Syed Fakaruddin
Still life Vase with fourteen sunflowers (After Van Gogh)
Syed Fakaruddin
90 x 60cm
Acrylic on Canvas
2025
Still life Vase with fourteen sunflowers (After Van Gogh)
Syed Fakaruddin
90 x 60cm
Acrylic on Canvas
2025
Still life Vase with twelve sunflowers (After Van Gogh)
Syed Fakaruddin
90 x 60cm
Acrylic on Canvas
2025
Still life Vase with twelve sunflowers (After Van Gogh)
Syed Fakaruddin
90 x 60cm
Acrylic on Canvas
2025
Breakfast
Syed Fakaruddin
122 x 122cm
Acrylic on Canvas
2025
Each component speaks for itself “Celebrating Diversity” in the most familiar way.
The colours show harmony, the lines reveal complexity and the composition reflects the hard work, unity and patriotic spirit required to uphold the Merdeka we cherish today.
A fitting tribute to the spirit of Merdeka Month, through something as humble yet powerful as breakfast.
Breakfast
Syed Fakaruddin
122 x 122cm
Acrylic on Canvas
2025
Each component speaks for itself “Celebrating Diversity” in the most familiar way.
The colours show harmony, the lines reveal complexity and the composition reflects the hard work, unity and patriotic spirit required to uphold the Merdeka we cherish today.
A fitting tribute to the spirit of Merdeka Month, through something as humble yet powerful as breakfast.
50°55'43''S 73°07'20''W (Arch)
Syed Fakaruddin
152.5 x 152.5cm
Acrylic on Canvas
2024
Artist Statement
50°55’43”S 73°07’20”W, point to Torres del Paine National Park in the Magallanes Region of Chile. Torres del Paine is renowned for its stunning landscapes, including granite peaks, glaciers, lakes, and rivers. It’s a popular destination for hiking, trekking, and outdoor adventure, attracting visitors from around the world. The park is located in the southernmost part of Chilean Patagonia and offers breathtaking scenery that includes the iconic towers (torres) that give the park its name.
32°45'33''N 16°57'30''W (Candle)
Syed Fakaruddin
122 x 122cm
Acrylic on Canvas
2024
Artist Statement
Candle (32°45’33”N 16°57’30”W): The title “Candle” evokes a sense of illumination or light. Symbolic rocks balancing could represent finding balance in the gentle glow of enlightenmen
7°56'26''S 112°57'17''E (Arch)
Syed Fakaruddin
100 x120cm
Acrylic on Canvas
2024
Artist Statement
Syed Fakaruddin’s latest series features wireframe paintings inspired by virtual explorations on Google Maps during a period of isolation.
His technique combines gradient washes, acrylic lines, and vibrant neon layers, influenced by synthwave music. The artworks reinterpret landscapes, transforming everyday objects into vibrant forms.
'Nothing but I love it' (Front)
Syed Fakaruddin
61 x 61cm
Oil & Acrylic on Canvas
2025
'Nothing but I love it' offers a nuanced portrayal of Kuala Lumpur by presenting two contrasting perspectives. The front view highlights the city's density, architectural diversity, and cultural richness, celebrating its vibrancy and allure. In contrast, the rear view reveals a hollow structure, symbolizing the challenges of urbanization, such as feelings of isolation or disconnection among long-term residents. This juxtaposition suggests a subtle critique of urbanization's impact, reflecting both admiration for the city's progress and concern for its societal implications.
'Nothing but I love it' (Front)
Syed Fakaruddin
61 x 61cm
Oil & Acrylic on Canvas
2025
'Nothing but I love it' offers a nuanced portrayal of Kuala Lumpur by presenting two contrasting perspectives. The front view highlights the city's density, architectural diversity, and cultural richness, celebrating its vibrancy and allure. In contrast, the rear view reveals a hollow structure, symbolizing the challenges of urbanization, such as feelings of isolation or disconnection among long-term residents. This juxtaposition suggests a subtle critique of urbanization's impact, reflecting both admiration for the city's progress and concern for its societal implications.
'Nothing but I love it' (Back)
Syed Fakaruddin
61 x 61cm
Oil & Acrylic on Canvas
2025
'Nothing but I love it' offers a nuanced portrayal of Kuala Lumpur by presenting two contrasting perspectives. The front view highlights the city's density, architectural diversity, and cultural richness, celebrating its vibrancy and allure. In contrast, the rear view reveals a hollow structure, symbolizing the challenges of urbanization, such as feelings of isolation or disconnection among long-term residents. This juxtaposition suggests a subtle critique of urbanization's impact, reflecting both admiration for the city's progress and concern for its societal implications
'Nothing but I love it' (Back)
Syed Fakaruddin
61 x 61cm
Oil & Acrylic on Canvas
2025
'Nothing but I love it' offers a nuanced portrayal of Kuala Lumpur by presenting two contrasting perspectives. The front view highlights the city's density, architectural diversity, and cultural richness, celebrating its vibrancy and allure. In contrast, the rear view reveals a hollow structure, symbolizing the challenges of urbanization, such as feelings of isolation or disconnection among long-term residents. This juxtaposition suggests a subtle critique of urbanization's impact, reflecting both admiration for the city's progress and concern for its societal implications