WANNABE
Ali Nurazmal
2012
60cm x 122cm
Oil on canvas
‘Alism’ solo show
Core Design Gallery
Showing posts with label Oil on Canvas. Show all posts
Showing posts with label Oil on Canvas. Show all posts
THE GREAT MAN
Tuesday, February 16, 2021
at
12:17 PM
The Great Man
By Husin Othman
2019
123cm x 137cm
Oil on Canvas
Core Design Gallery
Acquired in 2020
FIRST TWO NIGHTS
Saturday, July 13, 2019
at
1:42 PM
First Two Nights
Sasha Bashir Ahmad
2004
Oil on Canvas
86cm x 139cm
Acquired on 12 July 2019
Sasha wrote to me, “Just wanted to show you this piece I did many years ago. There is a bit of an interesting story to it. I had this boyfriend and we were together about a year. Then one night my parents came home and told me they saw my then boyfriend with another woman at the same function sitting at table next to them and he was introducing that girl to everyone as if it was his girlfriend. My parents were furious. I was so humiliated. I don’t care if a boyfriend doesn’t want me anymore, but I couldn’t bear the humiliation of my parents having to be the ones to tell me. That boyfriend then called me before I could even digest what my parents were telling me and told me things were over between us and he wanted to break up with me. So for the first two nights after that, I didn’t know what to do with myself after coming home from work cause usually I would meet up with him. So, I went to art shop near my house and bought this canvas and just started painting. No plan. No nothing. Just something to do.Icompleted it in the first two nights after I got humiliatingly dumped andthat’s why I titled it ‘First Two Nights’. Evennow when I look at it I can see the section that I painted on the first night and which sectionI did on the second night. Less than a month after I finished this painting, I went to an art exhibition and met my husband.”
THE LOCH NESS MENACE
Saturday, February 25, 2017
at
7:27 PM
THE LOCH NESS MENACE
Computer graphics by Johan Ishak
Oil painting by Johan Ishak
MENTAL-MORPHOSIS
Monday, February 15, 2016
at
4:18 PM
MENTAL-MORPHOSIS
Husni Osman
2016
2016
Oil and Acrylic on Canvas
91cm x 61cm
Acquisition Date: 15 February 2016
MORNING HAS BROKEN
Sunday, January 11, 2015
at
5:05 PM
MORNING HAS BROKEN
Latif Maulan
Oil on Canvas
91cm x 121cm
Acquired on 11 January 2015
91cm x 121cm
Acquired on 11 January 2015
Ours is a period when the human community is in search of new an sustaining relationships to the earth amidts environmental problems that threatens the very existence of all life-form on our planet. Writer Thomas Berry (1998) observed that that magnitude of destruction in industrial processes is so great that we must initiate a radical rethinking of the myth of progress and of humanity's role in the evolutionary process. Indeed, we should ask ourselves:
ARE WE AS HUMAN A VIABLE SPIECES ON OUR ENDANGERED PLANET?
This piece is actually a make over from an earlier work as below:
PEMAHSYURAN / THE DECLARATION
Saturday, January 18, 2014
at
1:01 AM
PEMAHSYURAN
THE DECLARATION
Johan Ishak
Oil and Ink on Canvas
60cm X 90cm
17 January 2014
5:50 p.m.
5:50 p.m.
Shah Alam
www.buanaseni.blogspot.com
SOLD
SOLD
Wayang Kulit, the Malay puppet show, is unmistakenbly "Nusantara" representing the regional cultural cluster in which reside the countries in the formation of Malaysia, namely Sabah, Sarawak, Singapore and Federated States of the Malay in 1963. The crimson heart and the blood on the Malay dagger, Keris, signify loyalty and sacrifices needed for the formation of a new country. The Jawi text is an extract and summary of part of the declaration document "Pemahsyuran Malaysia", from which, the art work name has been derived from. The Jawi text read as follows:
PEMAHSYURAN MALAYSIA. Bahawasanya oleh kerana suatu perjanjian yang diperbuat pada 9 Julai 1963, disekutukan Negeri Sabah, Negeri Sarawak dan Negeri Singapura dengan Persekutuan Tanah Melayu dan bahawa persekutuan itu hendaklah dinamakan Malaysia.
DECLARATION OF MALAYSIA. It is to be known that as a result of an agreement made on 9 July 1963, there has been a consolidation of states namely Sabah, Sarawak and Singapore with the Federated States of the Malay and as such, this consolidated states shall now be named Malaysia.
99 MUHAMMAD
Wednesday, January 15, 2014
at
7:08 PM
99 MUHAMMAD
Johan Ishak
Oil on Canvas
45cm X 69cm Triptic
14 January 2014
11:50 p.m.
11:50 p.m.
Shah Alam
www.buanaseni.blogspot.com
SOLD
SOLD
Muslims often admire the art work surrounding the 99 names of Allah. Little do they know that thre are also 99 names of their prophet, Muhammad (pbuh). I so happened to come across this on internet. If not, I would have been ignorant as well. It is refreshing to know that you can use 99 names of Muhammad (pbuh) as an alternative to the usual Asma'ul Husna the 99 names of Allah. This work here uses Morning Glory as its creative aspect of showing the 99 names of Muhammad (pbuh).
FARAH (FORMERLY KNOWN AS CHOBAAN / TEMPTATION)
at
5:47 PM
FARAH
(FORMERLY KNOWN AS CHOBAAN / TEMPTATION)
Johan Ishak
Oil on Canvas with Costume Jewellery
90cm X 60cm
7 January 2014
5:50 p.m.
5:50 p.m.
Shah Alam
www.buanaseni.blogspot.com
SOLD
SOLD
I noticed that I have never tried to paint a naked body before. All artists, at some point, does nude. I figured, I have to do this. Hence this piece. The size is a typical live size of what an Asian women would be but I guess, I inflated the breast a bit too much. Take it as Pan-Asian, a Eurasian, if you really want to debate about it.
MENCARI / SEARCH
Thursday, January 2, 2014
at
9:38 PM
MENCARI
SEARCH
Johan Ishak
Oil on Canvas
90cm X 90cm
1 January 2014
5:50 p.m.
5:50 p.m.
Shah Alam
SOLD
My inclination in art is Contemporary. However, I grew up appreciating art via Modernist abstracts having exposed to the works of Dato' Ibrahim Hussein, who is a Modernist who plays with abstract. My favourite Modernist is Ismail Latiff. So, eventhough I choose to go Contemporary, I figured, why not just do a Modernist piece for the fun of it. It shall remind me of those days when I learn to appreciate about art, which was, predominantly Modernist. This piece is probably my only Modernist oil painting, so far.
KELAHIRAN / THE BIRTH
Wednesday, January 1, 2014
at
2:31 AM
KELAHIRAN
THE BIRTH
Johan Ishak
Oil on Canvas
60cm X 90cm
31 December 2013
5:50 p.m.
5:50 p.m.
Shah Alam
www.buanaseni.blogspot.com
SOLD
SOLD
KELAHIRAN is about the birth of a nation, Malaysia. It is actually my own expression of the Malaysian flag. Notice the red and white stripes and the blue plain. The flag has a 14 spoke star in front of the moon. That does not make sense geographically. The stars, as we know, has always been far, far farther from the moon. Hence I decided to pain the moon in front with the star shining from far in the galaxy. The moon is also my way of giving tribute to my favourite Modernist painter, Ismail Latiff, who never fail to paint a moon in each and every art work that he produces. This piece is however not a Modernist style. I take it as Contemporary because there is an element of realism (The moon as well as the standing figure of the 1st Prime Minister of Malaysia, Tunku Abdul Rahman) combined with the random splash of energetic feel in the red lines like that of Husin Hourmain's work (a Islamic Contemporary artist). But, I leave it to the viewers to decide. It's art anyway. It is open for interpretation.
MALAYSIAN CONTEMPORARY ARTS SHOWCASED AT WORLD ISLAMIC ECONOMIC FORUM (WIEF)
Sunday, December 22, 2013
at
1:46 PM
www.buanaseni.blogspot.com
RT plays an important role in introducing a particular society to the eyes of the world. It also carries with it messages that a nation believes in. It (art) is a language in itself that travels beyond boundaries of nations and ethnic constraints... like music. For Malaysia, we have been focusing quite intensely on the nation building surrounding sovereignity of the nation and economic strength. This is natural and logical of course. Any newly born country like us (Malaysia with only 56 years of existence) ought to have that priority. However, when we approach 2020, the much anticipated year of Malaysia becoming a 'developed' country rather than 'developing', we have to start thinking about growing our identity in the eyes of the global theatre. Who are we? Where we come from? So we tell them. We are Malaysian. Mighty, mighty Malaysian. How do we do this? Art is the best option. Kudos to the team at World Islamic Economic Forum (WIEF) held in October/November this year in London for showcasing Malaysian contemporary art with the strong support by the Malaysian government via its investment company, MyCreative Ventures, as well as art enthusiast, the Artcube Gallery of Intermark.
MALAYSIAN CONTEMPORARY ARTS SHOWCASED
AT WORLD ISLAMIC ECONOMIC FORUM (WIEF)
Malaysian contemporary artists such as Daud Rahim, Husin Hourmain, Md Fadli Yusof, M. Noor Mahmud and Suhaimi Fadzil were fortunately given the chance to have their art work viewed by dignified people such as HM Prince of Wales, HM Sultan of Brunei, HM King of Jordan as well as the Presidents/Prime Ministers/Head of States of the United Kingdom, Malaysia, Indonesia, Kosovo, Bahrain, Pakistan, Bosnia and Herzegovenia
RT plays an important role in introducing a particular society to the eyes of the world. It also carries with it messages that a nation believes in. It (art) is a language in itself that travels beyond boundaries of nations and ethnic constraints... like music. For Malaysia, we have been focusing quite intensely on the nation building surrounding sovereignity of the nation and economic strength. This is natural and logical of course. Any newly born country like us (Malaysia with only 56 years of existence) ought to have that priority. However, when we approach 2020, the much anticipated year of Malaysia becoming a 'developed' country rather than 'developing', we have to start thinking about growing our identity in the eyes of the global theatre. Who are we? Where we come from? So we tell them. We are Malaysian. Mighty, mighty Malaysian. How do we do this? Art is the best option. Kudos to the team at World Islamic Economic Forum (WIEF) held in October/November this year in London for showcasing Malaysian contemporary art with the strong support by the Malaysian government via its investment company, MyCreative Ventures, as well as art enthusiast, the Artcube Gallery of Intermark.
It is only justified that such success be shared (via this blog post) with fellow Malaysians who were not there in London to experience Malaysian contenporary art highlighted by WIEF's satellite exhibition, the Marketplace of Creative Arts (MOCA). This is a significant exposure. Malaysian contemporary artists such as Daud Rahim, Husin Hourmain, Md Fadli Yusof, M. Noor Mahmud and Suhaimi Fadzil were fortunately given the chance to have their art work viewed by dignified people such as HM Prince of Wales, HM Sultan of Brunei, HM King of Jordan as well as the Presidents/Prime Ministers/Head of States of the United Kingdom, Malaysia, Indonesia, Kosovo, Bahrain, Pakistan, Bosnia and Herzegovenia and many more that also includes CEOs of many participating international and multinational corporations across the globe. Various world heritage organisations also took the opportunity to interview WIEF officials in documenting this great curatorialship.
In my mind, "Why are the foreigners appreciating our art more than us, Malaysians?" We must show our (Malaysian citizens) appreciation. It starts on home ground. Hence, shall we now view those pieces of art? here in this blog post...... Here goes (in alphabetical order of the artists):
Badak Sumbu
by Daud Rahim
Oil and Coloured Pencil on Canvas
(From Artcube Gallery and his solo show at Segaris Gallery)
Needs
by Daud Rahim
Oil and Coloured Pencil on Canvas
(From Artcube Gallery and his solo show at Segaris Gallery)
The Family Tree
by Husin Hourmain
Acrylic and Bitumen on Canvas
(From Private Collection)
The Unseen Rainbow
by Husin Hourmain
Acrylic on Canvas
(From Private Collection)
Alif Selepas Zai
by Husin Hourmain
Acrylic on Canvas
(From Private Collection)
Kho
by Husin Hourmain
Acrylic on Canvas
(From Artcube Gallery and his solo show 'Awal Hurouf Asal Hurouf' by Core Design Gallery)
Zai
by Husin Hourmain
Acrylic on Canvas
(From Artcube Gallery and his solo show 'Awal Hurouf Asal Hurouf' by Core Design Gallery)
Ain
by Husin Hourmain
Acrylic on Canvas
(From Artcube Gallery and his solo show 'Awal Hurouf Asal Hurouf' by Core Design Gallery)
Nun
by Husin Hourmain
Acrylic on Canvas
(From Artcube Gallery and his solo show 'Awal Hurouf Asal Hurouf' by Core Design Gallery)
Lam Alif
by Husin Hourmain
Acrylic on Canvas
(From Artcube Gallery and his solo show 'Awal Hurouf Asal Hurouf' by Core Design Gallery)
Hamzah
by Husin Hourmain
(From Private Collection)
Acrylic on Canvas
Syahadah
by Md Fadli Yusof
Acrylic on Canvas
(From Artcube Gallery and his solo show by 12 Artspace)
Rapatkan Saf
by Md Fadli Yusof
Acrylic on Canvas
(From Artcube Gallery and his solo show by 12 Artspace)
Al-Qawiyu of Asmaul Husna Series
by M. Noor Mahmud
Acrylic and Batik Printed Saw Dust on Canvas
(From Artcube Gallery)
Al-Mukit of Asmaul Husna Series
by M. Noor Mahmud
Acrylic and Batik Printed Saw Dust on Canvas
(From Artcube Gallery)
Al-Lateef of Asmaul Husna Series
by M. Noor Mahmud
Acrylic and Batik Printed Saw Dust on Canvas
(From Artcube Gallery)
1957
by Suhaimi Fadzil
Acrylic on Canvas
(From Private Collection)
JAJAHAN JASAD / TRAPPED IN THE BODYING CELLS
Monday, September 2, 2013
at
2:44 PM
JAJAHAN JASAD
TRAPPED IN THE BODYING CELLS
Johan Ishak
Oil on Canvas and Oxygen Mask
Oil on Canvas and Oxygen Mask
90cm X 60cm
29 August 2013
11:59 p.m.
11:59 p.m.
Shah Alam
SOLD
Our lives are actually restricted and limited to the only planet we have, Earth. We think we are free but we are not. We will never be free if human beings keep on hurting the mother Earth. Imagine, where would we go if we do not have Earth anymore. Shouldn't that put some fear? But why are we still polluting and destroying the Earth? The feel from this work gives you the Icy feeling of death. The heart shows that we are still surviving in that icy cold environment. Of course the oxygen mask is a direct translation of pollution into an object based expression. TRAPPED IN THE BODYING CELLS would mean that we are in our body that is breathing the polluted air and there is no escape. When the body dies, we die with it. As Bon Zainal would say, "Go figure!"
JAJAHAN MINDA / SLAVE TO TECHNOLOGY
Thursday, August 22, 2013
at
3:52 AM
JAJAHAN MINDA
SLAVE TO TECHNOLOGY
Johan Ishak
Oil on Canvas and Electrical Hardware
Oil on Canvas and Electrical Hardware
90cm X 60cm
22 August 2013
3:33 a.m.
3:33 a.m.
Shah Alam
SOLD
Even wondered how life would be if e do not have handphones? What about computers and lap tops? A pervasive example would be electricity - hence why I chose to have wires and switch sockets on the canvas. Nowadays we use ipads and ipods. We heat our food with microwaves. Our cars can only be worked out by the mechanics if the computers can be connected to its engine. Keys are replaced with thumb print laser detector (Or whatever you call that matrix thingy). It is as if if we are without technology, it would be Armageddon. Life would cease to continue. We are very much dependent on technology. We have become slaves to technology. To have human brains evolved tremendously in capitalising science exploration, we have become slaves instead of masters of our lives. What an irony? I hope this is all in our minds only. If we are to face with such armageddon, can we all survive? I suppose we can. Muhammad, Jesus, Moses, Abraham, Noah and Adam didn't have electricity. We may just need to get ourselves in touch with faith.
MUHAMMAD
Friday, August 16, 2013
at
3:51 AM
MUHAMMAD
Johan Ishak
Oil on Canvas
Oil on Canvas
4 Panels of 25.4cm X 25.4cm
16 - 18 August 2013
Shah Alam
SOLD
Islamic art has always glorified Prophet Muhammad (pbuh) via calligraphy (khat). Some are not inclined to use objects and realism techniques to paint Islamic matters particularly figurative art. It seems that many scholars have given guidance that we should just stick with vegetation and flowers. For me, it is all about the intentions (niat). When I paint the elephant, I am not asking people to pray to the elephant. I am not equating the elephant to that of Ganesha in Hinduism or that of Siamese Buddhism icons.
If Muslims know that history, they will straight away relate to the Year of Elephant when Prophet Muhammad (pbuh) was born. That year a king by the name of Abrahah sent an army with elephants to crush the holy place of worshipping of the Arabs, the Kaabah. God sent a group of Ababil, a type of bird, to drop fired stones onto those elephants to stop this madness. Approximately 50 days subsequent to that event, Prophet Muhammad (pbuh) was born. This was retold in a Quranic verse Al-Fil (The Elephant) which is the Arabic script written on the Kaabah in my art work.
As you can see, my work here tries to re-tell the history. The spider for example. It reminds us all to Hijrah, the migration of Muslims from Makkah to Madinah. The Prophet was hunted by assassins during the migration. He has to hide in a cave. God had protected him by having spiders to cover the mouth of the cave with its webs. The assassins did not even bother checking the cave as those webs were too elaborate to suggest that someone is hiding inside the cave. Finally the moon. When accused of being a false prophet, the Arabs demanded him to show powers that was demonstrated by prophets before him. I guess they must have imagined Moses splitting the Red Sea as documented in the Bible. Instead, Prophet Muhammad split the moon.
If Muslims know that history, they will straight away relate to the Year of Elephant when Prophet Muhammad (pbuh) was born. That year a king by the name of Abrahah sent an army with elephants to crush the holy place of worshipping of the Arabs, the Kaabah. God sent a group of Ababil, a type of bird, to drop fired stones onto those elephants to stop this madness. Approximately 50 days subsequent to that event, Prophet Muhammad (pbuh) was born. This was retold in a Quranic verse Al-Fil (The Elephant) which is the Arabic script written on the Kaabah in my art work.
As you can see, my work here tries to re-tell the history. The spider for example. It reminds us all to Hijrah, the migration of Muslims from Makkah to Madinah. The Prophet was hunted by assassins during the migration. He has to hide in a cave. God had protected him by having spiders to cover the mouth of the cave with its webs. The assassins did not even bother checking the cave as those webs were too elaborate to suggest that someone is hiding inside the cave. Finally the moon. When accused of being a false prophet, the Arabs demanded him to show powers that was demonstrated by prophets before him. I guess they must have imagined Moses splitting the Red Sea as documented in the Bible. Instead, Prophet Muhammad split the moon.
PENJARA JIWA II CATALUNYA / SOUL PRISON OF CATALUNYA
Saturday, August 10, 2013
at
2:57 AM
PENJARA JIWA II CATALUNYA
SOUL PRISON OF CATALUNYA
Johan Ishak
Oil on Canvas, Paper Mask, Net & Torchlight
(See separate image below for effects when using torchlight in darkness)
(See separate image below for effects when using torchlight in darkness)
90cm X 60cm
7 August 2013
6:00 p.m.
6:00 p.m.
Shah Alam
SOLD
Catalunya is the northern region of Spain. Its capital is Barcelona. Catalans are its people. Catalans are often misregarded as Spanish. They are not Spanish. They are Catalans. They have been under Spanish rule for ages and they now seek independence. The hands depict the desire for independence. The urge to restore their identity as shown in the direction of hands towards the Gaudi designed mask. Gaudi is a Catalan from Barcelona, a symbolic representation of Catalunya. Such representation is appropriate as anybody who goes to Barcelona will always remember the beautiful architecture by Gaudi showcased at the cathedral La Sagrada Familia, park Guell as well as many other buildings in the city. Of course, the Barcelona F.C. has a very intense relationship with its nemesis Real Madrid. That only shows how Spanish and Catalans have been staring into each others eye in rivalry. Very much like the relationship between the British and the French, I suppose.
ASMA'UL HUSNA KEMBALI (LANTANA) / 99 NAMES OF GOD RETURNS (LANTANA)
Saturday, August 3, 2013
at
6:26 AM
ASMA'UL HUSNA KEMBALI (LANTANA)
99 NAMES OF GOD RETURNS (LANTANA)
99 NAMES OF GOD RETURNS (LANTANA)
Johan Ishak
Oil on Canvas
45cm X 69cm Triptic Canvas
12:00am 26 July 2013 - 5:00am 3 Aug 2013
(Nuzul Qur'an - Lailatul Qadr)
Shah Alam
SOLD
This is the "in-progress" version which I thought would be the final. Somehow, I decided to continue working on it because it felt inadequate, lacking of substance and absence of satisfaction. The mustard highlight had to be done to justify a finish product - the so called Lantana flowers having the 99 names of Allah as its petals.
www.buanaseni.blogspot.com
ASMA'UL HUSNA (SAKURA) / 99 NAMES OF GOD (CHERRY BLOSSOM)
Monday, July 8, 2013
at
12:59 AM
ASMA'UL HUSNA (SAKURA)
99 NAMES OF GOD (CHERRY BLOSSOM)
Johan Ishak
Oil on Canvas
50cm X 60cm Triptic Canvas
6 July 2013
4:00am
Shah Alam
SOLD
Previously, without the Arabic scripts of the 99 names of Allah, these 3 panels were known as The Trio) that was created on 12 February 2006 in Chiswick, London (As per the image on the left). About 7 years later, on 6 July 2013, in Shah Alam, I added the 99 names of Allah in white with dashes of pink to mimick cherry blossoms randomly and sporadically floating in the air but some still accumulated at the branches of the tree waiting to be blown away by the wind. This is a metaphoric expression of the Mighty God being every where surrounding us (floating cherry blossoms in the air) but yet His greatness resides in His creations deep in the souls of living things (the branches with accumulated cherry blossoms). Nevertheless, if not appreciated, He will disappear from our hearts (blown away by the wind). With the creation of this work, the earlier work, The Trio, has now become void.
www.buanaseni.blogspot.com
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