WABAK

GO BLOCK, The Expanded Contemporary Printmaking

10 - 28 November 2020

G13 Gallery is pleased to announce its upcoming group exhibition which comprised of five printmaking practitioners namely Juhari Said, Shahrul Jamili, Samsudin Wahab, Faizal Suhif, and Tisna Sanjaya. Departing from the conventional way of printmaking, the concept of the exhibition is to reintroduce innovative takes on printmaking art and to see how far these implementations can evolve.

GO BLOCK is a collective movement of several alternative printmakers who strive to push further the development of its discipline to the next level. For this exhibition, five of them are involved in this collaborative project with G13 gallery. GO BLOCK is more than just a movement –– it is an idea that is fluid in terms of its movement and dynamism of its practice. GO BLOCK was created several years ago and it aims to stay relevant and impactful for a long time to come

Seniman yang Dilupakan, Object of Printmaking

Seniman yang Dilupakan, Object of Printmaking

Juhari Said
Seniman yang Dilupakan, Object of Printmaking
Variable Dimension
Washi, Kuih dan Fibre
2020

Seniman yang Dilupakan, Object of Printmaking

Juhari Said
Seniman yang Dilupakan, Object of Printmaking
Variable Dimension
Washi, Kuih dan Fibre
2020

Hermit

Hermit

Juhari Said
79x98cm
Woodblock & Woodcut on Washi
2020

Hermit

Juhari Said
79x98cm
Woodblock & Woodcut on Washi
2020

Paradiso

Paradiso

Juhari Said
48x59cm
Woodcut on Washi
2020

Paradiso

Juhari Said
48x59cm
Woodcut on Washi
2020

Serangga Malam

Serangga Malam

Juhari Said
45x25cm
Woodblock & Woodcut on Washi
2020

Serangga Malam

Juhari Said
45x25cm
Woodblock & Woodcut on Washi
2020

Dinihari

Dinihari

Juhari Said
48x20cm
Woodblock & Woodcut on Washi
2020

Dinihari

Juhari Said
48x20cm
Woodblock & Woodcut on Washi
2020

Menuju Cahaya

Menuju Cahaya

Faizal Suhif
Variable Dimension
Sandpaper Origami
2020

Menuju Cahaya

Faizal Suhif
Variable Dimension
Sandpaper Origami
2020

Artist Statement

Inspired by the movements of winged termites hurtling towards the light, this installation is a parable of the industrious life of humans chasing the temporary world. Perhaps it is the faithful, experienced and the wise ones who will find the truth in life, and not the ones who linger like the termites in the sky…

Bicara pohon I

Bicara pohon I

Faizal Suhif
152x152cm
Monoprint & Stencil on Canvas
2020

Bicara pohon I

Faizal Suhif
152x152cm
Monoprint & Stencil on Canvas
2020

Bicara Pohon II

Bicara Pohon II

Faizal Suhif
152x152cm
Monoprint, Stencil & Oil on Canvas
2020

Bicara Pohon II

Faizal Suhif
152x152cm
Monoprint, Stencil & Oil on Canvas
2020

Bicara Pohon III

Bicara Pohon III

Faizal Suhif
152x152cm
Monoprint, Stencil & Oil on Canvas
2020

Bicara Pohon III

Faizal Suhif
152x152cm
Monoprint, Stencil & Oil on Canvas
2020

Bicara Pohon IV

Bicara Pohon IV

Faizal Suhif
152x152cm
Monoprint, Stencil & Oil on Canvas
2020

Bicara Pohon IV

Faizal Suhif
152x152cm
Monoprint, Stencil & Oil on Canvas
2020

Bicara pohon V

Bicara pohon V

Faizal Suhif
152x152cm
Monoprint, Stencil & Oil on Canvas
2020

Bicara pohon V

Faizal Suhif
152x152cm
Monoprint, Stencil & Oil on Canvas
2020

Potret Diri sebagai Kaum Munafik

Potret Diri sebagai Kaum Munafik

Tisna Sanjaya
Potret Diri sebagai Kaum Munafik
240x170cm
Mixed Media on Canvas
2017

Potret Diri sebagai Kaum Munafik

Tisna Sanjaya
Potret Diri sebagai Kaum Munafik
240x170cm
Mixed Media on Canvas
2017

Pandemi

Pandemi

Tisna Sanjaya
AP
49x49cm
Etching on Paper
2020

Pandemi

Tisna Sanjaya
AP
49x49cm
Etching on Paper
2020

Stay at Home

Stay at Home

Tisna Sanjaya
AP
49.5x49cm
Etching on Paper
2020

Stay at Home

Tisna Sanjaya
AP
49.5x49cm
Etching on Paper
2020

Lockdown

Lockdown

Tisna Sanjaya
AP
49.5x49cm
Etching on Paper
2020

Lockdown

Tisna Sanjaya
AP
49.5x49cm
Etching on Paper
2020

Installation View, Panji Komplot Pengugat Keamanan I, II, III & IV

Installation View, Panji Komplot Pengugat Keamanan I, II, III & IV

Buden
Installation View, Panji Komplot Pengugat Keamanan I, II, III & IV
Variable Dimension
Jute, Enamel Paint, Stainless Steel and Metal
2020

Installation View, Panji Komplot Pengugat Keamanan I, II, III & IV

Buden
Installation View, Panji Komplot Pengugat Keamanan I, II, III & IV
Variable Dimension
Jute, Enamel Paint, Stainless Steel and Metal
2020

Artist Statement

Panji Penggugat Keamanan

2020 is a strange year and perhaps more strange than the stories about being abducted by aliens or elves. As a child, I still remember that the year 2020 is described as the ideal year towards achieving a visionary country. But then the opposite happened, and it felt odd to make sense of everything that is occurring. Agitated by the unpredictability of our current life, the flags (panji-panji) were made in response to this situation – displayed by these flags painted with random patterns or symbols, created based on the artist’s visual experience. Each flag has its own different pattern and is indeterminately oriented, conveying the nuance of the chaotic world.

Panji Komplot Pengugat Keamanan I

Panji Komplot Pengugat Keamanan I

Samsudin Wahab
Panji Komplot Pengugat Keamanan I
Variable Dimension
Jute, Enamel Paint, Stainless Steel and Metal
2020

Panji Komplot Pengugat Keamanan I

Samsudin Wahab
Panji Komplot Pengugat Keamanan I
Variable Dimension
Jute, Enamel Paint, Stainless Steel and Metal
2020

Artist Statement

Panji Penggugat Keamanan

2020 is a strange year and perhaps more strange than the stories about being abducted by aliens or elves. As a child, I still remember that the year 2020 is described as the ideal year towards achieving a visionary country. But then the opposite happened, and it felt odd to make sense of everything that is occurring. Agitated by the unpredictability of our current life, the flags (panji-panji) were made in response to this situation – displayed by these flags painted with random patterns or symbols, created based on the artist’s visual experience. Each flag has its own different pattern and is indeterminately oriented, conveying the nuance of the chaotic world.

Panji Komplot Pengugat Keamanan II

Panji Komplot Pengugat Keamanan II

Samsudin Wahab
Panji Komplot Pengugat Keamanan II
Variable Dimension
Jute, Enamel Paint, Stainless Steel and Metal
2020

Panji Komplot Pengugat Keamanan II

Samsudin Wahab
Panji Komplot Pengugat Keamanan II
Variable Dimension
Jute, Enamel Paint, Stainless Steel and Metal
2020

Artist Statement

Panji Penggugat Keamanan

2020 is a strange year and perhaps more strange than the stories about being abducted by aliens or elves. As a child, I still remember that the year 2020 is described as the ideal year towards achieving a visionary country. But then the opposite happened, and it felt odd to make sense of everything that is occurring. Agitated by the unpredictability of our current life, the flags (panji-panji) were made in response to this situation – displayed by these flags painted with random patterns or symbols, created based on the artist’s visual experience. Each flag has its own different pattern and is indeterminately oriented, conveying the nuance of the chaotic world.

Panji Komplot Pengugat Keamanan III

Panji Komplot Pengugat Keamanan III

Samsudin Wahab
Panji Komplot Pengugat Keamanan III
Variable Dimension
Jute, Enamel Paint, Stainless Steel and Metal
2020

Panji Komplot Pengugat Keamanan III

Samsudin Wahab
Panji Komplot Pengugat Keamanan III
Variable Dimension
Jute, Enamel Paint, Stainless Steel and Metal
2020

Artist Statement

Panji Penggugat Keamanan

2020 is a strange year and perhaps more strange than the stories about being abducted by aliens or elves. As a child, I still remember that the year 2020 is described as the ideal year towards achieving a visionary country. But then the opposite happened, and it felt odd to make sense of everything that is occurring. Agitated by the unpredictability of our current life, the flags (panji-panji) were made in response to this situation – displayed by these flags painted with random patterns or symbols, created based on the artist’s visual experience. Each flag has its own different pattern and is indeterminately oriented, conveying the nuance of the chaotic world.

Panji Komplot Pengugat Keamanan IV

Panji Komplot Pengugat Keamanan IV

Samsudin Wahab
Panji Komplot Pengugat Keamanan IV
Variable Dimension
Jute, Enamel Paint, Stainless Steel and Metal
2020

Panji Komplot Pengugat Keamanan IV

Samsudin Wahab
Panji Komplot Pengugat Keamanan IV
Variable Dimension
Jute, Enamel Paint, Stainless Steel and Metal
2020

Artist Statement

Panji Penggugat Keamanan

2020 is a strange year and perhaps more strange than the stories about being abducted by aliens or elves. As a child, I still remember that the year 2020 is described as the ideal year towards achieving a visionary country. But then the opposite happened, and it felt odd to make sense of everything that is occurring. Agitated by the unpredictability of our current life, the flags (panji-panji) were made in response to this situation – displayed by these flags painted with random patterns or symbols, created based on the artist’s visual experience. Each flag has its own different pattern and is indeterminately oriented, conveying the nuance of the chaotic world.

Le Masque (Kluster Politik)

Le Masque (Kluster Politik)

Shahrul Jamili
117x64cm
Etched on Aluminium
2020

Le Masque (Kluster Politik)

Shahrul Jamili
117x64cm
Etched on Aluminium
2020

Artist Statement

My artworks were created in response to the theme of this Go Block exhibition, which is ‘WABAK’ (pandemic). Unlike my previous works that often touch on spiritual aspects and are often universal, in this Go Block exhibition, I choose to work on issues that are closer, more local, and into current issues.
To recall my previous works, I started with a small series of artist’s book where I borrowed and incorporated scenes from the late P.Ramlee’s film, Sazali. There are various scenes in the series, such as the argument between Sazali and his father; the bribing scene of Tuan Saddiq Sigaraga; Abdul Wahub, who affirmed 20 percent of the gift to the advisor; also Pendek, who deceives people with his unfair games to gain money.
All of these scenarios are reflections of Malays’ behaviors at that time. Today, in the year 2020, such practices vis-à-vis to how the late P. Ramlee had highlighted in the film are still commonplace among our community. All of these aspects are what is being conveyed in my new artworks, entitled Le Mask. Le Mask is a wordplay I used for the title, using the French term ‘le masque’ which literally means mask. It somehow fits with the Malay pronunciation, ‘lemas’, or drowning. The images on these artworks were created using the scratching technique on aluminium plates that are formed to represent and to look like a face mask. Both works illustrate the image of a banknote; a one ringgit note, and a one thousand ringgit note (terminated in 1999) respectively.
The images in these works carry various meanings. As this pandemic demands us to get used to the new normal, apart from the compulsion to wear a suffocating mask, this pandemic has adversely affected the financial aspects of all walks of life. One ringgit banknote – the ceiling price of the face mask set by the government, is also a result of the greed of suppliers or sellers who take advantage in these trying times.
This somehow correlates to the use of one thousand ringgit banknote. It ended its use at a time when the country was experiencing an economic recession. During that time, the government had identified many Malaysians who brought out a lot of money to invest in other countries. This is another form of greediness that occurs. Apart from that, this banknote depicts the Parliament building as its background – the highest domination of political power in the (economic) life of Malaysians. It’s funny to think that this one thousand ringgit is also the amount of fines applies those who disobey the rules of the Movement Control Order – another policy created by political power!

Le Masque (Kluster Rakyat)

Le Masque (Kluster Rakyat)

Shahrul Jamili
117x65cm
Etched on Aluminium
2020

Le Masque (Kluster Rakyat)

Shahrul Jamili
117x65cm
Etched on Aluminium
2020

Wabak, Go Block Artist Book

Wabak, Go Block Artist Book

Artist Book by
Juhari Said, Shahrul Jamili, Samsudin Wahab & Faizal Suhif
250 x 200 x 10mm, Handmade Artist Book
20 pages including divider page from each Artist
AP I & Edition 1 to 20

Wabak, Go Block Artist Book

Artist Book by
Juhari Said, Shahrul Jamili, Samsudin Wahab & Faizal Suhif
250 x 200 x 10mm, Handmade Artist Book
20 pages including divider page from each Artist
AP I & Edition 1 to 20

Lautan Dalam

Lautan Dalam

Juhari Said
APII
16x14cm
Collagraph on Paper
2020

Lautan Dalam

Juhari Said
APII
16x14cm
Collagraph on Paper
2020

Yesterday

Yesterday

Juhari Said
APII
16x14cm
Collagraph on Paper
2020

Yesterday

Juhari Said
APII
16x14cm
Collagraph on Paper
2020

Mata

Mata

Juhari Said
APII
15x12.5cm
Etching on Paper
2020

Mata

Juhari Said
APII
15x12.5cm
Etching on Paper
2020

Taman

Taman

Juhari Said
APII
15x12.5cm
Etching on Paper
2020

Taman

Juhari Said
APII
15x12.5cm
Etching on Paper
2020

Komplot Penggugat Keamanan I

Komplot Penggugat Keamanan I

Samsudin Wahab
APII
15x13cm
Etching & Aquatint on Paper
2020

Komplot Penggugat Keamanan I

Samsudin Wahab
APII
15x13cm
Etching & Aquatint on Paper
2020

Komplot Penggugat Keamanan II

Komplot Penggugat Keamanan II

Samsudin Wahab
APII
15x13cm
Etching & Aquatint on Paper
2020

Komplot Penggugat Keamanan II

Samsudin Wahab
APII
15x13cm
Etching & Aquatint on Paper
2020

Komplot Penggugat Keamanan III

Komplot Penggugat Keamanan III

Samsudin Wahab
APII
15x13cm
Etching & Aquatint on Paper
2020

Komplot Penggugat Keamanan III

Samsudin Wahab
APII
15x13cm
Etching & Aquatint on Paper
2020

Komplot Penggugat Keamanan IV

Komplot Penggugat Keamanan IV

Samsudin Wahab
APII
15x13cm
Etching & Aquatint on Paper
2020

Komplot Penggugat Keamanan IV

Samsudin Wahab
APII
15x13cm
Etching & Aquatint on Paper
2020

...Depan Mata

...Depan Mata

Faizal Suhif
APII
16x14cm
Wood engraving on 250 Arches Paper
2020

...Depan Mata

Faizal Suhif
APII
16x14cm
Wood engraving on 250 Arches Paper
2020

Dihujung Tanduk

Dihujung Tanduk

Faizal Suhif
APII
14x16cm
Wood engraving on 250 Arches Paper
2020

Dihujung Tanduk

Faizal Suhif
APII
14x16cm
Wood engraving on 250 Arches Paper
2020

Semut Hitam

Semut Hitam

Faizal Suhif
APII
16x14cm
Etching & Aquatint on 25 Arches Paper
2020

Semut Hitam

Faizal Suhif
APII
16x14cm
Etching & Aquatint on 25 Arches Paper
2020

Suara Alam

Suara Alam

Faizal Suhif
APII
16x14cm
Etching & Aquatint on 25 Arches Paper
2020

Suara Alam

Faizal Suhif
APII
16x14cm
Etching & Aquatint on 25 Arches Paper
2020

Selepas P.Ramlee I

Selepas P.Ramlee I

Shahrul Jamili
AP II
16x13.5cm
Silkscreen Printing on Paper
2020

Selepas P.Ramlee I

Shahrul Jamili
AP II
16x13.5cm
Silkscreen Printing on Paper
2020

Artist Statement

My artworks were created in response to the theme of this Go Block exhibition, which is ‘WABAK’ (pandemic). Unlike my previous works that often touch on spiritual aspects and are often universal, in this Go Block exhibition, I choose to work on issues that are closer, more local, and into current issues.

To recall my previous works, I started with a small series of artist’s book where I borrowed and incorporated scenes from the late P.Ramlee’s film, Sazali. There are various scenes in the series, such as the argument between Sazali and his father; the bribing scene of Tuan Saddiq Sigaraga; Abdul Wahub, who affirmed 20 percent of the gift to the advisor; also Pendek, who deceives people with his unfair games to gain money.

All of these scenarios are reflections of Malays’ behaviors at that time. Today, in the year 2020, such practices vis-à-vis to how the late P. Ramlee had highlighted in the film are still commonplace among our community. All of these aspects are what is being conveyed in my new artworks, entitled Le Mask. Le Mask is a wordplay I used for the title, using the French term ‘le masque’ which literally means mask. It somehow fits with the Malay pronunciation, ‘lemas’, or drowning. The images on these artworks were created using the scratching technique on aluminium plates that are formed to represent and to look like a face mask. Both works illustrate the image of a banknote; a one ringgit note, and a one thousand ringgit note (terminated in 1999) respectively.

The images in these works carry various meanings. As this pandemic demands us to get used to the new normal, apart from the compulsion to wear a suffocating mask, this pandemic has adversely affected the financial aspects of all walks of life. One ringgit banknote – the ceiling price of the face mask set by the government, is also a result of the greed of suppliers or sellers who take advantage in these trying times.

This somehow correlates to the use of one thousand ringgit banknote. It ended its use at a time when the country was experiencing an economic recession. During that time, the government had identified many Malaysians who brought out a lot of money to invest in other countries. This is another form of greediness that occurs. Apart from that, this banknote depicts the Parliament building as its background – the highest domination of political power in the (economic) life of Malaysians. It’s funny to think that this one thousand ringgit is also the amount of fines applies those who disobey the rules of the Movement Control Order – another policy created by political power!

Selepas P.Ramlee II

Selepas P.Ramlee II

Shahrul Jamili
APII
8x14.5cm
Silkscreen Printing on Paper
2020

Selepas P.Ramlee II

Shahrul Jamili
APII
8x14.5cm
Silkscreen Printing on Paper
2020

Artist Statement

My artworks were created in response to the theme of this Go Block exhibition, which is ‘WABAK’ (pandemic). Unlike my previous works that often touch on spiritual aspects and are often universal, in this Go Block exhibition, I choose to work on issues that are closer, more local, and into current issues.

To recall my previous works, I started with a small series of artist’s book where I borrowed and incorporated scenes from the late P.Ramlee’s film, Sazali. There are various scenes in the series, such as the argument between Sazali and his father; the bribing scene of Tuan Saddiq Sigaraga; Abdul Wahub, who affirmed 20 percent of the gift to the advisor; also Pendek, who deceives people with his unfair games to gain money.

All of these scenarios are reflections of Malays’ behaviors at that time. Today, in the year 2020, such practices vis-à-vis to how the late P. Ramlee had highlighted in the film are still commonplace among our community. All of these aspects are what is being conveyed in my new artworks, entitled Le Mask. Le Mask is a wordplay I used for the title, using the French term ‘le masque’ which literally means mask. It somehow fits with the Malay pronunciation, ‘lemas’, or drowning. The images on these artworks were created using the scratching technique on aluminium plates that are formed to represent and to look like a face mask. Both works illustrate the image of a banknote; a one ringgit note, and a one thousand ringgit note (terminated in 1999) respectively.

The images in these works carry various meanings. As this pandemic demands us to get used to the new normal, apart from the compulsion to wear a suffocating mask, this pandemic has adversely affected the financial aspects of all walks of life. One ringgit banknote – the ceiling price of the face mask set by the government, is also a result of the greed of suppliers or sellers who take advantage in these trying times.

This somehow correlates to the use of one thousand ringgit banknote. It ended its use at a time when the country was experiencing an economic recession. During that time, the government had identified many Malaysians who brought out a lot of money to invest in other countries. This is another form of greediness that occurs. Apart from that, this banknote depicts the Parliament building as its background – the highest domination of political power in the (economic) life of Malaysians. It’s funny to think that this one thousand ringgit is also the amount of fines applies those who disobey the rules of the Movement Control Order – another policy created by political power!

Selepas P.Ramlee III

Selepas P.Ramlee III

Shahrul Jamili
APII
10x13.5cm
Silkscreen Printing on Paper
2020

Selepas P.Ramlee III

Shahrul Jamili
APII
10x13.5cm
Silkscreen Printing on Paper
2020

Artist Statement

My artworks were created in response to the theme of this Go Block exhibition, which is ‘WABAK’ (pandemic). Unlike my previous works that often touch on spiritual aspects and are often universal, in this Go Block exhibition, I choose to work on issues that are closer, more local, and into current issues.

To recall my previous works, I started with a small series of artist’s book where I borrowed and incorporated scenes from the late P.Ramlee’s film, Sazali. There are various scenes in the series, such as the argument between Sazali and his father; the bribing scene of Tuan Saddiq Sigaraga; Abdul Wahub, who affirmed 20 percent of the gift to the advisor; also Pendek, who deceives people with his unfair games to gain money.

All of these scenarios are reflections of Malays’ behaviors at that time. Today, in the year 2020, such practices vis-à-vis to how the late P. Ramlee had highlighted in the film are still commonplace among our community. All of these aspects are what is being conveyed in my new artworks, entitled Le Mask. Le Mask is a wordplay I used for the title, using the French term ‘le masque’ which literally means mask. It somehow fits with the Malay pronunciation, ‘lemas’, or drowning. The images on these artworks were created using the scratching technique on aluminium plates that are formed to represent and to look like a face mask. Both works illustrate the image of a banknote; a one ringgit note, and a one thousand ringgit note (terminated in 1999) respectively.

The images in these works carry various meanings. As this pandemic demands us to get used to the new normal, apart from the compulsion to wear a suffocating mask, this pandemic has adversely affected the financial aspects of all walks of life. One ringgit banknote – the ceiling price of the face mask set by the government, is also a result of the greed of suppliers or sellers who take advantage in these trying times.

This somehow correlates to the use of one thousand ringgit banknote. It ended its use at a time when the country was experiencing an economic recession. During that time, the government had identified many Malaysians who brought out a lot of money to invest in other countries. This is another form of greediness that occurs. Apart from that, this banknote depicts the Parliament building as its background – the highest domination of political power in the (economic) life of Malaysians. It’s funny to think that this one thousand ringgit is also the amount of fines applies those who disobey the rules of the Movement Control Order – another policy created by political power!

Selepas P.Ramlee IV

Selepas P.Ramlee IV

Shahrul Jamili
APII
10x13.5cm
Silkscreen Printing on Paper
2020

Selepas P.Ramlee IV

Shahrul Jamili
APII
10x13.5cm
Silkscreen Printing on Paper
2020

Artist Statement

My artworks were created in response to the theme of this Go Block exhibition, which is ‘WABAK’ (pandemic). Unlike my previous works that often touch on spiritual aspects and are often universal, in this Go Block exhibition, I choose to work on issues that are closer, more local, and into current issues.

To recall my previous works, I started with a small series of artist’s book where I borrowed and incorporated scenes from the late P.Ramlee’s film, Sazali. There are various scenes in the series, such as the argument between Sazali and his father; the bribing scene of Tuan Saddiq Sigaraga; Abdul Wahub, who affirmed 20 percent of the gift to the advisor; also Pendek, who deceives people with his unfair games to gain money.

All of these scenarios are reflections of Malays’ behaviors at that time. Today, in the year 2020, such practices vis-à-vis to how the late P. Ramlee had highlighted in the film are still commonplace among our community. All of these aspects are what is being conveyed in my new artworks, entitled Le Mask. Le Mask is a wordplay I used for the title, using the French term ‘le masque’ which literally means mask. It somehow fits with the Malay pronunciation, ‘lemas’, or drowning. The images on these artworks were created using the scratching technique on aluminium plates that are formed to represent and to look like a face mask. Both works illustrate the image of a banknote; a one ringgit note, and a one thousand ringgit note (terminated in 1999) respectively.

The images in these works carry various meanings. As this pandemic demands us to get used to the new normal, apart from the compulsion to wear a suffocating mask, this pandemic has adversely affected the financial aspects of all walks of life. One ringgit banknote – the ceiling price of the face mask set by the government, is also a result of the greed of suppliers or sellers who take advantage in these trying times.

This somehow correlates to the use of one thousand ringgit banknote. It ended its use at a time when the country was experiencing an economic recession. During that time, the government had identified many Malaysians who brought out a lot of money to invest in other countries. This is another form of greediness that occurs. Apart from that, this banknote depicts the Parliament building as its background – the highest domination of political power in the (economic) life of Malaysians. It’s funny to think that this one thousand ringgit is also the amount of fines applies those who disobey the rules of the Movement Control Order – another policy created by political power!

Click to view Artist Profile

  • Shahrul Jamili
  • Tisna Sanjaya
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