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READING JAMAL: indulging in beautiful complexities By Zanita Anuar

This contemplation surely vibrates from

features other than the painterly are co-opted in to

illustrating the trials and tribulation of his

the renewed enthusiasm in this generation's

the domain of painting, thereby compromising even

own family which he entitled ‘Keluarga Dak

current space and time towards a more

devaluing the distinctiveness and operation; or they

Don’. Energetic and brimming with ideas, he

heightened realisation of how markings define

are suppressed, bypassed and ignored so as to

kept himself preoccupied with full length

us as processes determine us.

safeguard the constitution of a picture as

illustrated stories, comic strips announcing

homogenous, painterly construct.”(1)

the silly intricacies of family life. He often

Process trails or markings for some

created stories and illustrated them for his This exhibition of Hasnul Jamal

maybe temporal indulgences, they are sometimes

Saidon's drawings dating as far back as the

dismissed and claimed as vestigial to

1970s to 2008 entitled ‘In Between the Lines’,

attaining the One creation that the artist

appears to mock the art historian and curator

takes pride in, the masterpiece. Thus one

to place this artist 'in line' by ascertaining

should not be distracted by the 'err', or the

him through possible rhetoric, his lineage,

artist gone astray, if one is really

claiming him as the progenitor of new media,

interested in the perfection of the art, the final creation of the artist.

family members who saw him as the family artist, a role he relished as his idol was the cartoonist Mohamad Noor Khalid or Lat. The adoration and love showed towards his raw pictorial prowess pushed him further to excel. At the time he had practically no idea that he

expounding on how he is Malaysia's new art

was about to embark upon a journey which was

history artist, etc.

to transform and mould him through his aesthetic percept.

Drawings engage one to peruse art in

Instead, what surfaced was the

search of the artist's most essential trace.

realisation that any attempt to synthesize a

The preoccupations with human

Hence to neglect drawings is not so much an

dominant aesthetic sensibility from such

character, and what roles the character held

art historical oversight as it is a matter of

heterogeneity would be ill-serving and merely

via their word bubbles began to assume

the beholder's personal choice.

passé curatorial thinking. I am not alone here

differing shapes and positions. Exclamations

as Hasnul Jamal Saidon is co-curating this as

began to re-assert itself as if the cartoons

he is the artist here which makes this

were animated characters and may be assuming

contemplation challenging. He is 're-creating

screen roles, as the audience were watching

Jamal' (drawing + writing) as I am merely

television. Television is clearly the

reading.

ubiquitous and influential mass media which

TK Sabapathy, our beloved art historian, reminds us: “In part of the neglect of drawing (and for

had affected the artist during his formative

that matter, other aspects of the visual arts) arises from preferred or prejudicial approaches to

The Adoration

years. One particular drawing to be found is a self-portrait of himself smiling with visible

evaluating art in which instances painting is installed in a position of dominance. In discussions

From age fifteen, and before any formal

zeal, looking out at an audience as though he

devoted to art, the language used for discussing and

training, Hasnul Jamal Saidon (HJS) whose name

was the TV host as he exclaims “Thanks for

Selected sketch from

analysing is without exception, disposed towards

in Arabic translates to 'the good and

watching”. This work is signed off as Al-Jamal

1985 Studies & Sketches Pencil, pen, colour pencil, marker on papers

painting, whether this be aimed at cultivating

beautiful' bathed in the simple joy of

in 1985.

conceptual and formal ideologies or hunting for the

cartooning, whilst his immediate audience (the

HJS-SKB-1989-002

wellspring of creativity embedded in the subjective

family) and friends adored him. HJS enjoyed

realms of the artist. In such discussion, elements or

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1. Hashim, Rusli. “Reflections on Yusof Ghani's drawings” in Yusof Ghani : Drawings with an Introduction by TK Sabapathy, Kuala Lumpur, 1997.


As he matures in his new found role as an illustrator, he became more astute in recognising the different complexity of

The strains of interpreting what is

How not to succumb to the wisdom of

portrait depictions of his ASEAN friends, and

Ahmad Khalid, Ruzaika Omar Basaree, Joseph

natural as compared to what alludes to the

the intriguing pull of the embryonic forms

Tan, Tan Tuck Kan, Choong Kam Kow, Ponirin

real brought upon the 1987/1989 group of

surfacing into paper-based renderings of the

attaining the picture perfect or the

Amin, Ariffin Ismail, Zakaria Awang, Fauzan

drawings entitled the ‘Microscape series’. By

beautiful bewilderment faced by the Malay hero

‘beautiful' in art. The function of drawing

Omar, Amron Omar, Awang Damit and how to

picturing the cell being the progenitor of Man

in a foreign land.

for him at the time is essential to

negotiate this with understanding the guru of

and Nature, he revelled in the sketches and

understanding Man and Nature.

semiotics a.k.a Pak Mail? For it was Ismail

drawings of embryonic forms which had many

Zain who, when coaxing artists to look beyond

fooled into thinking that he was venturing

hatching or the jumping lines of the contours

the traditional concepts of historicism

into the abstract expressionist or symbolist

cajoles the viewer to analyse the line of

states:

field. The drawings were reproduced

beauty this artist has taken. The eyes search

'naturalistically' from science books and had

out for the artist's pentimenti, for some re-

been practices in 'expanded realism' which

drawing, the signs of struggle in form creation amidst the perfected tone and planes

In the late 80s, the attempts to engage in the problematic of aesthetics and art practice had become the staple during his pupilage at the Faculty of Art and Design of

“I think if you skip the closed system of

Every uncertainty observed in the cross

MARA Institute of Technology or ITM from 1984-

the myth of progress and desperately want to

were planned. He recalled the etching plate

1989. Drawings became a trained and integral

extricate yourself from the rarefied air of the

where handwritten side notes indicate tongue-

framed by confident contours. This acts as a

method to aspire towards a particular end in

so-called modernism, you are left with a situation

in-cheek references to Rembrandt, Durer and

kind of pedigree for the drawing and some

picture making. Lines were taught to serve as

which can only be described as spatial. It is a space

Pollock. It was an attempt of coming to terms

viewers enjoy believing that a drawing is an

the setting out of first intentions, first

that does not locate you in a particular time-

with parallels of visual knowledge via science

authentic work by searching out irregularities

thoughts, reminders or registration of ideas

frame.”

or specifically biology. These lines maybe the

and pentimenti. Part of the viewer's

earliest prelude to the artist acknowledging

excitement when approaching the early 90s

(2)

to be embarked upon, either through the bidding of the course tutor or by his own initiative. The ITM Art School fostered a persona

science and later, technology, as he was

drawings, is to be witness of his quirks, his

capacity to search elaborately, deeply and

destined to advance the state of electronic

contradicting lines, seeing the moment when

critically about what he knows and knows not

art for the country.

Jamal dares to analyse the call of beauty so

Without these gurus, he may have less

as to find himself.

again.

of the Malay artist which cultivated firstly an overarching sense of Malay Romanticism.

By the final year, the young artist pages were brimming with a cacophony of

Having mastered naturalism, realism and

Picturing differing pole positions

Romanticism became a significant force in

symbolism, he was then tasked with stretching

studies, contemplations and images which would

during his cross-cultural encounter in the

maintaining the upsurge of nationalism and

the rhetoric of fine art beyond mainstream

become the imprint to his renewed sense of

United States of America, in the xerograph

Malay pride among the artists. Scenes,

aesthetic appeal. It was all good and nice

identity.

pieces entitled ‘Kandang Kambing, Kandang

personas and objects from Malay myths, legends

that he was skilled in the drawing of likeness

and folklores, took centre stage in his

in friends (see Friends from ASEAN Countries

drawings. Inadvertently, ITM prepared him to become a profound visual linguist of the Malay identity.

Rimau’, Jamal can be seen to initiate his As stacks of drawings are being figured

method of including a 'portrait' of

himself

series, Page 69) and objects, but would that

and as this exhibition became more expansive,

via handprint, further embedding himself and

reduce him to being a mere replicator. Or

the emotional range of the drawings

claiming his stance in coming to terms with

would he rather be the progenitor?

approaching the 1990s began to overwhelm the

the chasm between cultures. Hence the complex

viewer. From the monochrome linearity of

drawings like ‘The Return of a Native’, which

family and AD ITM 85 heroics to the sedated

he produced by utilising pencil, marker and

2. Ismail Zain. Ismail Zain Retrospective Exhibition 19641991, Balai Seni Lukis Negara, Kuala Lumpur, 1995. pg 66

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moderation. His achievement as a thinker was

solo exhibition at the Creative Centre of The

evidence to attaining a plateau where the

profoundly in understanding the Creation of

to have reconciled the mystical nature of the

National Art Gallery, at the end of that same

artist was producing processual studies and

Man, really triggered Jamal to re-think his

Sufi calling with the sober demands of Islamic

year, Jamal with fellow artist-colleague

story-board type inquiries towards the

role as the artist and father. For in 1992

law. His concept of Sufism was that of a holy

Niranjan Rajah pioneered the ‘1

production of expansive performance type video

when his first born, Adeela was placed in his

war or jihad waged against one's own will in

Art’ exposition in Malaysia, also at the

art installations. Jamal had reached a level

arms for him to recite the adzan (call for

order to conquer egotism and worldliness and

National Art Gallery. Much has been written on

where he revels in surface defragmentation,

prayer) upon, Jamal knew he himself had been

to submit to God's will.

this phase of Jamal's influence by Roopesh

transcends planar constraints and had become

reborn.

That intricacy and simplicity exist

liquid paper on board, in the early 90s is

The markings that matter most in To Proclaim

Jamal's oeuvre can be found in the five sets of works entitled ‘Proclaim’, executed in

markings became more discriminating and had to assume an ever probing role in his analysis of

Troy Samaritan Hospital labor ward

1994, which include markings, the written

attendees may have been witness to Jamal's

words in letters from his father.

significant crossing into a passage where he

writings of his father are mediated

was intellectually unversed, yet destined to

reflections of his teachings and generated

Hogarth expounded his own theories in ‘The

serve. The new born signified the very change,

from the teachings of the Quran. Hence, to

Analysis of Beauty’ (1753), combining

renewal and passing of being for Jamal -

'proclaim' or 'read aloud' is translated to

practical advice on painting with criticism of

himself being in constant flux. The entire

Arabic as Iqra, and is one word that is

the art connoisseur. He expressed his belief

corporeal world constantly renews itself. The

associated with the first direct revelation to

in the “beauty of a composed intricacy of

“matter” of corporeal things has the power to

the prophet Muhammad. For Jamal, the

form,” and advocated variety, regularity,

become a new form at any moment by Allah's

circumstances, material, physical and

simplicity, intricacy, quantity and greatness.

grace. And that realization of evanescence,

spiritual in which he has been ordained to

Interestingly all six elements lead us to

coupled with his wonder in servitude, fuelled

perform, as a visual artist, are circumstances

understanding Jamal.

his intrigue in the burning Muslim-

within which he must deliver his artistic

father/leader mission which pushed him to seek

ideology, anchored upon the notion of a divine

the wisdom of Siddhartha, Lao Tze, Nakula,

dynamic internalised.

reaching truth and beauty. Painter, satirist and writer, William

Hogarth believes most and presses upon 'intricacy'; this to be the habit which leads

Osman Bakar, Al-Ghazali, Qadir al-Jilani and

us to participate in the whirling game of

Al-Arabi.

The

Proclamations abound further in a number of expositions foregrounding new media

pursuit, when bit by bit discovering the beauty of an object. Intricacy arises from the

Electronic

Sitharan.

conversant now in reciting his visual interest beyond typical stylistic engagements. His

st

Jamal refers most to the Hanbali

art positions and strategies. Analytical

love of this pursuit. Every difficulty in

theologian Abdul al-Qadir al–Jilani

drawings and critical writings emerged to

understanding or grasping the object enhances

(1078–1166) from Baghdad.

present new modes of art production and Jamal

the pleasure of overcoming it, in order to

on philanthropy, humility, piety and

(3)

Al-Jilani stresses

became extremely influential in proclaiming himself and the decree came to assume great

continue the pursuit. 3. “Abd al-Qadir al-Jilani” (2008) in Encyclopedia Britannica. Ultimate Reference Suite. Chicago: Encyclopedia Britannica.

forms. In 1997, not only did he declare

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himself in ‘HYPErview’, the much-referenced

The relationship of man and nature for Jamal is a point of continuous contention. The contention began to grow in poignancy as he professed his new knowledge of what was claimed as electronic art/new media art and created fresh discourses on contexts and creation. Gradually, through rejection and contention, new opportunities abound and ideas were to be forged, negotiated and sustained. By the year 2000, his assertions of his edict through his constructed metaphors were further heightened by more explorative use of multimedia technology. The topics of de-centering power relations, chasms between the equipped and the ill-equipped in the era of, what he terms as 'gobble'isation, kept his audiences bemused. Among the bemused witness was Dr. Mahathir Mohamad who had on the occasion of opening the ‘Rupa’ exhibition at the National Art Gallery, had a full length explanation by Jamal of his installation ‘Kdek,kdek Ong!’, which has since become a National collection. Jamal is egotistic as much as he is altruistic. He appears to be antagonistic in thrusting himself upon others whilst he


performs a whole spectrum of self-critique,

How many times have we laid eyes on a

The feminine principle in Jamal's

woman, but never really see her?

also playing the protagonist in parody of Man

upward journey is best appreciated in the

to advance schemes which re-question socio-

portraiture of women, his wife and ultimately

political agendas. Hence Jamal provided the

of his mother. The drawings of Bonda harken

searching gaze, manifested in visually

the viewer to recall the series of Rembrandt

comprehensive view of Jamal's journey of

recorded inquiries (his artist books), his

1630s drawings and studies of his own mother

searching out the beautiful complexities in

‘Prasembah 2000: Sebuah Antalogi La!’ poems,

and of his wife asleep that provided a

being an artist. It begins with the youthful

in parables often satirizing, probing into the

vocabulary for works recording reclining

exuberance derived within an imagined space

complicit relation between art and its

and/or ailing women. These studies of the

to experiencing interdisciplinary thrusts in

production, reception, evaluation and final

mother show Jamal’s portrayal of her character

works produced in the intense journey

destination. It is, rather, his innate desire

and inner strength via meticulous yet simple

transcending cultural, psychological and

to become more perfect, which directs this

lines. He introduced shadows sparsely, imbued

meta-physical spaces. Somewhere, they retain

ceaseless self-renewal, self-origination, or

to add to the atmospheric mood of picturing

their character as documents, observations

self-emergence into a perpetual and

the personal.

and

This exhibition is indeed a

irreversible flow upward in the scale of being. This upward movement towards the Truth

historical artifacts. They were

once fragmented, only to be assembled again thus making their current position in

More interested in the psychological aspects of portraiture, Jamal indulged in

relation to one another, truly overwhelming.

drawing with charcoal, the primordial medium

Here are documents of Jamal's propitious

that can readily follow every artistic

posturing, his description of new and

impulse. The seizing of characteristic

conflicting temporalities, where in the last

elements and an adequate plane rendition

drawings he sheds the recurring double edged

Intelligence proceeds from the absolute One by

provides for less realistic detail. Mood

wit, ultimately in the consideration of his

inserting between them a primordial feminine

elements, intellectual tension and personal

essence.

principle, which is all things in potentiality

engagement are typical features of these

but which also possesses the capacity,

series of portrait drawings where the economy

readiness and desire to manifest or generate

of lines delineates the pregnant space within

these drawings that locate Jamal. Perhaps for

them first as archetypes in Intelligence and

which the forms emerge.

Jamal to continue the next phase of his

is the Ibn al-Arabi in him. The Essence -UNSUR Ibn al-Arabi attempted to explain how

It seems, therefore that it is exactly

journey (as this exhibition is presented on

then as actually existing things in the universe below. Ibn al-Arabi gave this

the eve of the Islamic new year) he must

Jamal has a striking capacity to

principle numerous names, including prime

replicate images and transform them into new

dislocate, de-construct, he must not hold

“matter” or unsur and characterised it as the

traces. His reinscription of the national

sacred his ego – himself depicted in these

principle “whose existence makes manifest the

artist, Hoessein Enas's famous drawing ‘Aida’,

twenty-nine years of drawings. For he is but

essences of the potential worlds.”

may seem simple yet challenges us to recognise

one dot in between the lines of the beautiful

that our eye receives information processed by

complexity of Allah's plan.

two artists assimilated in one form flooding our retina to become a signal re-encoded.

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MEMBACA JAMAL :

menyatukan daya estetik yang dominan dalam

penjalanan yang akan menukar dan membentuk

juga lain-lain aspek dalam seni visual) timbul dari

rencah kerencaman tidak akan berjaya dan hanya

cerapan estetik beliau.

pilihan dan pendekatan menilai seni yang prejudis

menampilkan pemikiran kuratorial yang sudah

dalam mana catan dipersembahkan secara lebih

basi. Saya tidak keseorangan di sini, kerana

menonjol. Dalam perbincangan khusus tentang seni,

Hasnul Jamal Saidon juga turut menjadi

peranan yang dimainkan menerusi belon dialog,

bahasa yang digunakan untuk membincangkan dan

kurator-bersama, justeru menjadikan penulisan

mula terbentuk dalam pelbagai rupa dan posisi,

menganalisa, tanpa sebarang pengecualian, lebih

ini lebih mencabar. Beliau sedang 'mencipta-

dengan beberapa ekspresi diberikan penekanan

semangat baru dan kesedaran tinggi dari ruang-

terarah kepada catan, sama ada ianya bertujuan untuk

semula Jamal' (menerusi lukisan dan penulisan)

agar kartun yang dipapar kelihatan hidup dan

masa generasi kini tentang bagaimana tanda-

membentuk ideologi formal dan konseptual atau untuk

sementara saya pula sekadar membacanya.

memainkan watak skrin, manakala penonton pula

tanda visual mentakrifkan kita sepertimana

memburu hasil kreativiti yang tertanam dalam jiwa

Menekuni kompleksiti yang indah

Oleh Zanita Anuar Penulisan ini tentunya digetarkan oleh

juga proses-proses menentukan kita.

“Sebahagaian dari pengabaian lukisan (dan

persis menontonnya di televisyen. Televisyen Kekaguman & Penghormatan

pengkarya. Dalam perbincangan sebegini, unsur-unsur

jelas sekali menjadi media massa yang berpengaruh serta berada di mana-mana, justeru

atau ciri-ciri selain dari kecatanan telah diterap

Bagi segelintir dari kita, jejak-jejak

Minat terhadap karektor manusia, dan

Ketika berusia lima belas tahun, dan

dalam ruang-lingkup catan, justeru mempertaruhkan,

meninggalkan kesan kepada beliau ketika zaman

proses dan tanda-tanda visual mungkin dianggap

malah merendahkan keunikan tersendiri lukisan dan

sebelum menerima sebarang pendidikan formal,

pertumbuhan awalnya. Satu lukisan yang boleh

sebagai keasyikan yang sementara, kadangkala

operasinya; atau menindasnya, memintas dan

Hasnul Jamal Saidon (HJS), yang namanya

dikesan ialah potret diri yang tersenyum

ditolak dan dianggap sebagai vestigial dalam

mengabaikannya dalam usaha untuk mempertahankan

bermaksud 'yang baik dan cantik', tenggelam

dengan penuh tenaga, melihat ke arah penonton

mencapai Satu ciptaan yang dibanggai oleh

keutuhan sesebuah gambaran sebagai sesuatu konstruk

dalam keseronokan melukis kartun, membuatkan

seakan seorang pengacara tv sambil berkata

seseorang karyawan, yakni karyanya yang agung.

atau binaan catan yang homogen.”(1)

keluarga dan rakan-rakan mengagumi beliau. HJS

“Terima kasih kerana menonton”. Lukisan ini

terus menikmati kerja-kerja melukiskan

ditanda-tangani dengan nama Al-Jamal pada

pelbagai cabaran dan rintangan hidup yang

tahun 1985. (lihat mukasurat 04)

Oleh itu, kita tidak sewajarnya terganggu oleh 'kesilapan' atau hal karyawan hilang punca,

Seiring dengan ini, pameran lukisan

jika kita benar-benar berminat dalam

Hasnul Jamal Saidon pasca 1970 hingga 2008

didepani keluarga sendiri dalam ‘Keluarga Dak

kesempurnaan seni atau ciptaan akhir sang

berjudul ‘Antara Garisan’, kelihatan seakan

Don’. Bertenaga dan penuh dengan ide, beliau

pengkarya.

mempersenda usaha para ahli sejarah seni dan

mengisi masa dengan cerita-cerita berilustrasi

dalam mendepani peranan baru sebagai seorang

kurator untuk meletakkan Hasnul 'dalam garisan

dan komik untuk merakamkan saat-saat lucu

ilustrator, beliau menjadi lebih cekap dalam

sejajar' menerusi beberapa retorik, juga susur

dalam kehidupan keluarga. Beliau sering

mengenali pelbagai kompleksiti yang berbeza

seni dalam usaha untuk mencari jejak utama

aliran beliau, menyatakan bahawa beliau adalah

mencipta cerita dan menggambarkannya untuk

dalam mendapatkan gambaran yang sempurna atau

sang pengkarya.

pencetus amalan media baru, sambil melaungkan

ahli-ahli keluarga, yang melihat beliau

'keindahan' dalam seni. Fungsi lukisan pada

menidakkan lukisan bukanlah merupakan satu

bahawa beliau adalah pengkarya sejarah seni

sebagai pelukis komik keluarga. Beliau agak

beliau ketika itu adalah amat penting untuk

kelalaian dalam pensejarahan seni, tetapi

yang baru untuk Malaysia dan sebagainya.

cemerlang dalam hal ini dan membayangkan diri

memahami manusia dan alam semulajadi.

Lukisan membuatkan seseorang mentelaah Oleh yang demikian, untuk

beliau sebagai Mohamad Noor Khalid atau Lat,

lebih merupakan pilihan peribadi seseorang pemerhati.

ikon yang beliau kagumi. Kekaguman dan kasih-

Sebaliknya, apa yang timbul adalah kesedaran bahawa sebarang percubaan untuk

TK Sabapathy, ahli sejarah seni yang disayangi, mengingatkan kita:

Setelah beliau menjadi lebih matang

1. Hashim, Rusli. “Reflections on Yusof Ghani's drawings” dalam Yusof Ghani : Drawings Pengenalan oleh TK Sabapathy, Kuala Lumpur, 1997.

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Pada lewat 80an, percubaan untuk

sayang ahli-ahli keluarga dan rakan-rakan

mendepani permasalahan estetik dan amalan

terhadap kebolehan Hasnul dalam melukis telah

kesenian menjadi tumpuan ketika beliau

menggalakkan beliau untuk pergi lebih jauh.

menuntut di Fakulti Senilukis dan Senireka di

Pada waktu itu, beliau sendiri tidak terfikir

Institut Teknologi MARA atau ITM dari 1984-

pun bahawa beliau akan memulakan suatu

1988. Lukisan menjadi kaedah yang diajar dan


penting dalam usaha untuk mencapai hasil

Lukisan-lukisan ini disalin-semula

ketepuan modenisma, kita akan sampai pada satu

Setiap ketidakpastian yang dapat

penghasilan seni tertentu. Garisan diajar

situasi yang hanya boleh digambarkan sebagai

secara natural dari buku-buku sains dan

dilihat menerusi garisan-garisan yang saling

sebagai sesuatu yang berfungsi sebagai punca

keruangan. Ia adalah ruang yang tidak meletakkan kita

merupakan amalan 'realisma lanjutan' yang

bertingkah dan garisan kontour yang melompat-

niat dan fikir, peringatan atau penandaan ide-

dalam sesuatu bingkai ruang-masa yang tertentu.”

sebenarnya terancang, seperti yang beliau

lompat seakan memujuk pemerhati untuk menekuni

ide yang bakal ditekuni, sama ada menerusi

maklumi, untuk dijadikan plat gurisan (notasi

garis-garis keindahan yang telah dilalui

perundingan dengan pensyarah atau diri

tulisan tangan mencadangkan secara selamba,

pengkarya ini. Mata kita mula mencari

tidak memiliki kemampuan untuk mencari dengan

rujukan terhadap Rembrandt, Durer dan

kesilapan pengkarya, yang terdapat pada

rinci, mendalam dan kritikal dalam usaha untuk

Pollock). Ia merupakan percubaan untuk

beberapa lukisan yang telah dilukis-semula,

memahami apa yang diketahui dan apa yang tidak

berdepan dengan beberapa keselarian bahasa

untuk menunjukkan tanda-tanda pergelutan dalam

diketahuinya.

visual menerusi sains, khususnya biologi.

menghasilkan bentuk, pergelutan yang

Garisan-garisan ini mungkin merupakan prelud

tersembunyi dalam tona-tona dan satah-satah

awal beliau dalam memperakui peranan sains,

sempurna yang dibingkai oleh garis kontour

sendiri. Sekolah seni di ITM membentuk persona seorang pelukis Melayu yang seterusnya menanam

(2)

Tanpa guru-guru ini, Hasnul mungkin

daya Romantika Melayu yang menggunung. Romantika menjadi suatu tenaga penting untuk

Setelah mencapai kemahiran dalam

mengekalkan peningkatan nasionalisma dan

menguasai naturalisma, realisma dan

seterusnya teknologi, kerana beliau

yang yakin. Ia berfungsi sebagai benih untuk

kebanggaan Melayu dikalangan para pengkarya.

simbolisma, beliau kemudiannya memulakan usaha

kemudiannya ditakdirkan untuk memajukan seni

lukisan dan segelintir pemerhati suka untuk

Adegan, persona dan objek dari mitos, lagenda

untuk melebarkan retorika seni halus yang

elektronik untuk Negara ini.

mempercayai bahawa lukisan adalah kerja-kerja

dan cerita-cerita rakyat Melayu mula menjadi

melepasi tarikan estetik semata-mata.

tumpuan dalam lukisan-lukisan beliau. ITM

Memanglah bagus dan baik untuk memiliki

mempersiapkan beliau untuk menjadi seorang

kemahiran dalam melukis dengan tepat wajah

mukasurat pengkarya muda ini dipenuhi oleh

Sebahagian dari nikmat pemerhati apabila

perunding bahasa visual yang cekap untuk

rakan-rakan (lihat siri Friends from ASEAN

timbunan kajian, renungan dan imejan yang

menyaksikan lukisan-lukisan pada tahun-tahun

identiti Melayu.

Countries, mukasurat 69) dan objek, namun

kemudiannya menjadi penanda kepada identiti

90an adalah garisan-garisan Jamal yang pelik

mungkin jugakah ini hanya akan menjadikan

baru beliau.

dan bertingkah, atau melihat saat-saat apabila

Bagaimana untuk tidak terpengaruh kepada kepakaran Ahmad Khalid, Ruzaika Omar

asli apabila dapat mencari ketidak-seragaman Ketika di tahun akhir, mukasurat-

beliau mencabar diri untuk menganalisa maksud

beliau sekadar penyalin sahaja. Atau Sementara timbunan lukisan mula

mungkinkah beliau mahu menjadi pencetus?

Basaree, Joseph Tan, Tan Tuck Kan, Choong Kam Kow, Ponirin Amin, Ariffin Ismail, Zakaria

dan kesilapan-kesilapan dalam lukisan.

dipaparkan dan pameran ini menjadi lebih

keindahan atau kecantikan dalam usaha untuk menemui dirinya.

melebar, lapangan emosi yang terbit dari

Cabaran dalam mentafsirkan apa yang

Awang, Fauzan Omar, Amron Omar, Awang Damit

natural dibandingkan dengan apa yang nyata

dan bagaimana hendak mengimbanginya dengan

telah membawa kepada lukisan-lukisan sekitar

menghampiri 1990an mula melemaskan kita

berbeza ketika berdepan dengan suasana rentas

usaha memahami guru semiotik a.k.a Pak Mail?

1987/1989 berjudul siri ‘Microscape’. Dengan

sebagai pemerhati. Dari kesejajaran

budaya di Amerika Syarikat, dapat dilihat

Kerana Ismail Zain, dalam usaha untuk

menggambarkan sel-sel sebagai pencetus Manusia

monokromatik lukisan keluarga dan kenakalan AD

bahawa Jamal mula memasukkan potret dirinya

menyakinkan para pengkarya untuk menjangkau

dan Alam, beliau tenggelam dalam lakaran-

ITM 85 hingga ke gambaran potret rakan-rakan

sendiri menerusi cetakan tangan dalam karya

persepsi mereka melepasi batasan konsep-konsep

lakaran dan lukisan-lukisan bentuk embrio yang

ASEAN yang terkawal, dan tarikan yang penuh

‘Kandang Kambing, Kandang Rimau’ (Goats’ Cage,

pensejarahan yang tradisional, ada menyatakan:

membuatkan ramai tertipu kerana menyangkakan

persoalan pada bentuk-bentuk embrio hinggalah

Tiger’s Cage). Ini mengizinkan beliau

bahawa beliau telah beralih ke aliran

timbulnya pula paparan kekeliruan yang

meletakkan diri dalam persoalan karya dan

ekpresionisma abstrak dan lapangan simbolisma.

dihadapi oleh seorang hero Melayu di negara

memacakkan pegangan beliau dalam mengharungi

asing.

cabaran perbezaan antara budaya. Ia juga

“Saya fikir, sekiranya kita meninggalkan

lukisan-lukisan yang terhasil ketika

sistem tertutup yang terdapat pada mitos pembangunan dan berkeinginan tinggi untuk membebaskan diri dari

2. Ismail Zain. Ismail Zain Retrospective Exhibition 19641991, Balai Seni Lukis Negara, Kuala Lumpur, 1995. ms 66

14

15

Menggambarkan sauh kedudukan yang

melahirkan lukisan-lukisan yang kompleks


seperti ‘The Return of A Native’ yang

kita dapat mencapai keindahan sesuatu objek.

dihasilkan dengan penggunaan pensil, pen

Perincian timbul dari rasa kasih terhadap

penanda, liquid paper di atas bod pada awal

suatu usaha untuk mencapai keindahan. Setiap

90an. Lukisan-lukisan ini menjadi bukti kepada

kesulitan dalam memahami atau merungkai

usaha mencapai tahap yang lebih tinggi. Beliau

sesuatu objek akan meningkatkan lagi

menghasilkan kajian-kajian proses dan renungan

keseronokan dalam mengatasinya, dalam usaha

berasaskan papan-cerita dalam menerbitkan

untuk meneruskan usaha mencapai keindahan.

Osman Bakar, Al-Ghazali, Qadir al-Jilani dan Al-Arabi.

dan strategi seni media baru. Lukisan-lukisan Jamal merujuk kepada seorang ahli

Perincian ini dan sifat ringkas wujud

beliau menjadi cekap dalam memecahkan

secara jelas dalam usaha memahami kejadian

permukaan lukisan dan membebaskan diri dari

manusia. Ia mencetuskan pemikiran-semula dalam

kekangan satah-satah lukisan. Beliau kini

diri Jamal tentang peranan beliau sebagai

menjadi petah dalam menuturkan kecenderungan

seorang bapa dan pengkarya. Pada tahun 1992

visual melangkaui penggunaan stail-stail yang

apabila puteri pertamanya, Adeela diletakkan

sudah terlalu lazim. Kaedah penandaan beliau

dalam pangkuannya untuk diazankan, Jamal

menjadi lebih rinci dan mula mengambil peranan

memahami ketika itu bahawa diri beliau

sebagai penyiasat yang tekun dalam

sendirilah yang telah dilahirkan-semula.

Pelukis, ahli satira dan penulis, sendiri dalam ‘The Analysis of Beauty’ (1753),

usaha Jamal menyeberang ke suatu lapangan

dengan menggabungkan nasihat yang berguna

dimana beliau telah digugah secara intelek,

tentang catan menerusi kritikan tentang amalan

dan ditakdirkan untuk mula memberi. Kelahiran

mengumpul dan menjual seni. Beliau meluahkan

ini menandai perubahan, penyegaran-semula dan

kepercayaan beliau terhadap “keindahan bentuk

pengakhiran menjadi Jamal – bahawa beliau

rumit yang telah digubah,” dan mengalakkan

sendiri sentiasa berubah. Malah, seluruh dunia

kepelbagaian, penerusan, ringkas, perincian,

nyata atau fizikal itu sendiri terus-menerus

kuantiti dan kehebatan. Kesemua enam elemen

diperbaharui. Benda-benda fizikal yang

ini boleh membantu kita memahami Jamal.

berjisim, mampu untuk berubah menjadi bentuk

pula oleh keinginan untuk berkhidmat, membakar

merupakan sikap yang mendorong kita untuk

keinginan beliau sebagai seorang bapa/pemimpin

melibatkan diri dalam satu permainan yang

Muslim yang bervisi, untuk mencari hikmah dari

bersimpang-siur, apabila sedikit demi sedikit

pesanan-pesanan Siddhartha, Lao Tze, Nakula,

kemudiannya diterjemahkan dalam beberapa

Pencapaiannya sebagai pemikir bersatu dengan

projek penting. Pada tahun 1997, bukan saja

amanat-amanat Sufi yang disertai oleh tuntutan

beliau telah mendeklarasi ide-ide media baru

berpatutan dalam perundangan Islam. Konsep

beliau dalam ‘HYPErview’, yang merupakan

Sufisma beliau menekankan jihad terhadap nafsu

pameran solo yang sering dirujuk, tetapi juga

dalam usaha untuk menakluk ego atau

pada tahun yang sama, Jamal bersama dengan

pergantungan kepada kehendak keduniaan dan

rakan pengkarya Niranjan Rajah telah merintis

menyerah diri kepada kehendak Allah.

eksposisi seni elektronik yang pertama di

'Mengumumkan', dihasilkan pada tahun 1994,

Kesedaran terhadap tenaga ghaib ini, diiringi

atas dan menekankan pada 'perincian’; ini

mengumumkan peranannya dalam konteks ini, yang

diri, dekat dengan Allah dan kesederhanaan.

Negara. Banyak telah ditulis tentang pengaruh Jamal dalam fasa ini oleh Roopesh Sitharan.

lukisan berjudul ‘Proclaim’ atau

baru pada setiap masa dengan izin Allah. Hogart percaya pada kesemua elemen di

menekankan sifat suka bersedekah, merendah

pengkaryaan Jamal dapat dilihat dalam lima set

Warga wad bersalin Hospital Troy Samaritan mungkin telah menjadi saksi kepada

seni dan Jamal menjadi agak berpengaruh dalam

Al-Jilani

Malaysia, juga bertempat di Balai Seni Lukis

Untuk Diumumkan

William Hogarth memperjuangkan teori beliau

untuk membentangkan cara baru dalam produksi

Qadir al–Jilani (1078–1166).

Tanda-tanda visual yang penting dalam

menganalisis usaha ke arah kebenaran dan keindahan.

analitikal dan penulisan kritikal mula muncul

teologi Hanbali dari Baghdad, yakni Abdul al(3)

karya-karya seni pemasangan dan persembahan video. Jamal telah mencapai tahap dimana

Beberapa 'pengumuman' dilanjutkan dalam beberapa eksposisi yang membayangi kedudukan

Jamal adalah satu persoalan yang berterusan.

surat-surat ayahandanya. Penulisan ayahandanya

Persoalan ini mula berkembang menjadi sesuatu

membayangkan latarbelakang sebagai seorang

yang amat menyentuh apabila beliau memperakui

ustaz dan dicetus dari pengajaran Quran. Oleh

pengetahuan baru tentang apa yang dipanggil

itu, untuk 'mengumumkan' atau 'menyatakan

seni elektronik/media baru dan mencipta

/membaca dengan jelas', terjemahan dan

wacana-wacana yang lebih segar tentang konteks

tafsiran dari bahasa Arab Iqra, adalah satu

dan penciptaan.

perkataan yang dikaitkan dengan wahyu yang

menerusi penolakan dan penerimaan, peluang-

pertama diterima oleh Nabi Muhammad. Bagi

peluang baru bercambah dan ide-ide mula

Jamal, beberapa situasi, dari segi material,

dijana, dirunding dan dikekalkan. Pada tahun

fizikal dan spiritual yang telah ditakdirkan

2000, keyakinan terhadap pegangan baru beliau

untuk beliau hadapi sebagai seorang pengkarya

yang dibina menerusi beberapa metafora, telah

seni visual, adalah situasi yang membolehkan

ditingkatkan lagi dengan penerokaan teknologi

beliau menyampaikan ideologi artistik beliau,

multimedia. Topik-topik berkaitan dengan nyah-

berakar-umbi pada penghayatan dan pemerkasaan

16

17

Hubungan antara manusia dan alam bagi

yang mengandungi kata-kata bertulis dari

rohani.

Secara beransur-ansur,

3. “Abd al-Qadir al-Jilani” (2008) in Encyclopedia Britannica. Ultimate Reference Suite. Chicago: Encyclopedia Britannica.


pusat hubungan kuasa, jurang antara yang

Hakikat – UNSUR

Lebih berminat terhadap aspek psikologi

bersedia dengan yang belum bersedia menerima Ibn al-Arabi telah cuba menerangkan

diterbitkan sepanjang cabaran perjalanan

dalam potret, Jamal menekuni lukisan menerusi

merentas ruang budaya, psikologi dan

bahan arang, bahan asli yang dapat menjejak

meta-fizikal. Dalam rencah ini, kesemua lukisan

'gobblelisation', telah menangkap perhatian

bagaimana Akal berpunca dari Satu hakikat

setiap denyutan artistik beliau. Perincian

mengekalkan sifatnya sebagai dokumentasi,

audien beliau. Antara yang terpegun adalah Dr.

mutlak dengan menerapkan antaranya prinsip

yang realistik dibekalkan oleh kemampuan

pemerhatian dan artifak sejarah.

Mahathir Mohamad, ketika beliau merasmikan

feminin yang dasar, dalam mana segala benda

beliau membekukan elemen watak dan menguasai

kesemua lukisan agak terpecah-pecah tetapi

pameran ‘Rupa’ di Balai Seni Lukis Negara,

berada dalam keadaan serba berkemungkinan dan

satah-satah dengan cekap. Unsur suasana,

kemudiannya digabung semula, untuk membina

yang telah diberikan penerangan panjang-lebar

juga memiliki kemampuan, kesediaan dan

tegangan intelektual dan penglibatan peribadi

makna berdasarkan hubungannya antara satu sama

oleh Jamal tentang karya instalasi beliau

kehendak untuk dimanifestasikan sebagai

adalah antara ciri-ciri lazim dalam

lain, menjadi sesuatu yang amat meninggalkan

‘Kdek,kdek Ong!’, yang kini berada dalam

arkitaip akal dan kemudiannya sebagai

lukisan-lukisan potret ini dalam mana

kesan. Ia adalah dokumentasi pegangan Jamal

Koleksi Balai Seni Lukis Negara.

benda-benda fizikal dalam alam kasar di bawah.

garisan-garisan ringkas memperjelaskan ruang

yang serba berpotensi, huraian beliau tentang

Ibn al-Arabi juga telah memberi pelbagai nama

untuk memunculkan bentuk-bentuk tiga dimensi.

kesementaraan yang sentiasa berkonflik dan

perubahan dalam era yang beliau ungkap sebagai

Jamal ialah seorang yang egoistik

kepada prinsip ini, termasuk mewatakkannya

Suatu ketika,

bersifat baru, dalam mana lukisan-lukisan

sepertimana juga beliau seorang yang tidak

sebagai suatu prinsip “yang kewujudannya

mementingkan diri sendiri. Beliau sering

dimanifestasikan dalam dunia-dunia yang serba

menonjol untuk menyalin imejan dan merubahnya

bermain dengan makna yang berlapis, atas

kelihatan seperti seorang antagonis dalam

berkemungkinan.”

kepada jejak-jejak baru.

pertimbangan untuk mencari hakikat diri.

Jamal memiliki kemampuan yang sangat

pernyataan-semula karya ‘Aida’ oleh karyawan

mendesak pandangan beliau terhadap orang lain, sambil beliau melakarkan suatu spektrum

Sebagai contoh,

beliau yang mutakhir mengupas kepintaran

Prinsip feminin dalam perjalanan naik

kebangsaan Hoessien Enas, mungkin kelihatan

Justeru, mungkin juga lukisan-lukisan

kritikan diri, dan juga memainkan peranan

Jamal boleh dihayati menerusi potret wanita,

ringkas, namun mencabar kita untuk menyedari

inilah yang membolehkan kita menjejak Jamal.

protagonis untuk membuat sindiran terhadap

isteri beliau dan tentunya, bonda beliau.

bahawa mata kita sedang menerima maklumat yang

Mungkin juga, untuk meneruskan perjalanannya

sikap manusia, dalam usaha beliau menyoal

Lukisan-lukisan Bonda mengingatkan pemerhati

telah diproses oleh dua pengkarya - digabung

hingga ke fasa seterusnya (mengambil-kira

agenda-agenda sosio-politik. Dengan ini, Jamal

kepada siri lukisan dan kajian tentang ibu dan

dalam satu bentuk yang membanjiri retina kita

pameran ini diadakan pada masa kita menyambut

telah membekalkan renungan yang sentiasa

isteri yang sedang beradu oleh Rembrandt

untuk menjadi satu penanda yang telah

kedatangan tahun baru Islam), beliau perlu

mencari, yang diterjemahkan menerusi rekod

sekitar 1630an, yang membekalkan tatabahasa

diberikan kod pembacaan yang baru.

menyah-bina, memindahkan dan menolak egonya -

kajian-kajian visual

untuk merakamkan wanita yang sedang berehat

(buku-buku lakaran),

dirinya yang digambarkan menerusi pengalaman

sajak-sajak ‘Prasembah 2000: Sebuah Antalogi

atau gering. Kajian-kajian bonda ini

La!’ beliau, dalam ungkapan bahasa yang sering

menampilkan karektor dan kekuatan dalaman

menyindir, menyoal hubungan antara seni dengan

bonda Jamal menerusi garisan-garisan yang

produksi, penerimaan, penilaian dan destinasi

teliti tetapi ringkas. Beliau tidak banyak

akhir. Ini merupakan kehendak dalaman beliau

menggunakan bayang-bayang, yang disarankan

komprehensif tentang perjalanan Jamal mencari

untuk menjadi lebih sempurna, yang memacu

secara ringkas untuk menimbulkan suasana yang

kompleksiti keindahan dalam menjadi seorang

dengan tanpa-henti usaha untuk memperbaharui

sesuai dalam menggambarkan keperibadian

pengkarya.

diri, mencari diri dan membuka diri dalam satu

seseorang.

berpunca dari ruang imaginasi kepada lonjakan

Berapa kalikah kita melihat wanita, namun tidak sebenar-benar melihat mereka?

sekadar satu titik antara garisan-garisan dalam keindahan perancangan Allah yang kompleks.

Pameran ini memaparkan pandangan

Ia bermula dengan tenaga muda yang

antara-disiplin dalam hasil karya yang

alur perjalanan ke tahap keberadaan yang lebih tinggi. Perjalanan naik ke arah kebenaran ini menempiaskan pengaruh al-Arabi dalam dirinya.

melukis sepanjang 29 tahun lepas. Dia hanyalah

18

19


: “In Between The Lines� and this accompanying book present a repertoire of my drawings. They record not only the reflections of my mind, but also my soul. The exhibition features: 1.1 Portrait and figurative drawings (mostly live drawings). 1.2 Personal notes, mind-maps, studies, sketches, storyboards, concept drawings for paintings, prints, installations, time-based projects such as film, video, theatre, musical concert and experimental performance. 1.3 Cartoons and comics. 1.4 Sketches for graphic works. 1.5 Artist's books. 1.6 Finished drawings.

The drawings cover a time-span of 29 years from 1979 until 2008. I have kept most of them as my own personal collection, memories, markings, index and most valuable treasures.

I have been keeping

them with love and honor, mostly for my 'heirs':

my

beloved children and my students or successors who 2003 Kocak di Fukuoka Pencil on recycled papers (Ripples in Fukuoka)

love drawings.

20

21


Most of the exhibited drawings are my personal works that are very intimate and close Mohd Nasir Baharuddin for example,

to me. Many artists share similar

invites his readers to contemplate the fact that

sentiment towards the act of

the act of drawing has already been a part of

drawing. Artist Victor Chin for

many forms of traditional art in the Malay

example, sees drawing as something

Archipelago. Amongst them include batik janting,

that is “more intimate,

drawings on old manuscripts and labu sayong

transparent, open and free.” (1)

(local traditional ceramic water container). In fact, according to him, reading the markings of

Freedom has also been mentioned by

'drawing' made by a sirih spit as practiced by

J. Anu who wrote that “in many ways, for a

traditional healers, can also be used as an

visual artist generally or a painter

example on how marks or signs on a particular

specifically, the act of drawing may free

surface can be read.(3)

us. It is an important step in the making of art in which the practice allows artists to express themselves without being bothered by

His view is in tandem with Prof. Siti

finishing value as in painting.” (2)

Zainon Ismail's reiteration that the ‘act of creating lines’ has already been practiced in

In other words, drawing is a direct

many forms of Malay traditional carving. The

and untained reflection of an artist’s mind

act of carving is taken as synonymous to

and

drawing and seen as carving a Malay

soul,

compared

to

other

forms

of

finished art.

sensibility.(4) From a linguistic point of view, drawing or lukisan (in Malay language) is defined by the Kamus Dewan Bahasa & Pustaka as Notes:

Other than 'peeking into', drawing also allows us to look back.

1. Zanita Anuar and Jalaini Hassan. Lukisan Malaysia, Balai Seni Lukis Negara, Kuala Lumpur, 1997. pg37. Refer also to The art of lines and drawings, New Straits Times, 27 Ogos, 1997, newspaper review by Ooi Kok Chuen.

Drawings on the Niah Cave, known as Neolithic Pertroglyphs have proven to us that the tradition of making marks has a deep historical root in the Malay Archipelago. The interpretation of drawing as a system of sign and meaning has allowed us to read drawing in a larger context, without being

2. Jolly Koh. Pengajaran Lukisan, Balai Seni Lukis Negara, Kuala Lumpur, 2001. pg 7

confined by Western modernist and narrow academic interpretations.

22

23

3. Zanita Anuar and Jalaini Hassan. Lukisan Malaysia, Balai Seni Lukis Negara, Kuala Lumpur, 1997. pg 36

“to picture, to write, to scribble, to form,

4. Refer to Siti Zainon Ismail. Mengukir Budi Melayu, Siri Gebang Seni, Yayasan Kesenian Perak, Ipoh, 2003.

to tell, to narrate, to present, to sketch, to

5. Kamus Besar Bahasa Melayu Utusan, Utusan Publication and Distributor, 1995. Compiled by Hj. Zainal Abidin Safarwan.

to trace, to scratch, to underline, to note, describe, to show, to reveal, to symbolize, to shape, to plan.” (5) definition is wide.

The scope of such


Drawing in general can be read

In Malaysia, the debates on drawing can be

formalistically. Such reading is more

referred to two exhibitions, namely “Malaysian

directed towards observation and

Drawings” (1997) and “Drawing Lessons” (2002).

physical analysis as the basis of interpretation, instead of the

The exhibition

mental, emotional and spiritual

“Malaysian Drawings” can

dimensions. Barnice Rose for example,

be taken as a significant

defines drawing as “marking on a

general survey of the role

surface with anything, in order to

and importance of drawing

create images.”(7)

in the practice of visual

David Brett on

the other hand, defines drawing as

art amongst Malaysian

the use of dry materials in the

artists. The exhibition,

formation of lines.(8)

curated by Zanita Anuar

A line can be

read as a path between two points.

and Jalaini Abu Hassan,

Physical observation encompasses a

surveys a variety of

combination of vertical, horizontal,

approaches, attitudes and

diagonal and curving lines.

functions of drawing in forming the artistic

Through formalistic and

dispositions of many

academic reading, drawing normally

important Malaysian

features three basic criteria:

artists.

i.

In comparison, the

ii.

exhibition “Drawing

iii.

Lessons” is more directed towards the teaching and

methodologies, as proposed by D.K

is also a prominent

Ching, namely seeing, visualizing

Jolly

and expressing.

employed the drawings of for his seven teaching and learning approaches that were used in his drawing class.(6)

Tonal values(9)

further complimented by three

exhibition's curator, who

his students as samples

Lighting, and

The above-mentioned criteria are

learning lessons of the

artist, Jolly Koh.

Linear element,

(10) 6. Refer to Jolly Koh. Pengajaran Lukisan, Balai Seni Lukis Negara, Kuala Lumpur, 2001, and Zanita Anuar and Jalaini Hassan. Lukisan Malaysia, Balai Seni Lukis Negara, Kuala Lumpur, 1997

24

25


Despite the relative familiarity in

emotional motivation, spiritual ambiance and

approaching drawing formalistically, it

his intellectual understanding.”(12) His

should also be read from both the mental and

interpretation implies that the process of

emotional planes, especially in regards to

drawing involves both the left and right

aesthetic taste and discourse of idea.

brain, and combines the psychomotor, cognitive

Therefore, drawing should not be confined to

and affective domains.

mere observation, mimetic act and its If drawing was to be read as a

usability or applied value, but should also be read as textual signs and visual markings

balanced symbiosis between mind, body and

that can stand on their own, aesthetically.

soul, the act of drawing itself is not always

The debate on many ideological differences

practiced with proportionately balanced

in drawing has been touched by Jolly Koh in

emphasis. I perceive three different

his “Drawing Lesson” catalogue.

tendencies being practiced in various emphasis

Nevertheless, Jolly is more interested in

by artists :

the use of drawing as aesthetic and i. Formalism

formalistic means.

-directed towards external matters such as

Other than formalistic and aesthetic readings, drawing can also be read in a

materials, medium, technique, observation and

semiotic term. Robert Kaupelis for example,

copying of external reality, style and hand

reads drawing as “making marks that have

skill.

meanings.”(11) This reading suggests that ii. Expressionism

drawing is a part of a process of forming meanings and signifying an experience. In exploring this reading further, drawing can

-focusing on expressive quality, aesthetic,

be used as a means of exploring a complex

emotional reflection and subjective inner

relationship between sign and signified in

reality.

the whole system of meaning formation. iii. Conceptualism

Drawing method as taught by the late Ismail Zain was directed towards this approach.

-emphasising thinking process and forwarding complex ideas.

National Artist, Datuk Syed Ahmad Jamal defines drawing as “not only a fisiomechanical process of linear imaging, but also the intention of an artist, his/her

26

27


For examples, “Two Sisters” (1963) by Mohd Hoessein Enas and “Yati” (1963) by Mazeli Mat Som represent the first emphasis.(13) Dzulkifli Buyong on the other hand, combined the first approach with a touch of child expressiveness.

13. Refer to Zainol Abidin Ahmad Shariff. Menemui Modeniti – 40 Tahun Angkatan Pelukis Se Malaysia, Balai Seni Lukis N egara,Kuala Lumpur, 1988.

Artist Fauzan Omar may not be known through his drawings. But for many of his exstudents, his formalist fluency has been passed through his drawing classes, with emphasis on detail formalistic reading on spatial relationship; flat space, deep space, shallow space and ambiguous space.

“Pago-pago” series (1964) by Latiff Mohidin, reflects expressionist tendency through refined inner vision and the ability to absorb energy vibes from a place and subject. Recording of a surreal and inner sentiment can also be traced in the drawings of Dzulkifli Dahlan. Riaz Ahmad Jamil, Hanafiah Waiman, Raja Shahriman, Thangarajoo and Shooshie Sulaiman. They echo similar inclination towards the inner emotional dimension and represent a small group of contemporary artists who draw within this expressionistic framework.

28

29


Spontaneous quality and directness

Contemporary artist Jalaini Abu

If there is a need for an ideal example of

Hassan represents a group of artists who

have also lead artist Wong Hoy Cheong to

an

combines both the expressionist tendency

choose charcoal in creating his seminal

intellectual exercise and a process of encoding

with a highly sound formalistic fluency.

drawing series. Nevertheless, he was perhaps

and decoding meanings, Ismail Zain would be the

For Jalaini, drawing is a means to enhance

more concerned with semiotic articulation in

man. His drawing approach was more directed

which a 'marginalised' media has been

towards

ones perceptual sense towards one's surrounding world. He underlines four major features; “spontaneity, linear, tonal

who

approaches

cognitive

process

drawing

that

as

an

emphasises

intentionally chosen to present his issues of

thinking, semiotic reading and the articulation

concern. By choosing and centralising a

of signs.

marginalised media, Hoy Cheong indirectly

quality and colour value� as the basis of drawing.(14)

artist

implied his own personal tendency to put

Jalaini's subjects include

forward the normally (in the early 90s)

human figures, still life and natural

sidelined issues of identity, marginalized

objects that are close to his personal

history and politics.(16)

daily life.

He represents a small group of

Other artists who possess a

artists who are capable of combining

combination of exceptional skill with

intellectual reading with a high formalistic

expressive tendency are Zheng Yuande, Bayu

sensibility. Drawing in this context can be

Utomo Radjikin and Ahmad Fuad Osman.(15) Other than figurative subject, artists such

read in terms of its capacity to induce

as Ibrahim Hussein, Ahmad Khalid, Syed

dialogue and socio-political discourse.

Tajuddin and Thangarajoo represent an inclination towards abstract and semiabstraction.

30

31

14. Refer to Jalaini Hassan in Lukisan Malaysia, Balai Seni Lukis Negara, Kuala Lumpur, 1997. 15. Refer to J. Anurendra. Aku : 99 Potret Diri, Galeri Petronas, Kuala Lumpur, 1999. 16. Refer to solo exhibition catalogue, Wong Hoy Cheong Off Migrants and Rubber, Valentine Willie Fine Art, Pusat Kreatif, Balai Seni Lukis Negara, Kuala Lumpur, 1997.


In Malaysia, major exhibitions that

For

feature drawing are rarely held. Amongst the

me,

serve

drawing

as

an

can

affective

major drawing exhibitions that have been

'cure'

organised include “Original Sketches and

'illnesses' and 'wounds'.

Preliminary Works” at Room At The Top Gallery in

The

1992, “Malaysian Drawings” at the National Art

many

exhibition

accompanying

Gallery in 1997 and “Drawing Lessons” also at the National Art Gallery in 2000.

for

and book

this will

for those who are willing to

exhibition “Sketches & Watercolours” was held in

journey into them. The k

exhibitions that did feature important drawing

nowledge

drawing

works include “Figurative Approaches in Modern

is

For and

this

this

exhibition

book,

collected

and

I

have

compiled

the good ones. The bad and evil ones are too cheap and are already abundant in the media.

1976, at the original venue of the National Art Gallery at Jalan Ampang, Kuala Lumpur. Other

ugliest and bad.

inner

hopefully be a similar cure

Earlier drawing

beautiful and good to the

o

f

beautiful,

Through

drawing,

I

have become more aware of

is

the fact that whatever it

Malaysian Art” and “Aku:99 Potret Diri” both held

passionate enough to know,

is 'out there' (including

at the Petronas Gallery and curated by J. Anu.

to love, to understand, to

'others' and 'nature') is

appreciate and to enliven

also 'inside' me. Similar

provided t

Drawing is usually marginalised in the

hat o

ne

to

it.

practice of mainstream exhibition in Malaysia. If there was an inclusion of drawing, it was more of

The

k nowledge

of

a supporting role. Solo exhibition that

drawing has allowed me to

specifically features drawing is also rare. Other

explore and journey within

than “Of Migrants & Rubbers” by Wong Hoy Cheong

single

confront

and

engage

with

line

of

everything

a is

inter-connected; nothing can snobbishly claim that it can stand on its own.

myself. It has invited me to

(combined with other forms of work such as

a

drawing,

The play of lines on a drawing

is

actually

a

installation), “Drawing from Mind's Eyes” by

the jungle of my mind and

Jalaini Abu Hassan and “Visual Invocation” by

the ebb and flow of human

connected artistic vibes.

Daud Abdul Rahim (2004), drawing is rarely

emotion. Through lines on

An artist who has managed

featured and discussed in detail as a significant

drawing, I have been given

to

part of an artist's body of work. In other words,

the

playing

with technique,

opportunity

to

reflection of an inter-

bypass

the

joy

of

media,

the visual art audience is rarely exposed to the

encounter many apparitions

tools,

'behind-the-scene' process that is critical in

of my own self, from the

and compositional style,

most

understands such vibes.

the development of an artist's idea and sensibility.

32

33

skill


;

‘ ’

The whole journey has necessitated a union of body, mind and soul. Knowing my body, knowing my mind and knowing Me - a road map to peek into the mystery of creation. Who knows, one may discover the true meaning of humanity. With Guidance and Blessing, one may be able to unveil the veil of Divinity. I hope I will be able to discover it. I don’t know... HASNUL JAMAL SAIDON January 2004. (re-written November 2008) Universiti Sains Malaysia

34

35


: Pameran “Antara Garisan� dan buku yang mengiringinya ini mengumpulkan himpunan karya-karya lukisan saya. Ia merakamkan bukan saja bayangan minda, tetapi juga jiwa saya.

Pameran ini

mengandungi :

1.1

Lukisan potret dan figuratif (dilukis secara langsung atau 'live').

1.2

Nota peribadi, peta minda, kajian, lakaran, lukisan papan cerita, lukisan konsep untuk : karya catan, cetakan dan pemasangan, karya-karya berasaskan masa seperti filem dan video, produksi teater, konsert muzik, dan persembahan eksperimental.

1.3

Lukisan kartun dan komik.

1.4

Lakaran untuk kerja-kerja grafik.

1.5

Buku karyawan.

1.6

Karya akhir berbentuk lukisan.

Kesemua bahan merupakan antara kerja-kerja yang dihasilkan sepanjang 29 tahun yang lepas dari 1979 hinggalah 2008.

Himpunan yang ada dalam

simpanan peribadi ini saya tatang sebagai 'khazanah' atau 'warisan' yang disimpan dengan penuh rasa kasih dan hormat untuk tatapan dan renungan pewaris saya: anak-anak mahupun anak-anak murid yang mencintai ilmu melukis.

36

37


Majoriti lukisan yang dipamerkan dalam pameran ini adalah kerja-kerja peribadi yang sangat dekat dengan saya. Ramai pelukis yang berkongsi sentimen yang sama terhadap kerja melukis. Pelukis Victor Chin umpamanya, melihat lukisan sebagai sesuatu yang “lebih intim, telus, terbuka dan bebas.”(1)

Mohd Nasir Baharuddin pernah mengajak khalayak merenung bahawa kerja-kerja melukis sudah merupakan sebahagian dari penghasilan banyak bentuk seni tradisi yang telah lama bertapak di Nusantara. Antaranya adalah seperti kerja menjanting batik, lukisan pada manuskrip lama dan melarik labu sayong. Malah menurut beliau, membaca kesan-kesan 'lukisan' yang terpapar dari semburan kunyahan sirih seperti yang diamalkan dalam perbomohan juga boleh dijadikan contoh bagaimana tanda-tanda pada sesuatu permukaan boleh dibaca dalam tradisi Nusantara.(3)

Perihal bebas ini juga disebut oleh J. Anu yang menyatakan bahawa “dalam banyak cara, untuk seorang karyawan seni rupa secara am dan pelukis secara khusus, tindakan melukis dapat membebaskan kita. Ia adalah langkah yang penting dalam proses penghasilan seni dalam mana amalannya mengizinkan pelukis-pelukis untuk meluahkan diri tanpa digugah oleh nilai kemasan atau 'penyudah' seperti yang terdapat pada catan.”(2)

Pandangan beliau senada dengan penegasan Prof. Siti Zainon Ismail bahawa kerja-kerja 'menggaris' sememangnya telah lama wujud dalam amalan pelbagai bentuk seni ukir Melayu. Mengukir persis melukis dan dilihat sebagai meng'ukir' budi Melayu.(4) Dari segi bahasa, lukisan ditakrifkan oleh Kamus Dewan Bahasa dan Pustaka sebagai menggambar, menulis, menconteng, membentuk, menyungging, menyurih, menggores, menggaris, mencatit, mencatat, menceritakan (keadaan/hal sesuatu), mengisahkan, membentangkan, melakarkan, menghuraikan, memerikan, mengukirkan, menunjukkan, menampakkan, melambangkan, merupakan, memelankan.(5) Skop takrifan sebegini adalah luas.

Dalam kata yang lain, lukisan adalah bayangan minda dan jiwa yang paling langsung dan kurang ditapis sekiranya dibandingkan dengan bentuk-bentuk seni rupa yang lain.

Lukisan

'dalam.'

Selain mengintai ke dalam, lukisan juga membolehkan kita menoleh jauh ke belakang. Lukisan Gua Niah yang dikenali sebagai “Neolithic Pertroglyphs” membuktikan bahawa tradisi melukis dan membuat tanda sudah lama bertapak di Nusantara. Pentafsiran lukisan sebagai sebahagian dari sistem tanda dan makna membolehkan ia dibaca secara lebih meluas tanpa dibatasi oleh takrifan-takrifan akademik dan seni moden Barat yang tirus.

1. Zanita Anuar dan Jalaini Hassan. Lukisan Malaysia, Balai Seni Lukis Negara, Kuala Lumpur, 1997. Ms 37. Rujuk juga The art of lines and drawings, New Straits Times, 1997, ulasan akhbar oleh Ooi Kok Chuen. 2. Jolly Koh. Pengajaran Lukisan, Balai Seni Lukis Negara, Kuala Lumpur, 2001. Ms 7 3. Zanita Anuar dan Jalaini Hassan. Lukisan Malaysia, Balai Seni Lukis Negara, Kuala Lumpur, 1997. Ms 36 4. Rujuk Siti Zainon Ismail. Mengukir Budi Melayu, Siri Gebang Seni, Yayasan Kesenian Perak, Ipoh, 2003.

38

39

5. Kamus Besar Bahasa Melayu Utusan, Utusan Publication and Distributor, 1995. Susunan Hj. Zainal Abidin Safarwan.


Lukisan secara amnya sering dibaca

Di Malaysia, perbahasan berkenaan lukisan boleh dirujuk di dalam dua pameran khusus yakni “Lukisan

secara formal.

Pembacaan sebegini lebih

Malaysia” (1997) dan “Pengajaran Lukisan” (2002).

menjurus kepada pemerhatian dan penelitian aspek-aspek fizikal sebagai asas pentakrifan, bukannya aspek mental, emosi dan spiritual. Barnice Rose umpamanya mentakrifkan lukisan sebagai “penandaan atas sesuatu permukaan dengan apa jua cara untuk menghasilkan imajan.”(7) David Brett pula mentakrifkan lukisan sebagai penggunaan media kering dalam kaedah penghasilan garisan.(8) Garisan boleh dibaca sebagai pergerakan (atau 'talian') antara satu titik ke titik yang lain.

Pameran “Lukisan

Pameran

Segala

bentuk pemerhatian fizikal boleh dibaca sebagai

Malaysia” boleh dianggap

“Pengajaran Lukisan” lebih

gabungan garisan menegak, melintang, condong

sebagai suatu tinjauan

menjurus kepada paparan

dan melengkung.

umum yang penting terhadap

hasil suatu sistem

peranan dan kepentingan

pengajaran dan

lukisan dalam amalan

pembelajaran lukisan yang

pengkaryaan para pelukis

diusulkan oleh kuratornya

Malaysia.

yang juga seorang pelukis

Pameran yang

Menerusi pembacaan formal dan akademik, ciri lukisan dilihat melibatkan tiga kriteria asas :

dikuratorkan bersama oleh

tersohor, Jolly Koh.

i.

Elemen sejajar atau linear

Zanita Anuar dan Jalaini

Jolly menggunakan hasil-

ii.

Kesan cahaya, dan

Hassan ini meninjau

hasil kerja lukisan para

iii.

Nilai warna.(9)

kepelbagaian pendekatan,

pelajarnya sebagai sampel

sikap dan fungsi lukisan

tujuh pendekatan

dalam proses pembentukan

pengajaran dan

metodologi utama lukisan sepertimana yang

sahsiah kesenimanan ramai

pembelajaran yang

disusulkan oleh D.K Ching yakni melihat, proses

pengkarya penting di

digunakan dalam kelas

Malaysia.

bimbingan lukisan beliau.(6)

Ciri di atas boleh dilengkapi oleh tiga

visual dan ekspresi.(10) 6. Rujuk Jolly Koh. Pengajaran Lukisan, Balai Seni Lukis Negara, Kuala Lumpur, 2001, dan Zanita Anuar dan Jalaini Hassan. Lukisan Malaysia, Balai Seni Lukis Negara, Kuala Lumpur, 1997.

7. Rujuk Drawing Now, The Museum of Modern Art, New York, 1976. 8. Pipes, Alan. Drawing for 3 Dimensional Design, Thames & Hudson, London, 1990. 9. Rujuk Jalaini Hassan dalam Lukisan Malaysia, Balai Seni Lukis Negara, Kuala Lumpur, 1997. 10. D.K.Ching, Drawing A Creative Process, Van Nostrand

40

41

Reinhold, New York, 1990.


Seniman Negara, Datuk Syed Ahmad Jamal

Walaupun lebih mudah didepani dari

pula mentafsir lukisan sebagai “bukan saja

segi formal, lukisan juga perlu dibaca dari

proses fisio-mekanikal imajan sejajar

sudut mental dan emosi termasuklah yang

(linear), tetapi juga niat seseorang pelukis,

berkait dengan pertimbangan estetik dan juga

motivasi emosinya, suasana spiritualnya,

wacana ide. Oleh itu, lukisan tidak seharusnya

proses pemahaman intelektualnya.”(12) Tafsiran

dibatasi kepada soal pemerhatian, peniruan dan

beliau mencadangkan bahawa proses melukis

kualiti gunaannya semata-mata, tetapi perlu

melibatkan kedua-dua fungsi otak sebelah kiri

juga dibaca sebagai tanda-tanda 'tekstual'

dan kanan serta menggabungkan ketiga-tiga

yang boleh dianalisa dan juga kesan-kesan

aspek psikomotor, kognitif dan afektif.

tampak yang boleh berdiri sendiri dari segi estetiknya. Perdebatan berkenaan dengan

Sekiranya lukisan mahu dibaca sebagai

pelbagai ideologi lukisan telah disentuh oleh

simbiosis yang berimbangan antara jasad, minda

Jolly Koh dalam katalog “Pengajaran Lukisan”.

dan jiwa, kerja melukis pula tidak semestinya

Begitupun, Jolly lebih condong kepada

diamalkan dengan imbangan yang sama. Saya

pemakaian lukisan sebagai wahana formal dan

melihat 3 kecenderungan diamalkan dalam

estetik.

imbangan yang berbeza oleh para pelukis:

Selain dari pembacaan formal dan

i. Formalisma

estetik, lukisan juga boleh ditakrifkan dalam kerangka semiotik.

- menjurus kepada persoalan luaran seperti bahan, bahantara, teknik, pemerhatian dan peniruan realiti luaran,gaya dan kemahiran tangan.

Robert Kaupelis contohnya,

membaca lukisan sebagai “penghasilan tanda yang mempunyai makna.”(11)

Pembacaan ini

menyarankan bahawa lukisan adalah sebahagian

ii. Ekspresionisma

dari proses membentuk makna dan memaknakan

- tertumpu kepada kualiti ekspresif, estetik, rakaman emosi dan realiti dalaman yang subjektif.

pengalaman. Sekiranya pembacaan ini mahu dilanjutkan, lukisan boleh dijadikan wahana meneroka perhubungan kompleks antara tanda dan

iii. Konseptualisma

penanda dalam keseluruhan sistem pembinaan

- menekankan pernyataan ide atau proses pemikiran.

makna.

Kaedah pengajaran lukisan yang dibawa

oleh Ismail Zain menjurus kepada pendekatan sebegini. 12. The art of lines and drawings, New Straits Times, 27 Ogos, 1997, ulasan akhbar oleh Ooi Kok Chuen.

11. Korpelis, Robert. Experimental Drawing, Watson-Guptill, New York, 1992.

42

43


Sebagai contoh, lukisan “Two Sisters” (1963) oleh Mohd Hoessein Enas dan “Yati” (1963) oleh Mazeli Mat Som lebih cenderung kepada

pendekatan pertama.(13) Dzulkifli

Buyong pula mengabungkan pendekatan pertama dengan sentuhan ekspresif keanakan. Mungkin tidak ramai yang mengenali Fauzan Omar menerusi karya berbentuk lukisan. Begitupun, bagi bekas anak-anak murid beliau, kefasihan Fauzan lebih banyak ditempiaskan menerusi kaedah pengajaran lukisan beliau yang menekankan pembacaan formalistik yang sangat rinci tentang kesan ruang; ruang rata, ruang dalam, ruang cetek dan ruang kabur. Siri “Pago-pago” (1964) oleh Latiff Mohidin menempiaskan kecenderungan ekspresionisma yang dibuka oleh kehalusan pemerhatian dalaman dan kemampuan mencerap gelombang tenaga yang dibekalkan oleh sesuatu subjek dan tempat. Rakaman alam surreal dan sentimen dalaman sebegini juga dapat dikesan pada siri lukisan Dzulkifli Dahlan. Begitu juga dengan Riaz Ahmad Jamil, Hanafiah Waiman, Raja Shahriman, Thangarajoo dan Sooshie Sulaiman yang mewakili segelintir kecil pengkarya kontemporari yang melukis dalam kerangka ekspresionisma sebegini.

13. Rujuk Zainol Abidin Ahmad Shariff. Menemui Modeniti 40 Tahun Angkatan Pelukis Se Malaysia, Balai Seni Lukis Negara, Kuala Lumpur, 1988.

44

45


Pelukis kontemporari

abstrak dan separa abstrak.

Kekuatan formalisma terutama

Jalaini Abu Hassan mewakili

sekali dari segi pemerhatian dan

sekumpulan pengkarya yang

kemahiran juga dapat dilihat pada

menggabungkan imbangan

'langsung' ini jugalah yang memujuk

kecenderungan ekspresionisma dengan

Wong Hoy Cheong untuk memilih bahan

kekuatan formalisma yang sangat

arang dalam menghasilkan beberapa

saja terletak pada daya formal

tinggi. Bagi Jalaini, lukisan

siri karya lukisannya.

dan kefasihan teknik, tetapi juga

adalah wahana meningkatkan daya

pemilihan beliau lebih dipengaruhi

persepsi seseorang terhadap dunia

oleh pertimbangan semiotik dalam

sekitar.

mana suatu bahan yang 'terpinggir'

karya-karya lukisan Amron Omar dalam siri lukisan figura silatnya.

Kekuatan Amron bukan

nilai ekspresif yang terkandung dalam gerak badan atau bunga langkah yang dirakamkan.

Beliau menggariskan empat

Ciri-ciri kespontanan dan

Begitupun,

ciri utama; “kespontanan,

sengaja digunakan dalam pengutaraan

kegarisanan, kualiti tonal dan

isu. Menggunakan medium lukisan yang

nilai warna� sebagai asas formal

sebelum ini dipinggirkan dan

lukisan.(14) Subjek rujukan Jalaini

membawanya ke tengah sebagai

meliputi figura manusia, alam benda

tumpuan, secara tidak langsung

dan objek-objek semulajadi yang

membayangkan kecenderungan peribadi

dekat dengan kehidupan harian

Hoy Cheong mengenengahkan isu-isu

peribadi beliau.

sosial, politik, sejarah dan identiti yang sering

Antara pelukis lain yang

dipinggirkan.(16)

menampilkan gabungan kemahiran dengan ciri ekspresif yang sensitif

14. Rujuk tulisan Jalaini Hassan dalam Lukisan Malaysia, Balai Seni Lukis Negara, Kuala Lumpur, 1997. 15. Rujuk J. Anurendra, Aku: 99 Potret Diri, Galeri Petronas, Kuala Lumpur, 1999. 16. Rujuk katalog Pameran Solo Wong Hoy Cheong, Off Migrants and Rubber, Valentine Willie Fine Art, Pusat Kreatif, Balai Seni Lukis Negara, Kuala Lumpur, 1997.

46

47

Hoy Cheong mewakili

dalam menterjemah figura manusia

sebilangan kecil pelukis yang

termasuklah Zheng Yuande, Bayu

menggabungkan kekuatan pembacaan

Utomo Radjikin dan Ahmad Fuad

intelek terhadap sesuatu isu

Osman.(15) Disamping subjek figura,

persoalan dengan kesempurnaan daya

pelukis seperti Ibrahim Hussein,

formalisma. Lukisan dalam konteks

Ahmad Khalid, Syed Tajuddin dan

ini dibaca dari segi kemampuannya

Thangarajoo mewakili gabungan

mencetus dialog dan wacana sosio-

kekuatan di atas dalam pendekatan

politikal yang bertindih.


Di Malaysia, pameran-pameran besar

Untuk pameran dan

Bagi saya, lukisan

dari Malaysia yang tertumpu pada lukisan agak

boleh

jarang diadakan. Antara yang pernah diadakan

mujarab untuk banyak bentuk

yang baik saja. Yang jahat

termasuklah pameran “Original Sketches and

penyakit dan luka. Pameran

sudah t erlalu m urah dan

Preliminary Works” di Galeri Room At The Top

dan buku ini diharap dapat

banyak d ipaparkan dalam

pada tahun 1992, dan dua pameran yang telah

menjadi

media.

dinyatakan sebelum ini - pameran

mereka yang sudi meneroka

“Lukisan

Malaysia” di Balai Seni Lukis Negara pada

menjadi ubat

yang

penawar

untuk

buku ini, saya k umpulkan

Menerusi lukisan,

ke dalamnya.

tahun 1997 dan pameran “Pengajaran Lukisan”

saya

di Balai Seni Lukis Negara pada tahun 2000.

bahawa segala yang ada di

Ilmu indah,

Pameran awal yang tertumpu pada lukisan

melukis itu

jika

kita

m

mahu

encintai,

semakin m

‘luar’

engerti

(termasuk

pada

‘orang lain’ dan ‘alam’)

pernah diadakan di Balai Seni Lukis Jalan

mengenali,

Ampang berjudul “Sketches & Watercolours”

memahami, menghayati dan

ada di ‘ dalam’ diri s aya

pada tahun 1976. Pameran-pameran lain yang

menghidupkannya.

sendiri. S garisan p

ada menyelitkan karya lukisan yang penting

juga

lukisan,

segalanya saling berkait;

adalah Pameran “Figurative Approaches in

Ilmu

Modern Malaysian Art” dan “Aku:99 Potret

mengizinkan saya meneroka

tiada suatu pun yang boleh

Diri” kedua-duanya di Galeri Petronas dan

dan mengembara ke dalam

sombong

dikuratorkan oleh J. Anu.

diri. Ia menjemput saya

mengatakan

berdepan, bersemuka dan

berdiri dengan sendiri.

berdialog

Secara amnya, lukisan lebih terpinggir

melukis

eperti ada

dengan

angkuh

ia

mampu

rimba Permainan

minda d

berpameran di Malaysia. Jika ada sekalipun,

ombak

lebih bersifat marginal dan sokongan.

sejagat. Menerusi

adalah

Pameran-pameran solo yang memaparkan lukisan

garis-garis pada lukisan,

pertindihan

secara khusus sebagai wahana pengkaryaan juga

saya

kesenimanan yang s aling

tidak banyak. Kecuali pameran “Of Migrants &

bertembung dengan segala

berkait. P

jenis jelmaan diri dari

telah

yang

baik

keseronokan bermain dengan

paling

bahan, peralatan, teknik,

dengan karya-karya bentuk lain seperti instalasi),

manusia

berpeluang

cantik

dan

yang

hodoh dan jahat.

Jalaini Abu Hassan dan yang terbaru pameran

pada

lukisan s ebenarnya bayangan

kepada

g elukis

berjaya

(2004), lukisan jarang ditampil dan dibincang secara terperinci sebagai wahana proses pembinaan sahsiah kesenimanan seseorang

48

49

etar yang

melepasi

kemahiran dan gaya olahan, lebih memahaminya.

“Visual Invocation” oleh Daud Abdul Rahim

pengkarya.

perasaan

hinggalah

“Drawing from Mind's Eyes” oleh

turun-naik

garis

dari segi penampilannya dalam kegiatan

Rubbers” oleh Wong Hoy Cheong (bercampur

an

dan


Pengembaraannya memerlukan kesatuan serta imbangan jasad, minda dan jiwa. Kenal jasad, kenal minda dan kenal jiwa, membolehkan kita mengintai rahsia alam.

Jika ada rezeki, kita

bertemu makna kemanusiaan sejagat. Jika ada rahmat dan hidayah, ia memudahkan kita menyingkap tabir keTuhanan. Saya berharap dapat menemuinya. Tak tahulah lagi‌

50

51

HASNUL JAMAL SAIDON Januari 2004. (ditulis semula November 2008) Universiti Sains Malaysia


The synergy between my father and mother formed a stable complimentary pair - artistic and scientific, order and chaos, fierce and soft, logic and intuition and many more. My siblings also provided similar binary setting in a balanced mix - between tendencies towards the sciences and arts in a complimentary manner. My mother has always been my ‘al-Hillal’ (The Moon), while my father ‘as-Syam’ (the Sun); my mother supplied the ‘software’, while my father prepared the ‘hardware’. From primary school until secondary school, both my parents and my family members were my teachers, my life and my world. The world was not perfect and not all bed and roses. I signified them through my comics. Comic reality was more casual and natural where all tensions could be humoured.

1st wave 52

53


Keluarga Dak Don (Family of Dak Don)

1979 x: 78cm y: 40cm Digital print from original work (pen, ink on paper)

HJS-ARB-1979-001

HJS-ARB-1979-002

Keluarga Dak Don #2 (Family of Dak Don #2)

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55

1979 x: 78cm y: 40cm Digital print from original work (pen, marker, ink, watercolour on paper)


Kartun Keluarga (Family Cartoons)

56

57

1980 x: 63cm y: 53cm Digital print from original work (pencil, pen, marker on paper)


Saya juga dipengaruhi komentar sosial yang selamba dari Blues Gang, jeritan rock Ramli Sarip, balada Jamal Abdillah dan puisi Kumpulan Kembara. Kinestetik saya dipengaruhi oleh gerak Mokhtar Dahari, Soh Chin Aun, R. Arumugam, Shukor Salleh dan Santokh Singh. Saya boleh menghafal kesebelasan utama pasukan bola sepak Malaysia ketika itu. Saya juga sempat disampuk badi komuniti kutu dan

Kutu’s

1981 x: 78cm y: 40cm Digital print from original work (pencil, pen, marker, watercolour on paper)

I was influenced by casual social-

sentimen sub-budaya lepak dilema Melayu. Star

commentaries of Blues Gang, the screaming rocks of

Wars George Lucas membawa saya terbang

Ramli Sarip, the ballads of Jamal Abdillah and the

berfantasi; Lat, Mishar, Rejabhad, Jaafar

poetry of Kembara Group. My kinesthetic was

Taib, Zainal Buang Hussein, Azman dan majalah

influenced by Mokhtar Dahari, Soh Chin Aun,

Gila-Gila mengajar saya tentang bahasa seni

R.Arumugam, Shukor Salleh and Santokh Singh. I was

rupa, seni bercerita, teknik dan gaya melukis

able to memorise all the 11 members of the

dan keceriaan jenaka yang dapat membuka tabir

National soccer team then. I was also seduced by

minda dan hati.

the sub-cultural elements of ‘kutu’ (loiters) community and the complacency of Malay Dilemma. George Lucas’s ‘Star Wars’ flew me into the world of fantasy; Lat, Mishar, Rejabhad, Jaafar Taib, Zainal Buang Hussein, Azman and the “Gila-Gila” magazine taught me about the language of art, the art of story-telling, techniques and styles of drawing and the joy of humour that was able to open the veil of mind and heart.

58

59


ANIM-X

1982-1983

pencil, pen, colour pencil, marker, typewriter on paper

HJS-SKB-1983-001

60

61


future wife - Rozana Moha uch of my med the to

also found At ITM I . s e i t dep u

th Malay sentiment; by ITM wi d e h t a b d n syid dan penerusan I was nurtured a h Nik Ra a w r a vival of the pi and the sur bera Mal Rasyid han k ays i a N r e a t y ; a ; s para n a d r he l i h t t pribumi a h a M y s k b arado tures yu; p a "firery" lec ging l e s chan a M i s h g n d a an atan b hi r kedaul Mahat f o radox the pa

2nd wave

62 63


Saya disapa gelombang romantis arwah Ahmad Khalid dengan ekspedisi Persatuan Pelukis Malaysia; asas senirupa mendiang Joseph Tan dan Ruzaika Omar Basaree; kuliah Dzulhaimi, Jahani, Muliyadi, Abu Talib dan Ali Rahman serta terjemahan Zakaria Ali; 3D Ariffin Ismail & Zakaria Awang; formalisma dan eksplorasi bahan Fauzan Omar, disiplin catan Choong Kam Kow; disiplin lukisan Tan Tuck Kan; teknik, kemahiran dan bunga tangan Amron Omar; ketertiban dan ketekunan Awang Damit; konseptualisma Ponirin Amin; strukturalisma dan semiotik kolaj digital arwah Ismail Zain. Saya juga menerima tempias seni komputer dari Kamarudzaman Mat Isa. Inilah guru-guru saya. I was touched by the romantic wave of Ahmad Khalid with his Malaysian Artists Association’s expeditions; fundamentals of art from Joseph Tan and Ruzaika Omar Basaree; lectures from Dzulhaimi, Jahani, Muliyadi, Abu Talib and Ali Rahman as well as translation of Zakaria Ali; 3D of Ariffin Ismail and Zakaria Awang; formalism and media exploration of Fauzan Omar; painting discipline of Choong Kam Kow; drawing discipline of Tan Tuck Kan; techniques, skill and dexterity of Amron Omar; the persistence and patience of Awang Damit; conceptualism of Ponirin Amin; structuralism and digital collage semiotic of Ismail Zain. I also received fragments of computer art endeavour from Kamarudzaman Mat Isa. These were my teachers.

HJS-SKB-1985-002

AD ITM 85

1985 x: 61cm y: 49cm Digital print from original work (pen, marker on paper)

64

65

1985 Studies & Sketches pencil, pen, colour pencil, marker on paper


Self portraits ‘86

Coursemates

1986

1986

x: 49cm y: 107cm pencil, pen on paper

x: 49cm y: 84.5cm

#3

pencil, pen, marker on paper

Self portraits

1986 #1

x: 49cm y: 107cm

pencil, pen, marker on paper

Self portraits

1986 #2

x: 49cm y: 107cm

pencil, pen, marker on paper

66

67


Ket ika berpe lua

Belia ASEAN di Singapura, saya kel Seni ng mewakili Malaysia ke Beng

Friends from ASEAN countries

1987 #4

x: 109cm y: 60cm

pencil, colour pencil on paper

Friends from ASEAN countries

1987 #3

x: 109cm y: 60cm

pencil, colour pencil on paper

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69


Friends from ASEAN countries

1987 #1

x: 109cm y: 60cm

pencil, colour pencil on paper

Friends from ASEAN countries

1987 #2

x: 109cm y: 60cm

pencil, colour pencil on paper

70

71


used to the drawings of g reat maste though I was rs from Even the

72 73

Pencil, pen, oil pastel, watercolour, gouache on paper

1987 Coursemates & Kelantan Indah x: 49cm y: 156cm


Studies, Sketches, Notes & Concept Drawings for Paintings, Prints & Installations

1987-1989

pencil, pen, colour pencil on paper

Tahun akhir, segala yang teknikal, formal dan stailistik dipecah oleh Ismail Zain. Saya agak bingung sepanjang tahun akhir di ITM. Saya bernafas dalam gelombang modenisma versi 80an yang cuba ditunggang untuk memperkasakan Melayuisma, sambil dihiasi oleh nostalgia alunan kerawang dan arabesque Timur Tengah. Begitupun, saya tidak menghadam semuanya secara tuntas mahupun literal. Saya tingkah dan kembangkan ke arah sains – merujuk dan mengintai ciri-ciri sepunya kemanusiaan ketika di alam rahim.

HJS-SKB-1989-001

During my final year, all that were technical, formal and stylistic were broken by Ismail Zain. I was rather nervous during my final year at ITM. I was breathing the wave of 1980's modernism that was then used to empower Malayism, whilst decorated by the nostalgic lullaby of Middle-Eastern arabesque. Nevertheless, I didn’t absorb everything literally and wholly. I countered such modernism and expanded it towards the sciences-by refering and peeking into shared humanity planted and nurtured in a woman’s womb.

74

75


Sketches for Microscape series #2

Sketches for Microscape series #1

1987 x: 150cm y: 49cm Pencil, pen, marker, ink on paper

76

77

1989 x: 39cm y: 92cm Pen on paper


Sketches during my BFA reflects the following irony: embracing globalisation whilst retaining the ‘songkok’ (Malay headgear) on my head; crossing boundaries whilst occasionally enjoying the comfort of hiding under my coconut shell.

rd

3w

e

av


Hujan Batu, Hujan Emas (Rain of Stones, Rain of Gold)

1990

x: 95cm y: 70cm Xerography, pencil, colour pencil, marker, ink, paper, plastic sheet on compressed foam

HJS-PRN-1990-002

Kandang Kambing Kandang Rimau (Goat Cage Tiger Cage)

1990 x: 95cm y: 70cm Xerography, pencil, colour pencil, marker, ink, paper, plastic sheet on compressed foam

Hero

1990

x: 95cm y: 70cm Xerography, pencil, colour pencil, marker, ink, paper, plastic sheet on compressed foam

80

81

HJS-PRN-1990-003


Ketika berenang merentas gelombang ini jugalah, segala keselesaan sentimen modenisma Melayu lama dikejut dan disentak oleh wacana multibudaya, pascakolonial, imperialisma teknologi media, kesan kuasa representasi dan kuasa ilmu, ‘orang lain’ dunia ketiga, globalisasi dan ekonomi pasaran bebas, semiotik dan kecelaruan makna, teori chaos, teori kuantum, pasca kuantum dan ‘sains baru’, isu gender

yang

kelabu,

feminisma

dan

gadis-gadis

gerila

(juga

‘gorila’),

dekonstruksi, hal jenama dan pemasaran, konsumerisma melampau dan kritikan budaya komoditi dan tontonan. Segala pelampong yang dulunya selesa menjadi semakin reput dan hanyut. Banyak kali saya sesat dan hanyut dalam simpang-siur wacana di atas.

While I was swimming across this third wave, all the comforts of old Malay modernism

and

sentiment

were

shaken

and

strucked

by

the

discourse

of

multiculturalism, post-colonialism, media and technological imperialism, the impact of the power of knowledge and representation, the ‘others’ from the third world, globalisation and free market economy, semiotic and the confusion of meaning, chaos theory, quantum theory, post-quantum theory and the ‘new science’, gender issues, feminism and guerilla girls (perhaps ‘gorila’), deconstruction, branding and marketing, extreme consumerism and critics of commodity culture and society of spectacle. All my safe floats were decaying and became adrift. For many times, I was lost and sent adrift by such discourses. Studies for “Melayu” #1

1990

x: 64cm y: 42cm Pencil, colour pencil, pen, oil pastel on paper Studies for “Melayu” #2 x: 42cm y: 64cm Pen on paper

82

83

1990


Di Ame rika S yarika It was t juga in the lah sa United ya men States yambut that I kedatan r e ceived gan pew the aris su arrival lung sa of my f ya yang irst he pertama ir - Ad eela. T he land Adeela. B o f U .S.A umi U.S.A menjadi s aksi beni became th h cinta say e witness a for the s eed of my love to dengan Rozana . Kesannya te rsangat dalam. Rozana. The im Saya mula pact was deep . I started to look at melihat diri sebagai sebahagian dari kesel uruhan. myself as a part of the larger whole. Before this, Concept drawings for Senja-installation & performance

ap ukis benih dan janin, bercak Sebelum ini saya hanya mel and g kin tal embryo, I was merely drawing human ni. bercampur se akal, sains h ja nd, hu mi n l ka gica mengguna the use of lo th dan berteori wi ng si ri theo maknawi, p secara a t a n e m dan lding, I'm upho mengazan , , w g o n n a t t a u ami’ t. B a men eng’al e and ar Kini say m c n e a i y c s a S la. ntial mixing n-semu substa i l e a r s o i m a ng d ty in ri’ ya . dalam humani ret di g t n eyes o i p v lang ‘ r i e m h s a b l o a a a’s ' and d d y g l n a n a e s i g e c , n cin a. f Ad ikkan perie announ deel t' o ngasy I am 'ex e A h m g ’ i n . da mata e 'l trait ndah aya n th f-por h i gat i l a n e a c f s s ‘ l Ia cated myse repli ost a l h I g thou ng. way, risi e m s d me l an u f i eaut so b s i . It ' it g n i 'liv

1991

x: 110cm y: 44cm

Concept drawings for Listen to the land-installation & performance

Pencil, pen on paper

1992

x: 110cm y: 44cm

Pencil, pen on paper

84

85


HJS-PRN-1991-001a

HJS-PRN-1991-001b

HJS-PRN-1991-001d

HJS-PRN-1991-001c

Proclaim II #1-5

1991 x: 47cm y: 110cm

86

87

HJS-PRN-1991-001e

Digital print, pencil, ink, photography on papers & canvas


Proclaim

1993 x: 78cm y: 40cm Digital print from original work (Xerography, digital print, pencil, pen, marker, ink on papers)

Saya bersemuka dengan teknologi maklumat yang mulanya sangat saya benci kerana dianggap sebagai pembunuh kemanusiaan. Setelah kenal melalui ilmu, benci saya hilang. Saya mula mengenali perangai media dari Marchall MacLuhan dan Neil Postman, kemudian O.B Hardisson. Saya berkenalan dengan karangan Edward Said dan Naom Chomsky lalu mula berhati-hati dengan agenda manusia yang gila kuasa dan tamak harta. Saya menekuni John Naisbitt, N. Negroponte dan Alvin Tofler untuk meneropong masa depan. Saya juga dibawa sesat melarat dalam rimba pasca moden oleh Jean Baudrillard dan ramai lagi. Saya mula membaca kompleksiti soal budaya dan ekonomi dari sudut yang lebih global.

88

89


I encountered information technology which I hated before, mostly because I had assumed that it was the destroyer of humanity. When I got to know it better through knowledge, the hatred disappeared. I started to learn about media behaviors from Marchall MacLuhan and Neil Postman and later from O.B.Hardisson. I got myself acquainted with the work of Edward Said and began to be more cautious of the selfish agendas of powercraze people. I studied John Naisbitt, N.Negroponte and Alvin Tofler to peek into the future. I got myself lost in the jungle of post-modern by Jean Baudrillard and many more. I began to read the complexity of economy and socio-cultural issues from a more global angle.

Studies, notes, sketches & concept drawings for “The Return of a Native� #1-3

90

91

1992/1993 x: 61cm y: 89cm

Pencil, colour pencil, pen, correction fluid on paper


Studies, notes, sketches & concept drawings for “The Return of a Native” #4

1992/1993

x: 61cm y: 52cm Pencil, colour pencil, pen, correction fluid on paper

Studies, notes, sketches & concept drawings for “The Return of a Native” #5

1992/1993

Studies, notes, sketches & concept drawings for “The Return of a Native” #6 & #7

1992/1993

x: 61cm y: 52cm

x: 52cm y: 100cm

Pencil, colour pencil, pen, correction fluid on paper

Pencil, colour pencil, pen, correction fluid on paper

92

93


Tongkat Ali

1990/1994

x: 95cm y: 74cm Charcoal, pen, oil pastel, acrylic on watercolour paper

I looked at myself and the whole human race as increasingly drowned by the wave of post-modernism, caught off-guard by the surge of globalisation and the wave of information technology, made nervous by the possessive free market economy. I was concerned and wanted to avoid from being intoxicated by culture of spectacle and obsessive consumerism that could make one’s heart blind. HJS-DWG-1994-002

To flow

1989/1990/1994 Concept drawings for installation & public sculpture

x: 95cm y: 74cm

1990/1994

x: 95cm y: 74cm

Xerography, colour pencil, pen, ink, acrylic on watercolour paper

Pen, butter paper, acrylic on watercolour paper

94

95

Saya melihat diri saya dan umat manusia semakin tercungap-cungap untuk bernafas dalam gelombang pasca-modernisma, dikejutkan oleh ombak globalisasi dan gelombang teknologi informasi, diresahkan oleh sampuk ekonomi pasaran bebas. Saya khuatir dan mahu mengelak dari mabuk tersedut candu budaya tontonan dan konsumerisma melampau hingga buta serta hitam mata hati.


HJS-SKB-1993-001

Studio Notebook U.S.A 1990-1993

1990-1993 Pencil, pen, colour pencil, correction fluid on paper

96

97


Studies, Sketches, Notes & Concept Drawings for Paintings, Prints & Installations (1990-1993)

1990-1993

pencil, pen, colour pencil on paper

98

99


Others were all wrong, only I was right!

100

101


Prasembah 2000: Sebuah Antologi La!

2000

x: 61cm y: 49cm Digital print from website (html)

102

103


104

105


HJS-PRN-1995-002

Visual Notes for “Something Fishy” II

1995 x: 77cm y: 54cm Xerography, pencil, pen, watercolour, HJS-PRN-1995-001

acrylic, butter paper on watercolour paper

Visual Notes for “Something Fishy” III

Saya marah dengan kemanusiaan yang dipolitikkan

1995 x: 120cm y: 76cm Pen, charcoal, oil pastel, acrylic, marker on batik cloth

I was angry at humanity that was politicised by

oleh kotak perkauman yang sempit. Saya marah

narrow ethnic chauvinism. I was angry at the

dengan kekangan, halangan dan hambatan nostalgia

constraints, hurdles and obstacles of defunct and

asabiah jumud dan lapuk (tidak kira apa pun

archaic chauvinistic nostalgia (regardless at

Akal saya tajamkan untuk memotong dan melukakan apa saja yang saya tidak suka. Akal

kumpulan etnik). Saya benci dengan feudalisma

whatever

ethnic

memang mudah ditajamkan jika mahu. Gaya wacana boleh digilap persis mesin yang

bodek

feudalism

that

yang

menghapuskan

kebijaksanaan

dan

group). could

I

hated

threaten

insincere

wisdom

and

Saya meluat dengan budaya 'aku lebih

intelligence. I loathed the culture of ‘holier

alim dan Islam' dan 'songkok aku lebih tegang'

than you’ or ‘Islamic than you’ and ‘my ‘songkok’

hikmah.

atau 'kopiah aku lebih putih (atau hijau).'

Saya

pure

tontonan

liberalism’, spectacle culture and cosmopolitan

konsumerisma

kosmopolitan

yang

oleh

(or

green).’ that

I were

also

loathed

ritually

and

katak

‘copycat

dianuti dengan taat setia membuta tuli atau

consumerism

khinzir buta persis ritual agama!

practiced with blind heart, more than religious

dan

budi.

Dengan

api

dan

angin,

yang

terlompat-lompat

mahu

melepaskan

saya

mula

membina

kemahiran

diri

dari

tempurung

kejumudan.

Sesekali terasa seperti seniman perasan yang bertanya pada cermin persis ibu tiri Snow White “siapa yang paling cantik dan hebat?”

loyally

ritual!

106

hikmah

mempersendakan diri sendiri dan orang lain hingga sesekali terasa seperti seekor

is more stiff’ or ‘my head scap is more white or

juga meluat dengan liberalisma 'salinan,' budaya dan

berkilat (tapi tiada jiwa). Ia boleh menjadi senjata yang bahaya jika tidak dipandu

107


I sharpened my mind to cut and injure whatever I disliked. One’s mind was easy to be sharpened if one wanted to. Styles of discourse can be polished

Saya menyampah dengan kepura-puraan formalisma dalam seni, adab dan aturan yang dibuat-buat atas kepentingan wang dan kabel yang sempit. Sesekali, saya mual dengan seni rupa kontemporari baik lokal mahupun antarabangsa.

like a shiny machine (without a soul!). It may turn into a lethal weapon if it was not steered by wisdom and kindness. With fire and wind, I began to develop a skill in mockering myself and others until I felt like a constantly leaping frog who tirelessly tried to escape its own close-

I despised the pretence of formalism in art, as well as mannerism that were superficially acted to feed greed and narrow nepotism. Occasionally, contemporary art scene, be it local or international, made me feel nausea.

mindedness. At times, I felt like a self-absorbed artist who was asking a mirror, much like Snow White’s stepmother, “who is the prettiest and greatest of them all?”

HJS-PRN-1996-001 1996 Sketch for Fashion Parade I

x: 105cm y: 20cm Dye-sub print, acrylic on synthethic paper

Collection of Lena Bok (Joseph Tan)

HJS-PRN-1996-002 Sketch for Fashion Parade II

1996 x: 44cm y: 20cm Dye-sub print, acrylic on synthethic paper

Collection of Lena Bok (Joseph Tan)

108

109


HJS-DWG-1997-002

1997 Blue Print x: 23cm y: 21cm Pencil on paper

Sketch for Vanishing Point

1997 x: 23cm y: 22cm Pencil on paper

HJS-DWG-1997-001

HJS-PRN-1997-001

The Flying Carpet

110

111

1997 x: 19cm y: 24cm Pencil, acrylic, laser print on simili paper


HJS-SKB-1999-001

Sketches & notes (1994 - 1999)

1994-1999 Pencil, pen on paper

112

113


Notes, Studies, Sketches & Concept Drawings for Cenfad’s Branding. HJS-SKB-2000-001

2000 Pencil, pen, marker on papers

114

115


re , lo v e a n d ca

On

ly

Th

e

ea gr

el ng

a c t u al l y f ac i wa s I

,

ew dr

I e

n

my

of dis cour se.

w

t

en

em s y i y i n wh a t e v e r j o ur n e

n ow

if Un in a w e woul d attain freedom

lf

.

Th

ie

e s ly a me i al c e p g oes w ith arts, es

dr

i aw

ng

.

li

An

ge

r,

t

h

gh

fl ue nc y

d

t.

s my

.

te s

f.

I

to

en e ss

h

ha d

wi n

it th

ro u gh

f or gi v

it h

su c en e r g y t ha t

se

Wh

gr

ie v

a nc

e,

en vy

w il l n ot

bring me anywhere. I used

to

dr

e ss

th

em

wi


old

new

new media

old media

young artists

rtists senior a

local

global

post-modern

modern

commercial co smopolitan

manticism village ro m pragmatis

idealism intuition

logic science

art analogue

digital

Islam

non-believ

er (of Isl am)

Indegenous

non-indegen

ous

Online

offline

118

118

119


Alami

2002 x: 78cm y: 40cm Digital print from original work

Portrait of Shooshie Sulaiman

2002

(Xerography, pen, marker on paper) x: 41cm y: 57cm Pencil on paper

Inilah gelombang kelima saya. Di hutan Kuala Selangor dan Gunung Kinabalu, banyak hijab terbuka. Ia prelud membuka hijab (ego) agar cahaya rohani (nur) dapat menyuluh diri, yang saya femininkan sebagai Nurbaya. Dalam hidup, perkenalan, persahabatan, kasih dan sayang yang dijodohkan adalah untuk menguji dan membuka tabir hijab (ego) kita. Ia memusnahkan segala talian kesementaraan yang dahulunya saya sangka boleh dipegang selamanya. Rupa-rupanya, talian yang saya pegang dahulu adalah bayang atau kesan kasar. Senang kena tipu. Cahayanya yang halus saya tidak jumpa kerana tidak kenal dengan musuh (diri sendiri) dan terlalu seronok bermesra dan bercinta dengan riak-riak 'bayang.’

Portrait of Bibi Chew

2002

x: 40 cm y: 56 cm Pencil on paper

120

121


Portrait of Syed 2003

pencil on paper x: 29cm y: 33cm

This is my fifth wave. In the forest of Kuala Selangor and in Kinabalu Mountain, many veils were opened. They were preludes for the opening of my veil (ego) that had allowed the spiritual light to enlighten my soul. I named the light Nurbaya. In life, encounters, friendship and fated love were meant to test and unveil the cloak of our ego. In my case, they were meant to undo my ‘line’ of attachment to things that I thought were meant to be possessed or owned forever. I realized that such line was merely a shadow or illusion. I was easily duped. I could not attain the higher light because I did not recognise my own worst enemy (myself) and was too busy playing with shadows and ripples.

2000 x: 20cm y: 29cm Pen on paper (Rice has been burnt, we sell our roots)

Concept drawing for installation: “Beras sudah terbakar, kita jual akar.”

122

123


Sketches For Interfaces

2003/2004 Pencil on paper

Tempias gelombang ini ada pada kerja-

The impact of this wave can be traced in

kerja

terutama

my recent works, especially sketches for

'Bonda,'

‘Mother’,

lukisan

lakaran-lakaran

mutakhir, untuk

siri

'Yang Bernama Isteri,' 'Hijab Nurbaya', 'Alami

Sains Ilham Seni' dan 'Kocak di

Fukuoka.'

'Hijab

Nurbaya'

paling

One

Called

Wife’

and

‘Ripples in Fukuoka’. ‘Veil of Nurbaya’ is the most testing. My male ego was challenged

and

melted

my

overbearing

forms. Zen saying used to remind that if

Pepatah zen pernah mengatakan

one had journeyed too far to the west, one

seseorang

berpaut terlalu

pada jauh

merantau

sesat ke barat, ia hanya akan sampai semula ke timur (lawannya).

will

only

opposite).

return

to

the

on

to

bentuk

terlalu

dependency

due

menguji. Ego jantan saya pecah dan cair

jika

125

‘The

kerana fizikal.

124

HJS-SKB-2003-001

physical

east

(it’s


x: 52cm

Setelah terlalu jauh merantau dalam gelora 'Yang' saya sampai semula kepada 'Ying' untuk mengenal fitrah pasangan 'Ying-Yang.' Ibu, isteri, anak-anak dan segala hati yang singgah untuk menyentuh terus jiwa saya, mereka mendekatkan saya kepada fitrah, mungkin bayangan misteri 'pertiwi' yang selama ini disunyikan oleh kesombongan, keangkuhan dan kebisingan gelora 'jantan' yang saya layani separuh mati. Saya kembali lagi kepada fitrah. Semasa di Fukuoka & Kyoto (2003) dan Tokyo & Osaka(2008), kesan ini sangat membekam. Sesekali yang pantas, 'Hasnul' hilang dan terasa saya hanyalah 'ada.’

y: 56cm

Collection of Pakhruddin & Fatimah Sulaiman

After journeying too far into the storm of my own ‘Yang’, I returned to my own ‘Ying’ to understand the complimentary nature of ‘Ying-Yang’. My mother, wife, daughters and all the hearts that have touched mine - they have brought me closer to my true nature, perhaps the mystery of ‘mother-earth’ that I used to obscure by my own arrogance, as well as the noises of my male stomping that I used to engage whole heartedly. I returned to my true nature. When I was in Fukuoka & Kyoto (2003) and Tokyo & Osaka (2008), the impact was very intense. During some flickering moments, my ‘Hasnul’ simply dissolved and I just experienced ‘being.’

x: 44cm

y: 51cm

Collection of Pakhruddin & Fatimah Sulaiman x: 52cm

y: 56cm

Collection of Pakhruddin & Fatimah Sulaiman

126

127


Prelude to Hijab Nurbaya #2 x: 37.5cm

2003

x: 37.5cm y: 55cm

y: 55cm

Pencil, charcoal, coffee stain on paper

Collection of Aliya & Farouk Khan

HJS-DWG-2003-021

128

129

Prelude to Hijab Nurbaya #3

2003

x: 37.5cm y: 55cm Charcoal on paper

HJS-DWG-2003-022


“Bonda” series - Subuh #1 (”Mother” series - Dawn #1)

“Bonda” series - Subuh #2 (”Mother” series - Dawn #2)

2003 x: 39cm y: 49cm Charcoal on paper

2003 x: 39cm y: 49cm Charcoal on paper

130

131


“Bonda” series - Sleeping & Watching TV (”Mother” series)

“Bonda” series - Contemplating #2 (”Mother” series)

2003 x: 59cm y: 82cm Charcoal on paper

2003

x: 59cm y: 82cm Charcoal on paper

“Bonda” series - Relaxing & reciting (”Mother” series)

132

133

2003 x: 59cm y: 82cm Charcoal on paper


“Bonda” series - Subuh #3 (”Mother” series - Dawn #3)

“Bonda” series - Reciting (”Mother” series)

2003 x: 48cm y: 82cm Charcoal on paper

2003 x: 60cm y: 108cm

“Bonda” series - Selepas Subuh (”Mother” series - After Dawn)

Charcoal on paper

2003 x: 60cm y: 110cm Charcoal on paper

134

135


“Bonda” series - Contemplating #1 (”Mother” series)

2003 x: 48cm y: 110cm Charcoal on paper

“Bonda” series - Resting (”Mother” series)

2003 x: 48cm y: 110cm Charcoal on paper

136

137


x: 59cm y: 82cm

x: 59cm y: 82cm

x: 59cm y: 82cm

138

139


Nana

Nana - watching tv

2003 x: 47cm y: 60cm

Charcoal on paper

140

141

2003 x: 49cm y: 49cm Pencil on paper


HJS-DWG-2003-010

Signs

2003

x: 59cm y: 82cm Charcoal on brown paper

Why don’t we ponder upon the waves of our own life. Why don’t we return to our true nature. The true nature of our heart, of humanity...in dire need for unconditional love. We need to acquire the wisdom to search for the right frequency. Can we?

142

143


Studies for Hijab Nurbaya #1

Studies for Hijab Nurbaya #2

144

145

2003 x: 120cm y: 49cm Pencil on paper

2003 x: 84cm y: 49cm Charcoal & Pencil on paper


Balada buat Peta (Ballads of Map Making)

2006/2007

x: 78cm y: 40cm Digital print from original work (pen, marker on paper) Wasiat (The Will)

2005 x: 61cm y: 49cm Digital print from original work (pencil, pen, marker on paper)

146

147


Higher Self

2006 x: 61cm y: 43cm Digital print from original work (pen on paper)

148148

149

149


x: 78cm y: 40cm

150150

151

151


veils of Nurbaya - Korporat (Corporate)

x: 74cm y: 122cm

152152

153

2006 x: 74cm y: 122cm Digital print on canvas


x: 74cm

x: 74cm

y: 122cm

154

155

y: 122cm


Cerita tauladan #2 (Moral of the story #2)

Cerita tauladan #1 (Moral of the story #1)

1994/2008 x: 155cm y: 67cm Colour pencil, oil pastel, water colour, sticker on paper

156

157

157

1994/2008 x: 155cm y: 67cm Colour pencil, oil pastel, water colour, sticker on paper


Concept Drawings, sketches, storyboard & notes for performance, theatre,video & multimedia productions

1984-2008

pencil, ink on paper

158 158

159


Ui T

di pelajar Bekas say a zi Mu s

nj

ad

Pe

e or i s

l

an g g u r u

i en

(Art Space) 12 Ga

le

ri

engalaman, ter mas i p gs uk on la rk h be

ak

My (i col ns l ti ect tu o ti rs on s)

da

an nra k

Raka

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a

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n da

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pelajar, saha ba

kas be

, ar aj

me

vi s

Keluarga

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a menjadi s iman eor a

te d

mereka

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pe m tempat saya at be r

ga ba

ng

na n

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ya) ba

teri, abanga is aba arg ng lu ip Ke ar ,

yang mewarnai hid up

akan pengkarya n-r se ka ni Ra

an Int n a k lu Int Teuk l Te

r,

ur

ya

yokong perja la

, NADIAH BAMADHAJ

My DOAKAN KEBAHAGIAAN KAMI HINGGA AKHIR HAYAT.

(n

sa

men

ti d

DANSEMUA SEMUAHATI HATIYANG YANGTELAH TELAH MENYENTUH MENYENTUH DAN DAN MENJADI MENJADI SEBAHAGIAN SEBAHAGIAN DARI DARI GELOMBANG GELOMBANG JIWA SAYA. DOA DAN DOA SAYA SAYA UNTUK UNTUK KALIAN KALIAN SEMUA. SEMUA. 27 27 DISEMBER DISEMBER (HA (HARI PERASMIAN PAMERAN INI) ADALAH HARI ULANGTAHUN PERKAHWINAN SAYA DENGAN ROZANA MOHAMED. ANDALL ALLTHE THEHEARTS HEARTSTHAT THAT HAVE HAVE TOUCHED TOUCHED ME ME AND AND BECAME BECAME AA PART PART OF OF MY MY VIBRATION. VIBRATION. MY PRAYER FOR AND FOR ALL. ALL. 27 27 DECEMBER DECEMBER (THE (THE OPENING OPENING RECEPTION) RECEPTION) IS THE ANNIVERSARY DATE FOR ROZANA AND I.

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, SVETLANA

USA My '

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den ga n

ya

ya

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osse

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r

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ar

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ect coll

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ti

My Pare nts & Heroes

ba ny a JUHARI SAID, SYARMIZA ABU HASSAN, BIBI CHEW, SAYZRI IMRI & TAN, SHARIN HAMID, JUNAIDAH LOJONG, RAIME RAHIM, GOH CHIU KUAN, AZRI ABDULLAH, SARMAN MOHAMAD, JIMMY CHOONG, FITRIYAH YUNUS, MOHD HAIRUDDIN, NG SOON MANG, YAZIR, NURUL AIDA, WONG ENG LEONG, SUPERI, NURMIZA, AIDA SAZLIN, NORDALILAH, NG WEI LING, AWANG MAHADI, YAZID KAMAL BAHARIN, LIM KOK YONG, TAN CHEE LOK, FARIZA IDORA ALHABSHI, ADRIN TEO, TAN SIEW ENG, RAJA MOHD, HATTA, NURIMAN, SARAH JOAN, REVATHY, NUR HASMIZAI, SALAHUDDIN, NORUSLIANA, LUANNE TAN n

ya

r

es

'Sonneratia'– y an g

uk mb

on

ya

gk

Rakan-raka n k ur at o

ya

kb

k ana

me

My brothers & sisters

ak an

k

ac

a – yang ban aysi yak

‘b

My friends in the media

Ma l

My

ar

akademik, penul is li ah &

ke

k de

ut

My 'guides'

Tuanku Fauziah, ri Un le iv Ga er & si t um RADHIYAH ABU BAKAR, ZOLKURNIAN HASSAN, MOHD FIRDAUS KHAIRUDDIN, NOR LAILA ABDUL RAZAK, SAFINAWATI SAMSUDIN, NUR HAFIZAH ABDUL AZIZ, AIZUAN AZMI, SHAMSUL IKHMAL MANSORI, NOR MOHAMMAD ABD RAHIM, SALIM IBRAHIM, IZRUL ABD AZIZ, NOORDIN BAN, MOHAMAD YAZDI YAACOP, NOOR RASHID SABIDI, MUHAMMAD HUSNI ABD LATIFF, ROSLI HAMZAH, ROHAYAH SANAPI, FARIDAH HASHIM, SALMIAH MOHAMAD, RAVI VANSAMY, SHAMSUL BAHARI, DR. ASKANDAR UNGLEHRT

s in

fe'

'wi

er

ka n

ka PAKHRUDDIN & ry a FATIMAH SULAIMAN, FAROUK & ALIYA KHAN, SHOOSHIE SULAIMAN, ZANITA ANUAR, BIBI CHEW, NUR HANIM KHAIRUDDIN, LENA BOK (MENDIANG JOSEPH TAN) dan lain-lain kolektor yang sudi menjadikan karya-karya saya sebagai sebahagian dari koleksi mereka. Antaranya termasuklah, Tony Tan, U-wei Shaari, Dato' Zawawi Ismail, Tun Hanif Omar, Ismail Mostam, Dato’ Dr Lim Kok Wing, Datin Valarie Albakri, Redza Piyadasa, Wong Hoy Cheong, Kathy Rowland, Hamidi Abdul Hadi, Chuah Chong Yong, Bayu Utomo Radjikin, Zanita Anuar, Sharifah Zuriah, Abdul Aziz Othman, Omar Othman, Taha Ismail, Zainal Abidin Saidon, Zaharul Lailiddin Saidon, Azni Zarina Taha, Jaafar Ismail

rus

‘gu

My

Sa

My

m

i

PACHINGEY LANUS, FAIZAL ZULKIFLI, T.C. LIEW, SITI NAZURAH HASHIM, TAN SEI HON, TAN HUI KOON, ROOPESH SITHARAN, SABINA AROKIAM, SHARIFAH AMIRA, LING SIEW WOEI, ANUAR AYOB, HELENA SONG, SUZI SHUHAIMI, TENTERA GULANG, RAHAH HASAN

-k

i-

pe PROF. T.K. n SABAPATHY, PROF. DR. WAN ZAWAWI, PROF. DATO' SHAMSUL AMRI, DATO' MAZLAN OTHMAN, DATO' IBRAHIM KOMO, WAIRAH MARZUKI, U-WEI SHAARI, SABRI IDRUS, TENGKU AZHARI, KAMAL SABRAN, NASIR BAHARUDDIN, BADROLHISHAM, YAP SAU BIN, CHUA CHONG YONG, HASMI HASHIM, OOI KOK CHUEN, ZABBAS, J.ANU, LEE KHAI, CH'NG HUCK TENG, DATO' TAN CHEE KHUAN, BEVERLY YONG, RAFIZAH, MAJIDI AMIR, RAHMAT HARON, AMIR MUHAMMAD, NAGUIB RAZAK, HASNUL RAHMAT, ISAZALY, KATHY ROWLAND dan ramai lagi l ah

My MGTF family

s'

ba ny a

rta menguj r se i s ay a

K

du yang sud i m indivi emi or nj ekt am ol

ter

a ja ng

g tidak sombo yan ng ia un ys tu la k Ma

My 'Senior' friends & heroes

ALLAHYARHAM DATO' IBRAHIM HUSSEIN & ISTERI DATIN SIM, DATUK SYED AHMAD JAMAL, JOLLY KOH, LEE KIAN SENG, KHOO SUI HOE, YEOH JIN LENG, DATO' TANG HON YIN, YUSOF GHANI, dan ramai lagi

e My clos pupils

ugh

me

My UN IM friend AS s engkarya ama p 'se rut ni te or , l ' ua

a – yang taat d say an

ya ng

em ZULKIFLI CHE' HARRIS, IZADDIN, JOHAN MARJONID, HASNUL HADI, NUR HANIM KHAIRUDDIN, NOOR AZIZAN PAIMAN, AMERUDDIN, AMIN, ROSLI ZAKARIA, HAMDAN SHAARANI, NORIZAN MUSLIM, MANSOR, ZAIRI, SYARMIZA ABU HASAN, SUHAIMI TOHID, PACHINGEY LANUS, FAIZAL ZULKIFLI, FARID ZAINUDDIN, SYED ALWI, AZNAN, AZIMAH, HASHIMAH, HAMIDI HADI, DAUD RAHIM, LIZA, HELENA SONG, NABILA, FOO TSAN MEI, JOHN HII, ALOYSOUS YAP, ALIZAM HASSAN, SAFRIZAL SHAHIR, GODENG, DAHLIA, HANA, ALONE, GENG 'EAG', HAFIZ ALONG, LAI KHIN MING, ASHAARI, FAIRUZ, ABUSENIE, CORRINA HO, ZAIMIE, RACHEL NG, VERONICA S, SUZANA BUJAL dan ramai lagi yang saya tidak dapat ingat… M,

My ‘fellow comrade’ 'da

k

s pi la pe

Cenfad dan USM,

AS, IM UN

pensya r a h , rang ant seo ar an

tional

s

ent

tud

x-s

m

rs'

nto

My

titu My 'ins friends'

My

syukur a ber say

My Extended family

USTAZ TAJUDDIN

'Me

an’

‘De

di ja en

r'

ALLAHYARHAM TUAN HJ. HASSAN

My

My

d i t akd ir ka n

ts ds Ar en e ri iv f F ' ' r e My nt Ce

m

fro

u

ocato

s end fri pan My a M J FAA

ara mara & saudaudara mara k&awkaan s wa, a k n ar ra, a-wk a ud aanw an sa aud di s di u

My 'p rov

' age lm' -st i ter i F Cen angka ' r My 'Se and nds e fri

n ka at bu

My UiTM brothers s & sister

dan My 'Chan family'

anak sau dar , anak-anak a sau ipar dar & c ak k uc a ka & ak cu k c ka

s end fri ad My f Cen at

on berk

gsi ilmu


Biodata Hasnul is the youngest son of a religious teacher Saidon Pandak Noh and an entrepreneur Jamaliah Noordin from Teluk Intan, Perak. Born in 1965, he received his formal training in Fine Art, majoring in painting from Universiti Teknologi MARA (UiTM) from 1984 until 1988. At UiTM, he received early doses of artistic foundation from Joseph Tan and Ruzaika Omar Basaree, regimented training in painting from Fauzan Omar and Chong Kam Kaw, printmaking from Ponirin Amin and Awang Damit, sculpture from Zakaria Awang and Ariffin Ismail and drawing from Ismail Zain and Amron Omar. He joined Centerstage Performing Arts upon graduating from UiTM and worked intensively from 1988-89 as production assistant, stage designer, performer, singer and musician for various stage productions, while receiving guidance from theatre activist Normah Nordin, costume designer Najib Nor, dancer Zuraida Malik, musician Iryanda Mulya and actress Fauziah Nawi. He pursued his study in the United States from 1990 until 1993 which he earned his Bachelors in Fine Art from Southern Illinois University (SIU) and Masters of Fine Art in Electronic Arts from Rensselaer Polytechnic Institute (RPI). In the United States, he received exposure to electronic music from Neil Rolnick, Richard Povall, Barton and Priscilia McLean, computer art from Miroslav Rogala, activist video art from Branda Miller and collaborated with several electronic music composers such as Karl Korte.

Biodata

Other than researching and writings, Hasnul has also been invited to serve as exhibition curator, head of jury or judge for various art competitions, consultant and director for art camps, member of selection panel for art festivals, member of board of directors, member of advisory panel for academic programmes, as well as director/consultant for many design projects for exhibition, stage and film productions. Amongst his critical efforts is initiating an innovative integrated Youth Art Camp called Sonneratia.

Hasnul ialah anak bongsu kepada seorang guru agama, Teluk Intan, Perak. Dilahirkan pada 1965, beliau menerima

utama penulisan beliau adalah “1

catan di Universiti Teknologi MARA (UiTM) dari 1984 hingga 1988.

Di UiTM, Hasnul memperolehi dedahan asas seni dari

Joseph Tan dan Ruzaika Omar Basaree, seni catan dari Fauzan Omar dan Chong Kam Kaw, seni cetak dari Ponirin Amin dan Awang

As a visual artist, Hasnul has been involved in numerous local and international exhibitions as well as video screenings. He has won several local and international visual arts awards which include Young Contemporary, Phillip Morris Awards, Malaysian Video Awards and Atlanta Film & Video Festival Awards USA. Hasnul works in cross-media which includes drawing, painting, digital print, animation, video, song composition and music and theatre production. His artworks have been shown and screened internationally in the 2nd & 3rd Asia-Pacific Triennial, Brisbane, Australia and many other countries such as Singapore, Indonesia, Thailand, Philippines, Japan, China, United States of America, Canada, Rep. of Czech, Spain and Sweden.

Damit, seni arca dari Zakaria Awang dan Ariffin Ismail dan

When the tending his garden home. Hasnul is a princesses Adeela, of a faithful wife

dari Southern Illinois University (SIU) dan Ijazah Sarjana Seni

lukisan dari Ismail Zain dan Amron Omar.

setelah tamat di UiTM dan berkerja sebagai pembantu produksi, pereka pentas, penyanyi dan pemain muzik untuk pelbagai persembahan pentas dibawah tunjuk-ajar aktivis teater Normah Nordin, pereka kostum Najib Nor, penari Zuraida Malik, pemuzik Iryanda Mulya dan pelakon Fauziah Nawi.

1990 hingga 1993 dan memperolehi Ijazah Sarjana Muda Seni Halus Halus dalam bidang Seni Elektronik dari Rensselaer Polytechnic Di Amerika Syarikat, beliau mendapat didikan

seni muzik elektronik dari Neil Rolnick, Richard Povall, Barton

Since he came back to Malaysia in late 1993, Hasnul had served as a lecturer in drawing and painting at UiTM in 1993, lecturer in Electronic Arts and Integrated Media, Head of Fine Art Department and later Deputy Dean at the Faculty of Applied and Creative Arts, Universiti Malaysia Sarawak (UNIMAS) from 1994-2000, Head of Design and New Media at Center for Advanced Design (Cenfad) from 2000 until 2001. He joined Universiti Sains Malaysia (USM) in 2002 and had served as the Chairman of the Design Department before taking a post as the Deputy Dean (Arts and Cultural Development), School of the Arts, USM. Currently, he serves as the Director of Muzium & Galeri Tuanku Fauziah, USM. One of Hasnul's critical academic roles is to pioneer several new programmes that incorporate the use of new media technology, as well as several supporting academic activities such as exhibitions and artist's talks.

dan Priscilia McLean, seni komputer dari Miroslav Rogala, seni

As an academician, Hasnul's research and essays have been published in books, exhibition catalogues, magazines, newspapers, journals, websites and seminar or conference proceedings. As a researcher, Hasnul is interested in the application of new media, media theory and popular culture in the contemporary art practices. Amongst his major output are “1st Electronic Art Show” National Art Gallery 1997, “E-Art Asean Online” National Art Gallery and UNIMAS 2000, “Spirit of Iron: Retrospection of An Enigma” Petronas Gallery 2001, “In The Name of Time : Young Contemporaries” National Art Gallery 2004, “Takung” National Art Gallery 2005 and “Between Generations”, UM, USM & Valentine Willie Fine Art 2007. In 2003, he received a research grant from the Fukuoka Asian Art Museum to study the use of media technology in the Japanese contemporary art practices.

dilantik ke jawatan Timbalan Dekan (Pembangungan Seni &

video aktivis dari Branda Miller, serta berkolabrasi dengan beberapa orang pengkarya seni muzik elektronik terkemuka seperti Karl Korte.

telah berkhidmat sebagai pensyarah lukisan dan catan di UiTM, pensyarah dalam bidang Seni Elektronik dan Media Paduan, Ketua Program dan kemudiannya Timbalan Dekan di Fakulti Seni Gunaan dan Kreatif, Universiti Malaysia Sarawak (UNIMAS) dari 1994 hingga 2000, Ketua Rekabentuk dan Media Baru di Center For Advanced Design (Cenfad) dari 2000 hingga 2001.

Beliau

menyertai Universiti Sains Malaysia (USM) pada tahun 2002 dan telah berkhidmat sebagai Pengerusi Bahagian Rekabentuk sebelum Budaya), Pusat Pengajian Seni USM pada tahun 2004. Kini beliau bertugas sebagai Pengarah, Muzium dan Galeri Tuanku Fauziah, Peranan akademik beliau yang utama termasuklah merintis

program-program baru yang melibatkan penggunaan teknologi dan teori media baru, dan pemantapan program-program sokongan seperti aktiviti pameran serta seminar karyawan. Sebagai ahli akademik, penyelidikan dan penulisan Hasnul telah diterbitkan dalam pelbagai buku, katalog pameran, majalah, akhbar, jurnal, laman web, mahupun prosiding konferensi dan seminar.

163

Seni Lukis 1997, “E-Art Asean Online”, Balai Seni Lukis Negara dan UNIMAS 2000, “Semangat Besi: Retrospeksi Sebuah Enigma”, Galeri Petronas 2001, “Demi Masa : Bakat Muda Sezaman”, Balai Seni Lukis Negara 2004, “Takung” Balai Seni Lukis Negara 2005 dan “Antara Generasi” UM, USM & Valentine Willie Fine Art 2007. Pada tahun 2003, beliau telah menerima geran pengunaan teknologi media dalam amalan seni tampak kontemporari Jepun. Selain dari penulisan dan penyelidikan, Hasnul juga telah dijemput sebagai kurator pameran, ketua hakim atau juri untuk pelbagai pertandingan seni, perunding dan pengarah kem pengarah, ahli panel penasihat untuk beberapa program akademik universiti-universiti tempatan, juga pengarah dan perunding untuk beberapa projek rekabentuk produksi pameran, pentas dan filem. Antara projek penting yang telah dirintis oleh beliau adalah Kem Seni Remaja Sonneratia. Sebagai seorang pengkarya seni tampak, Hasnul telah terlibat dalam banyak pameran peringkat kebangsaan dan antarabangsa, termasuk tayangan video.

Beliau telah memenangi

beberapa anugerah seni tampak peringkat kebangsaan dan antarabangsa untuk karya-karya beliau termasuk Anugerah Bakat

Setelah kembali ke Malaysia pada lewat 1993, beliau

USM.

Antara hasil

Electronic Art Show,” Balai

seni, ahli panel pemilih untuk festival seni, ahli lembaga

Hasnul melanjutkan pelajaran ke Amerika Syarikat dari

Institute (RPI).

st

penyelidikan dari Fukuoka Asian Art Museum untuk mengkaji

Beliau menyertai 'Centerstage Performing Arts'

162

aplikasi media baru, teori media dan budaya

popular dalam amalan seni tampak kontemporari.

pendidikan formal dalam Seni Halus, pengkhususan dalam bidang

world is more forgiving, he can be seen or doing domestic decoration in USM or at full-time father of three beautiful Amira and Ainina, and a full-time husband Rozana Mohamed.

berminat mengkaji

Saidon Pandak Noh dan usahawan wanita Jamaliah Noordin dari

Sebagai seorang pengkaji, Hasnul

Muda Sezaman, Anugerah Phillip Morris, Anugerah Malaysian Video Awards dan Anugerah Atlanta Film & Video Festival di Amerika Syarikat. Hasnul berkarya dalam pelbagai disiplin seni meliputi catan, lukisan, video, cetakan digital, animasi, muzik, teater dan penggubahan lagu.

Karya-karya beliau telah

dipamer dan ditayangkan di pelbagai pameran antarabangsa di nd

luar Negara termasuk 2

rd

& 3

Asia-Pacific Triennial, Brisbane,

Australia dan lain-lain negara termasuklah Singapura, Thailand, Indonesia, Filipina, China, Jepun, Amerika Syarikat, Republik Czech, Sepanyol dan Sweden. Apabila dunia lebih memaafkan, Hasnul boleh dilihat mengerjakan lamannya dan membuat kerja dekorasi dalaman di rumah dan USM.

Hasnul ialah bapa sepenuh masa kepada tiga

orang puteri yang cantik, Adeela, Amira dan Ainina; dan suami sepenuh masa kepada seorang isteri yang setia, Rozana Mohamed.


12, was first opened to public on 9-012007 as contemporary art space. The organization is geared towards creating a platform for the development and experimentation of contemporary visual art and artists in Malaysia.

12 represents selected artists and their selected series of specific works. 12 provide professional support to these artists through exhibition, studio and rigorous documentation which warrant in depth research and concentration towards content and its process.

12’s curatorial team is led by shooshie sulaiman, and its archival team is led by fatina alfis zolkifli. They work in collaboration with a guest team, as per event direction and specifications.

12 Jalan Gombak, Off Jalan Pahang, Setapak 53000 Kuala Lumpur. T/F: 03 4023 4128 E: info@12as12.com www.12as12.com

166


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