CONFIGURATION: PARALLEL UNIVERSE

A Group Exhibition

5 - 19 August 2017

G13 Gallery proudly present its thematic exhibition entitled ‘Configuration: Parallel Universe’, a fifth edition adding to the series. The exhibition will run from 5 to 19 August 2017 with an opening reception on Saturday, 5 August, from 8.00 p.m. onward. Configuration: Parallel Universe featuring new works from 11 selected artists of the region – Malaysia, Philippines, Indonesia and Thailand, each with their distinctive style and approach. The list of participant artist in the exhibition, namely Umibaizurah Mahir, Gan Chin Lee, Cheong Tuck Wai, Fadilah Karim, Hisyamuddin Abdullah, Gan Sze Hooi, (Malaysia) Valerie Chua ( Philippine ), Lampu Kansanoh, Palut Marod, Jamon Nimnark ( Thailand ) and Valdo Manullang (Indonesia), is a leading talent of their generation.

As the title, ‘Configuration’, literally translated as ‘an arrangement of parts or elements in a particular form, figure, or combination’, the exhibition intended to yield a range of attitudes tackling on figurative art. Unlike the previous Configuration series, the theme and direction for this upcoming exhibition revolves around the idea of a ‘parallel universe’, by which can be emphasized through a surrealistic approach, dystopian-esque, and dreamscape or simply put, ‘out of the world’.

‘Surreal’ often used loosely to informed ‘dreamlike’ and ‘strange’ attribute, it is not to be associated with ‘surrealist’ which related to the philosophy and manifestations of surrealist movement. Contemporary attitude towards surreal often retrospectively envisioning self either in mythological past or imagined future. In the face of cultural hegemony, unbounded excessive communication, and constant screening of images, boundary between the real and fiction are blurred, often mixed up both imagined and reality. Irrational becoming rational, and life becoming surreal. Configuration: Parallel Universe touching on a different view, either personal or collective. The artworks include in this series yield various entry point such as mythology to popular culture. The selection of artist in this exhibition further examine a common denominator in which describing a pattern of behavior while approaching ‘surreal’ subject in the region.

G13 Gallery continue its effort to promote and presenting local and regional artist by hosting series of exhibitions. ‘Configuration’ purposely to elevate quality of Malaysian art while being a platform to support local and regional art scene.

City Tales I 驚⼸弓之⿃鳥

City Tales I 驚⼸弓之⿃鳥

Gan Chin Lee
122 x 86.4cm
Oil on Linen
2015

City Tales I 驚⼸弓之⿃鳥

Gan Chin Lee
122 x 86.4cm
Oil on Linen
2015

Artist Statement

(Metaphorical) A bird startled by a mere twang of a bowstring.
(Literal) Having once suffered a bad fright, to startle at something small

Public social issues that are currently happening in Malaysia today inform the narrative of the series
City Tales. The main inspiration to develop this body of work comes after viewing the Chronicles of Crime (2006) series by Malaysian artist Wong Hoy Cheong, but I attempt to focus on the everyday public concerns such as the bothersome traffic jam issue, the recurring haze problem and public protests such as the Bersih rally.
I am constantly trying to enrich my social realist painting practice and there is no exception when I
was developing these works. I have studied and absorbed the formality of Chinese wood engraving and Japanese ukiyo-­‐e and applied them when constructing the formal structure of these paintings. I have always admired how those Eastern traditional painters and print-­‐makers used humor to not only record social observations, but simultaneously made sarcastic comments through the visuals of the depictions of the everyday. In this body of work, I attempt to combine formal and visual elements of Chinese wood engraving and ukiyo-­‐e together with western influenced genre of art that I have been accustomed to.
I believe this combination would accentuate the uniqueness of the visuals and allude to the hybridity
of my identity as I have been actively absorbing multiple cultural sources growing up. Furthermore, have titled pieces in this series with Chinese idioms, Malay peribahasa and English phrases, to echo our complex daily experience living in a multilingual nation.

City Tales II 百無聊賴

City Tales II 百無聊賴

Gan Chin Lee
122 x 86.4cm
Oil on Linen
2016

City Tales II 百無聊賴

Gan Chin Lee
122 x 86.4cm
Oil on Linen
2016

Artist Statement

(Metaphorical) To be without spiritual sustenance.
(Literal) Bored to death.

Public social issues that are currently happening in Malaysia today inform the narrative of the series
City Tales. The main inspiration to develop this body of work comes after viewing the Chronicles of Crime (2006) series by Malaysian artist Wong Hoy Cheong, but I attempt to focus on the everyday public concerns such as the bothersome traffic jam issue, the recurring haze problem and public protests such as the Bersih rally.
I am constantly trying to enrich my social realist painting practice and there is no exception when I
was developing these works. I have studied and absorbed the formality of Chinese wood engraving and Japanese ukiyo-­‐e and applied them when constructing the formal structure of these paintings. I have always admired how those Eastern traditional painters and print-­‐makers used humor to not only record social observations, but simultaneously made sarcastic comments through the visuals of the depictions of the everyday. In this body of work, I attempt to combine formal and visual elements of Chinese wood engraving and ukiyo-­‐e together with western influenced genre of art that I have been accustomed to.
I believe this combination would accentuate the uniqueness of the visuals and allude to the hybridity
of my identity as I have been actively absorbing multiple cultural sources growing up. Furthermore, have titled pieces in this series with Chinese idioms, Malay peribahasa and English phrases, to echo our complex daily experience living in a multilingual nation.

City Tales III ⼼心驚⾁肉跳

City Tales III ⼼心驚⾁肉跳

Gan Chin Lee
122 x 86.4cm
Oil on Linen
2016

City Tales III ⼼心驚⾁肉跳

Gan Chin Lee
122 x 86.4cm
Oil on Linen
2016

Artist Statement

(Metaphorical) One’s heart trembles and one’s flesh quakes
(Literal) Extremely frightened and upset.

Public social issues that are currently happening in Malaysia today inform the narrative of the series
City Tales. The main inspiration to develop this body of work comes after viewing the Chronicles of Crime (2006) series by Malaysian artist Wong Hoy Cheong, but I attempt to focus on the everyday public concerns such as the bothersome traffic jam issue, the recurring haze problem and public protests such as the Bersih rally.
I am constantly trying to enrich my social realist painting practice and there is no exception when I
was developing these works. I have studied and absorbed the formality of Chinese wood engraving and Japanese ukiyo-­‐e and applied them when constructing the formal structure of these paintings. I have always admired how those Eastern traditional painters and print-­‐makers used humor to not only record social observations, but simultaneously made sarcastic comments through the visuals of the depictions of the everyday. In this body of work, I attempt to combine formal and visual elements of Chinese wood engraving and ukiyo-­‐e together with western influenced genre of art that I have been accustomed to.
I believe this combination would accentuate the uniqueness of the visuals and allude to the hybridity
of my identity as I have been actively absorbing multiple cultural sources growing up. Furthermore, have titled pieces in this series with Chinese idioms, Malay peribahasa and English phrases, to echo our complex daily experience living in a multilingual nation.

Stylist Daddies

Stylist Daddies

Lampu Kansanoh
120x120cm
Oil on Linen
2017

Stylist Daddies

Lampu Kansanoh
120x120cm
Oil on Linen
2017

Artist Statement

Love is universal. Maybe the warmth from family could not be perfect by   physical, but it could be complete by love. No matter what is your gender, we all need love from somebody and also need to give love to somebody.

This century in my country, most people accept gays and lesbians more then they did in the last ten years. Some family don’t think that you should tell anyone that you are gay. One of my friends dad is gay. A lot of people thought he might have some problems with his life, instead he had been taken good care of, with warmth and love. He understands his dad, and his family now is close and happier than ever before.

Peculiar of gender. 10 years ago people were not happy with this kind of lifestyle, but now they are little more use to it. Although we love someone of the same gender, the truth is that love has nothing to do with gender. “Love is possible in everyone’s life.”

Walking Home With Mommies

Walking Home With Mommies

Lampu Kansanoh
120x120cm
Oil on linen
2017

Walking Home With Mommies

Lampu Kansanoh
120x120cm
Oil on linen
2017

Artist Statement

Love is universal. Maybe the warmth from family could not be perfect by   physical, but it could be complete by love. No matter what is your gender, we all need love from somebody and also need to give love to somebody.

This century in my country, most people accept gays and lesbians more then they did in the last ten years. Some family don’t think that you should tell anyone that you are gay. One of my friends dad is gay. A lot of people thought he might have some problems with his life, instead he had been taken good care of, with warmth and love. He understands his dad, and his family now is close and happier than ever before.

Peculiar of gender. 10 years ago people were not happy with this kind of lifestyle, but now they are little more use to it. Although we love someone of the same gender, the truth is that love has nothing to do with gender. “Love is possible in everyone’s life.”

Dark Angle 1

Dark Angle 1

Palut Marod
120x120cm
Oil on Linen
2017

Dark Angle 1

Palut Marod
120x120cm
Oil on Linen
2017

Artist Statement

In this series of work, I look at the world from a different dimension. I compare humanity and nature by using symbolism such as flowers to refer to the complexity in the layers of our society. The advancement in technology and materials continue to offer convenience to mankind, but in reverse, we are deteriorating spiritually. We tend to lose the equilibrium which can be easily clouded with fear and loneliness. In some way, people are lost and in much need for a new hope to gain back their inner balance. Yet, we don’t know what that ‘hope’ is.

Dark Angle 2

Dark Angle 2

Palut Marod
120x120cm
Oil on Linen
2017

Dark Angle 2

Palut Marod
120x120cm
Oil on Linen
2017

Artist Statement

In this series of work, I look at the world from a different dimension. I compare humanity and nature by using symbolism such as flowers to refer to the complexity in the layers of our society. The advancement in technology and materials continue to offer convenience to mankind, but in reverse, we are deteriorating spiritually. We tend to lose the equilibrium which can be easily clouded with fear and loneliness. In some way, people are lost and in much need for a new hope to gain back their inner balance. Yet, we don’t know what that ‘hope’ is.

Flipping House I

Flipping House I

Gan Sze Hooi
91.5x122cm
Oil on Canvas
2017

Flipping House I

Gan Sze Hooi
91.5x122cm
Oil on Canvas
2017

Artist Statement

“Hugh Everrett III proposed a controversial interpretation of quantum mechanics in which every possible forking of every possible path is realized in its own separate universe. Today it’s known as the many worlds interpretation. The multiverse theory inspired me that a house in my imagination is flipping like a coin. I am trying to reveal both sides of consciousness. One portrays a proper healthy body and the other reflects a poor death skeleton.” –Gan Sze Hooi

Flipping House II

Flipping House II

Gan Sze Hooi
91.5x122cm
Oil on Canvas
2017

Flipping House II

Gan Sze Hooi
91.5x122cm
Oil on Canvas
2017

Artist Statement

“Hugh Everrett III proposed a controversial interpretation of quantum mechanics in which every possible forking of every possible path is realized in its own separate universe. Today it’s known as the many worlds interpretation. The multiverse theory inspired me that a house in my imagination is flipping like a coin. I am trying to reveal both sides of consciousness. One portrays a proper healthy body and the other reflects a poor death skeleton.” –Gan Sze Hooi

Magic 1

Magic 1

Jamon Nimnark
80x80cm
Oil on Linen
2017

Magic 1

Jamon Nimnark
80x80cm
Oil on Linen
2017

Artist Statement

The human soul is like pure crystal that is not only beautiful but also fragile; yet such beauty can sometime be mistaken for fake illusion and it is difficult to tell which is real and which is not.

Magic 2

Magic 2

Jamon Nimnark
80x80cm
Oil on Linen
2017

Magic 2

Jamon Nimnark
80x80cm
Oil on Linen
2017

Artist Statement

The human soul is like pure crystal that is not only beautiful but also fragile; yet such beauty can sometime be mistaken for fake illusion and it is difficult to tell which is real and which is not.

My Father Weight ( After Bernin )

My Father Weight ( After Bernin )

Valerie Chua
101 x 76cm
Oil on Canvas
2017

My Father Weight ( After Bernin )

Valerie Chua
101 x 76cm
Oil on Canvas
2017

Artist Statement

By using historical archive as the starting subject matter for my work, I replicate the process of how a person perceives information that is distant and unfamiliar to him through painting. Events in history whether factual or fictitious contain gaps in the delivery. Taking into example myths and oral tradition, information is added or reduced as it is rewritten and retold, either from the point of view of the victor or the common folk. As an outsider of particular civilizations (for instance, the West), of certain time frames, or of certain figures, we attempt to connect and understand what is made available to us, without us being there, or without us knowing whom exactly is being talked of. As a result, I paint the thought process of a person when he rebuilds historical information in his mind. We romanticize information in order to make sense of data that is distant from us. We also create metaphors in order to upraise our beliefs and our sense of self. This way of embellishing information, whether intentional or not, brings comfort to us and gives satisfaction to our desire to complete to what is missing. In consequence, despite how ideal it is to romanticize, it cannot be done without breaking parts of the original content.

My Second Labor

My Second Labor

Valerie Chua
101x76cm
Oil on Canvas
2017

My Second Labor

Valerie Chua
101x76cm
Oil on Canvas
2017

Artist Statement

By using historical archive as the starting subject matter for my work, I replicate the process of how a person perceives information that is distant and unfamiliar to him through painting. Events in history whether factual or fictitious contain gaps in the delivery. Taking into example myths and oral tradition, information is added or reduced as it is rewritten and retold, either from the point of view of the victor or the common folk. As an outsider of particular civilizations (for instance, the West), of certain time frames, or of certain figures, we attempt to connect and understand what is made available to us, without us being there, or without us knowing whom exactly is being talked of. As a result, I paint the thought process of a person when he rebuilds historical information in his mind. We romanticize information in order to make sense of data that is distant from us. We also create metaphors in order to upraise our beliefs and our sense of self. This way of embellishing information, whether intentional or not, brings comfort to us and gives satisfaction to our desire to complete to what is missing. In consequence, despite how ideal it is to romanticize, it cannot be done without breaking parts of the original content.

Run, run, run, run away from the deserted island

Run, run, run, run away from the deserted island

Cheong Tuck Wai
100x150cm
Image transfer, burnt effect, acrylic on no-woven fabric and canvas, latex & rabbit glue, gloss gel finishing
2017

Run, run, run, run away from the deserted island

Cheong Tuck Wai
100x150cm
Image transfer, burnt effect, acrylic on no-woven fabric and canvas, latex & rabbit glue, gloss gel finishing
2017

Artist Statement

Memory and reality are often have a gap, and may even be our fantasy. We will certainly miss the part of memory, and then we will imagine to add these missing areas, such as the deletion or creation does not belong to our memory fragments to get the results we want. This is the traces of memory after precipitation. Whether it is consistent with reality is not the most important, it is “a unique combination of interpretation or misunderstanding.” Through this process, we can find a different daily life, which may be in order to change the reality of cruelties life.

This creative way expresses a brief private moment and memorable memories, creating a close connection between abstract and concrete narrative notes and pure views, past and present, shaping the silence of time and space.

Run, run, run, run away from the deserted island!
Don’t stay here! You have no friend here!
It isn’t a place to settle!
Be careful of this soul-feeding monster!
It is not only roaming in your place!
Civilization is more terrible than the monster!
It’ll makes your soul to sacrifice!
Run, run, run, run away from this island!
Flee to the heaven!

This is your ride Welcome to my playground

This is your ride Welcome to my playground

Cheong Tuck Wai
113x150cm
Image transfer, burnt effect, acrylic on no-woven fabric and canvas, latex & rabbit glue, gloss gel finishing
2017

This is your ride Welcome to my playground

Cheong Tuck Wai
113x150cm
Image transfer, burnt effect, acrylic on no-woven fabric and canvas, latex & rabbit glue, gloss gel finishing
2017

Artist Statement

children who are lucky enough to survive the war will most likely be accompanied by long shadows for the rest of their lives. People would find that they rarely smile. They were eager to stay away from war. They resorted to some simple recreational venues in their living area, such as swing or carousel to play with. During this short span of time playing, they will reveal a smile, maybe.

“You are riding on my golden horse, where do you want to go?”
“I’m looking for my doll, its a gift from my father.”
“I miss my mom, my brother said she is in the heaven.”
“I’m going to pick up my sister from school.”
“We’re leaving soon.”
“I am starved for sometime.”
“I’m looking for my smile.”
“Well, welcome to my playground.”
“Does it really take me to go somewhere?”
“Ride and you’ll know.”

Scales u to Hell

Scales u to Hell

Valdo Manullang
180 x 140cm
Charcoal on canvas
2016

Scales u to Hell

Valdo Manullang
180 x 140cm
Charcoal on canvas
2016

Shake u to Hell

Shake u to Hell

Valdo Manullang
180x140cm
Charcoal on canvas
2016

Shake u to Hell

Valdo Manullang
180x140cm
Charcoal on canvas
2016

"Young Boy" turun padang I

Hisyamuddin Abdullah
152.5x122cm
Oil on Canvas
2017

"Young Boy" turun padang I

Hisyamuddin Abdullah
152.5x122cm
Oil on Canvas
2017

Artist Statement

“The catchphrase ‘YB turun padang’ is synonymous especially when party campaign kicks in right before the Election Day whereby most politicians are often seen in public, shaking hands, seemingly interested with everything while spreading their sugarcoated manifestos, promising a better change for the people. ‘Young Boy Turun Padang’ is my satirical view responding to the local political scenario.” –Hisyamuddin Abdullah

"Young Boy" turun padang II

Hisyamuddin Abdullah
152.5 x 122 cm
Oil on Canvas
2017

"Young Boy" turun padang II

Hisyamuddin Abdullah
152.5 x 122 cm
Oil on Canvas
2017

Artist Statement

“The catchphrase ‘YB turun padang’ is synonymous especially when party campaign kicks in right before the Election Day whereby most politicians are often seen in public, shaking hands, seemingly interested with everything while spreading their sugarcoated manifestos, promising a better change for the people. ‘Young Boy Turun Padang’ is my satirical view responding to the local political scenario.” –Hisyamuddin Abdullah

Vertical limit

Vertical limit

Fadilah Karim
149x100cm
Oil on Linen
2017

Vertical limit

Fadilah Karim
149x100cm
Oil on Linen
2017

Leap of Faith

Leap of Faith

Fadilah Karim
150x150cm
Oil on Linen
2017

Leap of Faith

Fadilah Karim
150x150cm
Oil on Linen
2017

The Perch 'Love' #1

The Perch 'Love' #1

Umibaizurah Mahir
W-20cm D-27cm W- 53.5cm
Ceramic & mixed media
2014-17

The Perch 'Love' #1

Umibaizurah Mahir
W-20cm D-27cm W- 53.5cm
Ceramic & mixed media
2014-17

The Perch 'Love' #2

The Perch 'Love' #2

Umibaizurah Mahir
W-14.5cm D-26cm W- 55cm
Ceramic & mixed media
2014-17

The Perch 'Love' #2

Umibaizurah Mahir
W-14.5cm D-26cm W- 55cm
Ceramic & mixed media
2014-17

Click to view Artist Profile

  • Valdo Manullang
  • Valerie Chua
  • Jamon Nimnark
  • Palut Marod
  • Lampu Kansanoh
  • Gan Chin lee
  • Umibaizurah Mahir
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