶豬山有獸，如貉，人面A beast in Chinese mythology, a rac-coon with human face

愛Ai Love

𤻢Ai

病聲也Sickness

信Xin Faithfulness

𦉝Xin

器裂也Broken pottery

義Yi Justice

𨻏Yi

瘞古作𨻏Bury the death

和He Peace

𣰌He

輓有翣羽蓋註A cover for hearses

平 Ping Harmony

𦚓Ping

同胖Fat

4 Anchor Meaning By Artist Definition

禮Li Propriety, Manners

𩳓Li

惡鬼Evil spirit

義Yi Righteousness,

Justice

𧱊Yi

豬名pig

廉Lian Sense of Honour,

Honesty

𡚍Lian

藏香之器Lady’s vanity case

恥Chi Sense of Shame

幽Chi

音幽Hell

The Law of RepetitionEtching on Zinc Sheet with Wood Frame93cm x 83cm each with frame (Total 12 pieces - 3 Set of 4 pieces)2018


Top Right:Hide and Seek IV

Oil and Acrylic on Canvas80.4cm x 150cm

2017

Top Left: Hide in Primary

Oil and Acrylic on Canvas50cm in diameter each

2018

Bottom:Hide in Pencilbox

Oil and Acrylic on Canvas90cm x120cm

2018

Jasmine Cheong

Hide Series

Demure and soft-spoken, in meeting with young artist Jasmine Cheong, it truly seemed a naturally becoming notion that Jasmine takes on a role as a children’s art educator. Her clear patience and sweet aura are undeniably the compelling elements that satisfies her ability to connect with children. Upon securing a fine art diploma from renowned Dasein Academy of Art in 2015, her art portfolio has always been primarily childlike, capturing the sweet and naïve essence of Man. Since 2015, she is no stranger to art shows focusing on the genre of paintings, with a tad play in ceramics. In continuing her main theme surrounding childlike innocence, taking on the role as a children’s art educator was a step forward and essential for Jasmine to build further on her art concept. To the young artist, she takes joy in connecting and guiding her entrusted wards while in doing so, she learns further of their peculiarities and varied gullibility. The art made by children are pure, untainted and represents a naïve expression to the arts. It is not prejudicial or condescending, being the children that they are, their art merely reflects their inner state of mind and their true self.

Jasmine turns to paintings as her way of expression and soul-searching. Akin to her guardianship role as an art educator, she holds dear a motto that every creation of

hers may be inspiring one way or another to her audience. Capturing a joyful and inquisitive outlook, she employs bright and cheerful colours to her work, effectively reliving the carefree moments of simple happiness. Connecting to her contemporary audience of today, the young artist works easily with varied canvas sizes that aptly captures her naïve ideals. Cheeky and modern-day abbreviations adorn Hide and Seek IV duly reflecting the contemporary lifestyle of society today. Her paintings exemplify her notable painterly skills as she effectively portrays children’s inquisitive nature and varied playful expressions of joy.

For the young artist, her message akin to her paintings is clear and simplistic…that her paintings enable one to find joy in the simplicity of children’s innocence and uplift us from the demanding and precarious nature of today’s world. Playful as they are, children are always repeatedly indulging into their favourite games and activities. Seemingly annoying and repetitive as they may be, it is not dull in nature for the children as it mirrors their inner state of mind, it is their way of learning and refining their actions further. In quiet contemplation, are adults seemingly so different…perhaps we too need to revisit our inner state of mind to re-evaluate that which we hold dear, that which makes us who we are…so as to progress forward to a better future for ourselves and the generation to come.


Childhood MemoriesOil Pastel and Acrylic on Canvas

145cm x 230cm 2018

Details of Childhood Memories

Ho Mei Kei

Childhood Memories

There lies a sweet innocence behind artist Ho Mei Kei. In meeting with her, her liveliness and cheerful outlook in life is starkly apparent. It comes as no surprise that she is a practising children art teacher. Yet amidst the playfulness, she advocates to her art passionately.

Graduating from Dasein Academy of Art in 2016 with a diploma in Fine Arts, Mei Kei’s artworks have primarily been centered around children themes. Reminiscing on her childhood years, her childlike artworks have always been a playful exercise of primary schooldays. Primarily working with oil, colour pencils and acrylic on canvas, Mei Kei’s art is one of diligence and repetitive forms.

While still centered around childlike theme, her latest artwork Childhood Memories take on a different twist. Childhood Memories poses as nostalgic peek into the childhood of the artist. With the not-too-long-ago passing of her grandparents, Mei Kei mourned for the loss and took to revisiting old photographs in hopes to rekindle fond memories and cherished moments of time past. In looking back at these old photographs, Mei Kei henceforth conceptualised the work of Childhood Memories.

Encompassing cherished moments since 1970s, Mei Kei took to transcribe these special moments into art. Inspired by classroom elements, the canvas is entirely painted black to mimic that of a classroom blackboard. Clearly one of a kind, Childhood Memories is an artwork that holds a dear place in the heart of the artist, duly encompassing the making of this young artist. As she diligently traces the figures onto canvas…inscribing one cherished memory after another, her repetitive practice is nurturing and assuring to the soul.

Childhood Memories brings about nothing but a smile to one’s face, as we are drawn to explore the many unique forms within a single canvas. A lively baby portrait, a happy moment with the family, a long-forgotten picture with one’s best friend…Childhood Memories bears all the nurturing elements that feeds one’s soul.


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Transformation XVIICarving on Perspex90cm x 90cm 2018

Hug Yin Wan

Transformation XVII

Primarily dealing with the medium of wood, artist Hug Yin Wan’s art repertoire has been clearly repetitive in nature. Principally producing works that are two dimensional in nature, Yin Wan is always conscientiously carving and modelling his figures and designs through repeated lines and dots to create the required form or subject matter. Being three dimensional in nature, wood has always been a preferred medium for the young artist of 24 while dabbling with minor installations throughout his career since his graduation from Dasein Academy of Art in 2015.

Growing up in a staunch Buddhist family in his hometown of Ayer Tawar, Perak, Yin Wan holds strongly to his religious and traditional beliefs of his Chinese family. For the young artist, the concept of the impermanence of life is one that is inherent within the Buddhist teachings and keenly stands as the ruling concept behind his art portfolio thus far, especially so after experiencing losses in his life. Impermanence is basically defined as ever-changing, that everything is never ever constant and permanent. That Life is always revolving. In Buddhism, impermanence or annica (Sanskrit) stands as a vital part of the three marks of existence; the remaining two being dukkha (of pain and suffering) and anatta (non-self or non-soul). The concept of impermanence merely illustrates that there is no certainty in life, that things be it relationships, status or events are constantly in an inevitable state of change.

While merely a young artist, Yin Wan exhibits the makings of a promising artist. He is no stranger to key art awards in the country. At merely 21 fresh out of school, he was the Grand Prize winner for 2015 Nando’s Art Competition. Among other notable awards, Yin Wan too stood as the top finalist for UOB Painting of the Year 2016, securing the Bronze award just a year later. Notably to his portfolio, his Crow and Transformation series hold clear commendation from his audience.

Akin to the pulse line on pulse monitors, lines are repeatedly carved throughout the wood surface, duly reflecting the lifeline and beauty of a living being. The lines move fluidly and seemingly endless across the wood surface,

duly exemplifying Yin Wan’s masterful carving skills and understanding of his medium. Time and again, a crow make an appearance across his series of works. As crows are often a seemingly inauspicious sign for many cultures especially the Chinese, the young artist employs the symbol of the crow to duly signify perhaps the inklings of death. The infinite pulse lines that run across the wood surface is abruptly hindered time and again by the crows, further establishing the fact that life is ever-changing, where we are often faced with challenges and hiccups along the way. Clearly reiterating his concept of impermanence in life, yet not centrally focused on the idea of death, the young artist creatively depicts the sustenance and beauty of life amidst all its challenges through various aesthetically pleasing works. This is duly substantiated through his award winnings and his first-ever solo show The Crow 2016.

Being the dedicated and committed artist that he is to push the boundaries of his art, the young artist’s works took on an alternate view through his newly launched series Transformation in 2017. Moving from the largely figurative works of his Crow series, Yin Wan’s Transformation series bore the markings of abstraction and minimalism. In his latest work Transformation XVII, the artwork is his first-ever carving on three-layered perspex. Faintly obscure and minute strokes adorn the perspex surfaces. Separately carved layers, Transformation XVII represents Yin Wan’s three-dimensional play with light and space. Seemingly simplistic yet with plentiful effort, Transformation XVII plays on our imagination as the work varies at every different turn. Duly supporting his concept of life’s impermanence, the application of abstraction and employment of perspex exhibit elements of uncertainty and anonymity.

A truly minimalistic work, Transformation XVII exudes versatility to sit in any individual space and yet is able to grant an alternate view with the changing light and times of day. It plays on one’s imagination that grants a wealth of possibilities, where things are ever changing and perhaps ever changing for the better. Reflecting conceptual abilities and clear creativity, it leaves one to wonder what stands waiting for this young award-winning artist in the times to come.


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Surrounded IAerosol Paint, Acrylic, Industrial Paint and Bitumen on Aluminium125cm x 95cm (with frame)2018

Firdaus Nordin

Surrounded IIAerosol Paint, Acrylic, Industrial Paint and Bitumen on Aluminium125cm x 95cm (with frame)2018

Surrounded I & II

Graduated from UiTM in 2017, young artist Firdaus Nordin carries with him a degree in fine art from the renowned art-centric institution. Primarily working on aluminium, the artist exemplifies skilful talent with use of mixed media. In his latest works Surrounded I & II, Firdaus takes on a socio-economic concept to his art as he speaks to the Malaysian heritage and society’s on-going struggle with the value of our home currency. Stretching across the aluminium piece of 4 feet by 3 feet each, Malaysian coins of both old and new are intricately laid out, duly overlapping. Coin after coin is repeatedly replicated throughout the works, thereby remarking on our never-ending and abundant need for money. To the right of the works, the figure of man stands bound and restrained, seemingly helpless.

Surrounded I & II highlights the struggle of fellow Malaysians towards the value of the Malaysian currency from decades before. In life, our lives are touched by the value of the currency as we require money in our everyday lives, be it for rent, food etc. For Firdaus, he shares and highlights what is real, what is truth…that one is never ever really free, there lies no such thing as complete freedom, as long as Man is bound by the need for money.


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Tajur Ikan - The Story Behind The Fish

Against the black wire mesh of the gallery, a fish seemingly alive, stands with mouth wide gaping as if gasping for air to nourish its skeletal form. Consisting 21 pieces of one feet by one feet wood planks, emerging artist Mohd Fairuz Paisan sculpts and pieces the skeletal fish to life with miniscule details of the living being. His latest artwork titled Tajur Ikan – The Story behind the Fish speaks to the makings of this emerging artist.

Securing his bachelor’s degree and Masters degree from UiTM in 2004 and 2014 respectively, Mohd Fairuz Paisan is no stranger to the local arts scene. With more than 15 years, the artist has been actively participating in art exhibitions across the country and neighbouring Indonesia. Clearly passionate in his choice of career, Mohd Fairuz is equally renowned for his artistic direction, having had secured various roles as art director for popular theme parks such as Legoland and mural projects both at home and abroad. His art portfolio encompasses primarily paintings and

Tajur Ikan - The Story Behind The FishAssemblage of Discarded used Wooden Planks and Mixed Media214cm x 92cm2018

Mohd Fairuz Paisan

mixed media works while public sculptures and theatre set designs further affirms his artistry and versatility. Following the footsteps of his grandfather who was a notable carpenter in his heyday, the artist slowly realised his love for woodwork. Through the years, Mohd Fairuz gradually gained foothold and prominence as he steadily groomed his woodworking skills via making frames and furniture.

Tajur Ikan – The Story behind the Fish is an artwork that stands close to the heart of the artist, it is an artwork

that not only speaks of Mohd Fairuz’s past yet hints on his future. Obsessed with textures and the versatility of wood as a medium, it has to be noted that all 21 pieces of used wooden planks are sought out personally by the artist, to symbolically illustrate his past. Use of the skeletal form of the fish is merely the artist’s conceptual hint of DNA, effectively remarking ‘the story behind the fish’ as a personal illustration of his past. Reminiscing his favourite pastime of fishing during his younger days, it was only apt that the fish was a befitting choice as a main subject matter for this work where his understanding of fishes would be naturally helpful in rebuilding the subject matter’s anatomy.

Coming from a long lineage of Minangkabau descent, Mohd Fairuz is effectively carrying forward the family tradition of carpentry. In his own artistic way, his portfolio of works is gradually gaining more form and recognition as he progressively exemplifies masterful woodworking skills. Quietly he shares, tajur ikan is a slang in Minangkabau for fishing.


Nor Tijan Firdaus

E-Batik

A native from Klang, Selangor, Nor Tijan Firdaus is quietly becoming a name to be reckoned with since her debut in 2015. Her innovative play with mixed media is steadily gaining recognition among her peers and collectors, duly acknowledging her as an up-and-coming contemporary artist in the local arts scene. Her artistic passion is undulatingly compelling as she is endlessly in search of new materials where mankind has left traces upon, in her attempt to connect personally with her audience.

Her latest repertoire of works deals with electronic waste (e-waste) where she aims to create awareness on the imminent dangers of the growing volumes of e-waste that our contemporary society is attributing to. In our contemporary era of today, we have frequently, on one occasion or perhaps many, consistently driven to upgrade our technological gadgets to the latest product in the market. This somewhat ego-centric pursuit of the latest technological gadgets has brought about an incessant disposal of e-waste on a daily basis, resulting in elated landfills of e-waste that now runs the danger of affecting our ecosystem negatively. Lack of proper disposal treatments for such e-waste induces the respective chemical toxins to seep into our ecosystem, consequently affecting our natural resources and our health.

Caring deeply for Mother Earth, it was certainly apt for the young artist to utilise e-waste for her art as she effectively connects with her audience in the contemporary society of today where one is so reliant on our technological gadgets. Exhibiting an alternative use of e-waste, Nor Tijan utilises a wide range of discarded electronic components ranging from resistors to transistors to capacitors and inductors amongst others to creatively fashion her latest work titled E-Batik. Concerned for her audience and collectors, it has to be noted that Nor Tijan attends to the cleaning of such discarded e-waste prior to usage. Almost never free from bruises and minor cuts, the young artist meticulously selects and cleans these electronic components to be free from toxin and to ensure the preservation of the artwork may be maintained.

In perpetuation to her existing repertoire of e-waste artworks, E-Batik stands as her latest affirmation to her Malay heritage as Nor Tijan fashions her own design of batik. Batik is a popular form of textile art in Malaysia with history that goes back to as far as 17th century. In her repeated use of e-waste, Nor Tijan addresses her contemporary audience of the possible alternate use of e-waste while duly exhibiting the possibilities of creating new forms and designs from rigid geometrical shapes of e-waste. In doing so, the young artist not only grants a new varied imagination for art lovers but concurrently addresses the social concerns of society today.

E- BatikE-waste on Wood Finished with 2K Matte Clear Epoxy Resin156cm x 65cm (with frame) 2018


Memorable Moment

Abstract and mysterious, young artist Chok Yue Zan’s latest artwork Memorable Moment just draws you in quiet contemplation of what is. Much akin to an aged parchment, figures take form in faint reminder of yesteryear’s film negatives where faces are unclear and devoid. Set against a scenic paradise, Memorable Moment is an artwork that all-encompasses the very being of artist Chok Yue Zan, of his past, his values, his upbringing, his cherished memories, the celebration of who he is today and the making of his future. Reminiscing a cherished moment in time, Memorable Moment overall captures the nostalgia of his childhood with his family portrait as the focus. Juxtaposed against a calming scenery with lush leaves cut flanked across the canvas, Memorable Moment paints the loving memory of Zan as a child with his parents, of days that once was. Abstract in nature and devoid of facial features, Zan mirrors his family portrait set in stone, fully hand-drawn in charcoal, thus duly asserting the strong familial ties of his family. With the passing of his grandparents, with whom Zan spent much of his childhood and the divorce of his parents, charcoal was an apt material of choice for Zan. Charcoal is a solid matter made from the burning of organic matters, does wither through time, thereby duly exerting that everything changes with time.

To Zan, his hometown of Tawau Sabah was clearly his paradise. Herein Memorable Moment, he reveals his fondness of his hometown and of his happy childhood

days. Painting a serene seascape background of lavender skies and clear blue waters, Zan pronounces an endearing emotion for his hometown where he grew up amidst the lush green landscapes. Projecting a semi three-dimensional effect, Zan paints layers and layers of acrylic paint across the canvas and skilfully carves leaves to further accentuate the lushness of his hometown in the yesteryears. Yet in deep scrutiny, sparse hairline cracks take form on canvas amidst the carved leaves, duly signifying the changing paradise for Zan as his grandparents’ land now makes way for development.

As the grand winner of 2017 UOB Painting of The Year competition within the emerging artist category, Zan thoroughly exhibits the makings of a promising young artist. Fresh from his first ever solo Retrospect of Paradiso 2018 at Art Porters Gallery in Singapore, Memorable Moment testifies to his innovative artistic skills as he applies relief cut and painterly techniques to strongly deliver his conceptual ideals all within a single artwork. While seemingly lost in the paradise of his yesteryears, Memorable Moment in fact further reinforces and forges his way forward as the artist to look out for, where Zan has masterfully testify to his effectiveness and ingenuity to wholly embrace his history, his values, strengths and weaknesses onto a single canvas to move forward to a greater future.

Aesthetically inviting, Memorable Moment serves more than a pretty picture, it serves as a sweet reminder of what once was, of the importance of strong familial ties, of nature’s beauty and comfort to one’s soul, of the cherished moments and values that shapes us to forge ahead for a better future.

Chok Yue Zan

Memorable MomentAcrylic, Charcoal and Oil on Canvas130cm x 120cm 2018


Flower Series

A Kelantanese by birth, artist Koo Yean Ni carries with her a varied portfolio of art ranging from paintings to mixed media to collage and embroidery artworks. Graduating from Dasein Academy of Art in 2015, her fine art diploma education has carried her far. In just three years after her graduation, she has a solo exhibition and numerous group exhibitions under her belt with mentions in various art competitions. Garnering the main prize for Petron Art Competition in 2015, her works have primarily been inspired by naïve art with the heavy influence of folk art.

Folk art is often more decorative than of pure aesthetic. It carries elements of naivety where proportions and perspective does not carry any central focus. In essence, folk art reflects a specific cultural identity through the sharing of community values and highlight their preferred mediums to showcase their beginnings as well as history. Passionate as she is, the young artist too spends her spare time in teaching art to the children, thereby enabling her to frequently connect with the child in her. As she indulges into the various aspects of children art where she teaches, Yean Ni’s imagination

and creativity blossoms. The art of Koo Yean Ni may be described as one-of-a-kind as she artistically showcases her cultural heritage in a supremely colourful and naïve manner.

Herein within her two paintings Two Blossom Flower and Three Blossom Flower, Yean Ni celebrates the power of the flower. Repetitive forms and patterns echo across the canvas, reflecting motives that are common in Malaysia. The flower, beautiful and serene, incites life. Our national flower, the hibiscus stands apparent and tall within the canvases. Faceless forms stand in familiar traditional dance while children joyfully engage in cheerful play as she hints on the communal and societal serenity across multi-cultural Malaysia. As she celebrates the beauty and essence of the flower, Yean Ni too satisfies her role as she effectively paints and artistically captures the cultural and natural heritage of multi-cultural Malaysia in keen vibrancy and versatility.

Having completed her solo exhibition The Colour of My Life in 2016, just a year after her graduation, young artist Yean Ni is gradually gaining prominence for her creative artistic mixture of somewhat native yet delightful compositions that speaks to audience of all generations. She has exhibited both locally and recently in Hong Kong as well as Shanghai China.

Koo Yean Ni

Top:Three Blossom Flower

Oil on Canvas92cm x 145cm

2017

Bottom:Two Blossom Flower

Oil on Canvas96cm x 140cm

2017


Yang

Hailing from Negeri Sembilan, young artist Hirzaq Harris has been actively involved in the local arts scene since his graduation with a fine arts honours degree from UiTM in 2010. An obvious talented painter, Hirzaq is no stranger to local art awards and in fact is a two-year consecutive Grand Prize winner for Nando’s Art Competition 2009 and 2010. Aside from this, he garnered top positions for Muzium Tokoh Johor and Maybank Art Competition while earning honourable mention for MRCB Art Awards. His painterly

skills are highly favourable, keenly exhibiting positive progress through the years. Hirzaq’s painting repertoire is extensive, further testifying to his impressive talent, as his range of painterly exercise ranges from figurative realism to mechanical to calligraphy to fantasy anime. Of notable commendation, Hirzaq’s most recognisable series of works would be his stamp series. Emulating an extensive theme to his stamp series, the young artist has broached on varied subjects from mechanical themes to national heritage themes of both local and abroad. Being

Hirzaq Harris

YangMixed Media on Canvas

122cm x 263cm(with frame)

2018

the Malaysian that he is, the young artist too showcases the multi-cultural and multi-religious influences of our fellow Malaysians where he often innovatively adopts iconography into his art to effectively address his audience.

To this effect, Hirzaq paints the renowned symbolic icon of a dragon within his latest work titled Yang. Aptly titled, this latest painting clearly exudes masculinity and dominance throughout the canvas. In Chinese tradition, yang is associated with positivity, brightness, passion and growth as opposed to yin that hints on femininity, darkness and

of calming essence. The icon of the mythical beast of a dragon was a clear choice. In all its regal and commanding stature, the dragon is strong, fiery, dominant and aggressive, thereby accurately reflecting all the keen masculine qualities of Man and attributing to the yang element. Pearls rest alongside the mythical dragon, duly signifying the fiercely protective elements of the male species. A significant icon on its own, the precious stones of pearls have been symbolically recognised as spiritual energy, prosperity as well as immortality. In repeating the iconic subjects within the painting, Hirzaq clearly celebrates the dynamic forms and elements of the dragon and pearls, of its positive qualities and treasured elements. In summary, Yang is a befitting painting that exudes positive energy of passion and dominance while subtly hints on the protective charms for what we hold dear.

With his first solo Mission held at Chandan Gallery in 2014, at mere 27 years of age then, Hirzaq Harris exemplifies the makings of a promising artist through his notable painterly skills and varied conceptual ideas. Collected locally and abroad, Hirzaq’s artworks remain in stables of royal and institutional patrons. In the dynamicity of his painting Yang and the universal principle of yin-yang balance, we are left in wonder and curious anticipation if yin will be next in line...

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