c 2009 carimasajalantukar and the artists
Sabri Idrus
Keroncong Series (revisited)
Since the beginning of his career, for Sabri, art is a way of life, along
with all its complexities. His belief in art making, especially paintings
as an inherent social process that submerged him in technical and
material advancement through experiments. By this, increases his
sensitivity in the visual language and other artistic possibilities.
Initially trained as a graphic designer, Sabri embarked on a life
long search in his creative direction, and had experienced a very
significant change in his journey of self-discovery. What he usually
regarded as his secondary interests, i.e. graphic design and digital
prints, have significantly contributed to his process in mastering his
own visual language. The elements of balance and surprises,
discovered through the exploration of contrasts, an aesthetic
strategy he often used with his digital sketches merged into a kind
of extrasensory mechanism that usually works efficiently for his later
development of works on canvas.
One thing that attracted Sabri were the experiments in basic
elements; playing around with lines, space, volumes and colors.
These basic elements were always being put into tests in his works;
considering the notion that meaning within those elements are
complex, slippery, multifaceted and indeterminate. Parallel to this,
Sabri also often uses paint as paint, colors as colors and forms as
forms. Most revealing about his approach in creating his progressive
body of works is the fostering inscrutability for aesthetic reasons.
From his vantage point of view on aesthetic obscurantism, missing
or indefinable knowledge is seen as simply another aspect of his
works’ inherent “incompleteness”; an open-ended approach that
allows him to flexibly take them to another level for further
development.
Sabri’s interests in those obscurantism lies in his details of
creating marks and prints of in-between spaces, tension voids,
jagged edges, the tension of the transition during the process of
making and moments that are frozen and captured within different
strategic operations. His anxiety in experiencing surprises during his
process holds both excitement and also danger. This risk had cost
him a lot in the production of his works, but at the same time
making Sabri being more ready and open towards the inevitable
consequences. It is a bittersweet comfort in his tendency in
liberating painting from cliché narrative and forced meanings.
This series of digital prints are sets of revisited works from his
previous paintings, captured and manipulated digitally into
fragments of repetitive patterns. This series of ‘seductively’
composed patterns are his exploration in making marks through the
process of layering, embedding, contrasting and so on in order to
produce something that is almost impossible to achieve in
conventional paintings. In the process of producing works that are
regarded as contemporary, Sabri uses digital technology, combined
with skillful photography and painting works to celebrate the
existentialism of his development of work through the acts of
exploration, research, finding and data recording.
Nasir Baharuddin
Art+Tecture(s)
Nasir strongly believes in discovery of living systems theory, which
he derived from exploring the world of philosophy, literature and
the sciences. His purpose in this journey is to structure the law of
natural systems through their scientific decoding into works of art.
His previous paintings often try to discover a minimalist form-world
of signs as distinct shapes and points, as they are enigmatic in their
content. In addition to his ideas are proposals on the advancement
of language on visual systems and its content using geometrical rules
and methodologies.
His studies put forth the idea of natural and living systems,
which are constructed based on abstracting calculation and matrix of
knowledge as a visual phenomenon or object. Derived from the
theory of the occurrence of objects, a psychological approach that
includes human anxiety, eccentricity, imagination, reality and
between conscious and subconscious phenomenon were
constructed. These analyses indicate the process of natural and
living systems - the self organizing systems, consisting nature
abstraction that transform into basic knowledge and law of existence
to all the visual phenomena and human creation.
His philosophical attitudes that are inattentive to the values and
needs for spirituality have paved alternative scientific approaches to
visual interpretation. The intent of all of these acts in the production
of his works is actually an act of obedience, purification,
improvement and enlightenment to the heart. “Prosperous is he
who purifies it” (Quran, 91:9). These acts are to achieve the
illumination of faith in what he is doing, which means the shining of
the light of knowledge. His mind has always been attracted to the
mathematical sciences in accordance with the “abstract” character of
the doctrine of Oneness (Tawhid), which lies from the law of natural
systems, where uniformity within multiplicity is the characteristic in
regard to time and space.
Art+Tecture(s) are photographic works that communicate the
architectural representation of beauty - holistically and mystically.
The dynamism and provocative moment of the architectural pieces
are captured in a dynamic perspective convention. Spatial
interaction, either visible or not, as Rudolph Arnheim says: “the
world of images does not simply imprint itself upon a faithfully
sensitive organ”. Rather, in looking at an object, we try to reach out
on it. We move through space around us, go out to distant places
where things are found, touch them, catch them, scan their surfaces,
trace their borders, measure their lines and so on. It is an eminently
active occupation.
The work of lenses and filters emphasize on angles that create
their exterior monologue of the living space and meaning - a visual
paradox within the emptiness and natural objects. The architectural
structure describes underlying cognitive processes, influencing
human perception on natural environment. Though these
photographs could not easily have envisaged outside the parameters
of images, the parameters of the frozen moments are results of
operations that provoke to elucidate his intention on this series of
works.
Hafiz Amirrol Information, orders and enquiries
Measuring Series

Hafiz is an architect working in the field of humanitarian works and AnaWorks Sdn Bhd (Norhana Yunos)
academic research. Fascinated by the aesthetics of visual encounters 51A, Jalan SS 2/30
and the personal radiance of human existence, Hafiz has placed the 47300 Petaling Jaya
main focus of his works on social and contextual issues and Selangor, Malaysia
humanity. He also sees design as being sexy, playful and provocative T +6 (012) 345 8642
as an effective way to respond to social change and declared that E norhana@gmail.com
architecture as a very powerful tool for humanity.
The Measuring Series are attempts to communicate architectural
visual encounters within a certain journey through the process
which involve gathering historical, strategic, political or other All artworks measures 30” x 30” (76.2cm x 76.2cm)
datasets and redefining the territory through particular terms, Digitally manipulated photographs,
expanded upon specific themes based on findings from his earlier collage, and drawings
investigations. These investigations through his earlier works were
testimonies against the conventional techniques of drawings, Acknowledgement
diagrams, models, collage and photography at differing scales. These
representations combined planometric, sectional and Poland Embassy in Malaysia and
three-dimensional drawings as temporal techniques – which are Malaysia Poland Business Association
represented in a more innovative and provocative manner.
 PREVIEW SHOW Art Residency and
Cultural Exchange Program

Keroncong Series (revisited): This Art Residency Program will function as an

international laboratory for research, education
01.Masa Satu and development in art, architecture and
02.Masa Dua urbanism. Bridging fine arts and architecture
through the academic education and research with
03.Masa Tiga professional acuity, it is hoped that this proposed
04.Masa Empat program will help in the production and
development of innovative knowledge that is
05.Masa Lima applicable to fine arts and architectural practice
06.Masa Enam as part of a transnational discourse and culture
interaction. Participants for this proposed
07.Masa Tujuh Residency Program in Poland will pursue
08.Masa Lapan extensive research into the processes of
understanding the social-cultural-economic
09.Masa Sembilan context of Poland, seen from the eyes of
10.Masa Sepuluh Malaysians. Through investigative, experimental
and speculative research process, the aim of this
Art+Tecture(s): intensive program is to advance research related
11.Threshold of the Invisible to arts, architecture and urbanism of Poland and
Malaysia by connecting participants to the real
12.Monastic Odyssey conditions of both worlds. These experience and
13.Enfilade Dissolution understanding are soon to be shared with public
and others through progressive post-residency
14.After Image activities. The participants which consists of two
15.Ludic Tension fine artists from various discipline and experience,
joined together with one architect and one art
16.Only Halfway Escape manager, who share the same vision towards a
Measuring Series: progressive art, architecture and urbanism sees
this Residency Program in Poland as a platform
17.Measures of Control towards defining what art and architecture can
18.Measures of Cut contribute towards the social and cultural
advancement of Malaysia. This Residency
19.Measures of in Between Program also aspires to initiate a transformative
20.Measures of Balance impact on the art and built environment by
producing polemical art and architectural
research understanding through the production of
artworks, research papers, reports and others.