WABAK

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…

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.

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.

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.

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.

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!

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!

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!

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!

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!