Kriss Wong

Kriss Wong is a self-taught visual artist from Malaysia. Her artistic expressions are closely related to nature, community and cultural heritage through videography, photography, drawings, poetry and a variety of mediums.

She has worked for non-governmental organizations, written freelance for travel magazines, taught arts to children and worked as visual artist at music festivals such as LUSH Bangkok Music Festival, Culture One International Dance Music Festival, Stone Free Music Festival and so one.

Kriss Wong has participated in numerous artist residency programs such as The Overstay residency program (Bangkok), Penaga Residency at Hotel Penaga (Penang), Yunnan Arts Can Do Residency Program and Shanghai Arts Can Do Residency Program.

Kriss Wong has been involved in community art projects both in Yunnan and Shanghai since 2015, which includes conducting art classes and working on site specific art projects at Longlin Primary School in Yunnan and Jiuqian Centers in Shanghai. Her long-term residency in China is jointly sponsored by Shanghai Jiuqian Volunteer Center and Australia China Art Foundation.

Traveling plays an important part in her artistic expressions because she is very much inspired by new experiences and new encounters through cross-cultural exchanges.

Kriss was a Hotel Penaga resident artist in October 2014. To find out more about her work, visit her website.

Barbara Wildenboer

Barbara Wildenboer

Barbara Wildenboer was born in Pretoria, South Africa in 1973. She completed a BA (Ed) with majors in English literature, Psychology and Pedagogics at the University of Pretoria in 1996. In 2003 she obtained a Bachelor of Visual Arts from UNISA followed by a Masters in Fine Art (with distinction) from the Michaelis School of Art at the University of Cape Town in 2007.

Wildenboer has been awarded several international residencies such as the Unesco-Aschberg residency (Jordan, 2006), the Al Mahatta residency (Palestine, 2009) and the Red De Residencias Artisticas Local (Colombia, 2011) and the Hotel Penaga artist residency (Penang, Malaysia, 2013). In 2011 she was nominated and subsequently selected as one of the top 20 finalists for the Sovereign African Arts Award for which she received the Public Choice Prize.

To find out more about her work, visit her website.

Agustian Supriatna

Agustian Supriatna

Agustian Supriatna (b. 1981 in Lampung, Sumatra, Indonesia) , an abstract painter with unique compositions. A combination of soft and bright colors, wild lines and brush strokes that create harmony, gives the audience an opportunity to freely explore his paintings. He also creates sculptures out of found metal objects.

Indonesia’s famous abstract painter Affandi the Maestro inspired him to be an artist. He studied with Indonesian elder painters, one of them being Roedyat Martadirejda who gave him the task of sketching every day for the rest of his life.

Agustian currently resides in Bali, having moved there in 1999. His paintings and sculptures have been exhibited internationally and his recent solo exhibition at Art Expo Malaysia 2012 was sold out. He is represented in the following countries all over the world; America, Australia, Belgium, Denmark, France, Germany, Holland, Hong Kong, Malaysia, New Zealand, Singapore, and Thailand. He undertook a three-month residency in 2013 at Hotel Penaga.

Solo Exhibitions

  • 2012 “Unlimited Beauty” G13 Gallery@ Art Expo Malaysia, Kuala Lumpur
  • 2011 “I love you“ Café Des Artistes Restaurant & Gallery, Ubud, Bali
  • 2007 “Dedicated to my Mum Ratu Permai“ Lidya Gallery, Ubud, Bali
  • 2007 “I’m Scooterist not Terrorist“ Sketch journey on my Vespa from Bali to Lampung, Sumatra
  • 2003-2007 “Studio 3 Owner“ Studio 3 Art Gallery & Studio, Ubud, Bali
  • 2006 “Anna I Love You“ Kwezien Restaurant, Lovina, Bali
  • 2005 “I’m Agustian!“ Momentous Art Gallery, Singapor
  • 2003 “Semangat Yang Menggurat“ Ulf Frolich & Katrin, Private Residence,Cologne, Germany
  • 2003 “Semangat Yang Menggurat“ Café Des Artistes Restaurant, Ubud, Bali
  • 2002 “Bhutakala“ Bali 3000 Internet Café, Ubud, Bali

Sangeeta Sandrasegar

Sangeeta Sandrasegar

Sangeeta Sandrasegar works within a research-based practice, building narratives in which every new work connects to previous projects. Her practice consolidates postcolonial and hybridity theory, exploring her context within Australia and its relationship to migrant communities and homelands. Her work concerns itself within the overlap of cultural structures – sexuality, race and identity, in contemporary society – and interpreting and representing these shifts. These themes are explored through a visual language concerned with shadows. From installations of paper cutouts, material works and/or sculpture, the constructed shadows of the installation become a motif for themes of self-hood, otherness and in-between spaces. By extending the scope of the art object the cast shadows simultaneously engage with the history of the shadow in Art, and hint towards cognitive alternatives and sites of transformation.

In 2004 Sandrasegar completed a Doctorate of Philosophy across the Victorian College of the Arts and the Australian Centre at the University of Melbourne.  The content of the exegesis was to formalize a visual practice centred on the creative space of shadows into a theoretical tool.  She proposed that the shadow subject could be re-examined and liberated from its historical representations and to be employed as both a positive and salient visual device for representing the ideas being examined in post-colonial and hybridity studies.

Sandrasegar has been represented in group and solo exhibitions since 1996, and is the recipient of several fellowships and prizes. In particular, national showcases for emerging artists: Primavera, Museum of Contemporary Art, Sydney, NEW04, Australian Centre of Contemporary Art, Melbourne. As well as the Auckland Triennial and SCAPE: New Zealand Community Art & Industry Biennial in New Zealand and the Asia-Pacific Triennial of Contemporary Art 05, Gallery of Modern Art Queensland. Last year her work was shown in the Incheon Women Artists Biennale in Korea, and Slash: Paper Under the Knife, Museum of Arts and Design, New York.

Sangeeta was in residency at Hotel Penaga from October to December 2012.

Links to Sangeeta’s work
http://sangeetasandrasegar.photoshelter.com/
http://sangeetasandrasegar.blogspot.com

You Ask Me About That Country

You Ask Me About That Country

Jumaadi

Jumaadi

Jumaadi, an artist of Indonesian origin but practicing in Australia, completed a three month residency at Hotel Penaga in 2012 with a stunning performance of wayang kulit, the traditional shadow play of Southeast Asia.  This one, though, stretched tradition in a new direction, being based on a Chinese folk tale about the Moon Cake, a timely performance as the festival is just around the corner at the next full moon on 30th September, when children parade through neighbourhoods carrying candle lit lanterns in animal and fantasy shapes. Jumaadi’s wayang was produced with the help of the curator of the Penang State Museum, Puan Haryani Muhamad. Developed with students from KDU and with the puppets made by one of the museum’s janitorial staff, and the gamelan music was provided by museum staff, it was a wonderful collaboration of talent from all directions.

Marcia Ong & Hilary Schwartz

Marcia Ong & Hilary Schwartz

Born and raised in Singapore, Marcia Ong is a filmmaker whose experience covers almost every aspect of the filmmaking process. Her short film, Kristy, has won awards at Kids First! Children’s Film Festival and Pittsburgh International Lesbian and Gay Film Festival. It has screened internationally in Amsterdam, Melbourne, Seoul, Paris, Berlin, Brussels and Singapore. In 2010, Marcia completed her latest film, Standing Still, which premiered at the 33rd Mill Valley Film Festival. Marcia Ong recently shot a feature documentary titled Ten Eleven O Two, directed by Mackenzie Mathis and Jellyfish, an independent short film set in Borneo directed by Rosie Haber.

Coded within the domestic spaces, scenes, and objects that I create are traces of intimacy. Susan Stewart identifies narrative in On Longing as a structure of desire that is suspended in impossibility. My own experiences of displacement, nostalgia for intimacy and longing for an imagined home and family, as well as a larger queer narrative of dislocation and isolation, lead me to the subject of domesticity and the making of a “home”. While queerness is not easily read in all of my pieces, it is coded throughout. Coding originates from within a context of marginalization, but moves beyond this in its role as a language of identity and a signifier of shared experience.

Hilary Schwartz is a sculptor engaged with concepts of domesticity, displacement, temporality, and queer desire. She received her MFA in 2009 from San Francisco Art Institute and her BFA from California College of the Arts. She has exhibited internationally. Most recently, her work has been seen in Etiquette at the Substation Gallery in Singapore, Feeding Ghosts at Kitsch Gallery in San Francisco, and Domestic Materials at PLAySPACE Gallery in San Francisco. Hilary’s work has been featured online on KQED, Art Practical, and SFGate. She is currently a fulltime lecturer at Lasalle College of the Arts in Singapore. Hilary recently conducted a workshop entitled Play with Your Food at Nanyang Academy of Fine Arts.

Hilary and Martha collaborated on a series of video pieces reflecting upon living together in Singapore. They undertook a short one-month residency in Hotel Penaga in June 2012.

Melanie Fulton

Melanie Fulton

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John_Foubister__Melanie_Fulton

 

Melanie Fulton was in residence at Hotel Penaga in Georgetown, Penang, from September to November 2011, in a joint residency with her partner John Foubister. Some of the work which Melanie created during her residency was exhibited in the joint exhibition ‘Cultivating the Garden’.

Bio

mel2Melanie graduated from the South Australian School of Art in the late 1980’s. Since then she has maintained her art practice while also working in visual arts related areas. These have included Artist-in-Schools programs, numerous Community Arts programs and Diversional Therapy in Aged Care. Since 2005 Melanie has Coordinated the Tutti Visual Arts and Design Program, a professional program for Artists with Disabilities. Tutti Inc. is a leading Multi-Arts Disability and Community organization in South Australia.

Melanie’s own work has included the themes of “Home” and the duality of sanctuary and prison; Fairytale and Myth; “Exotic” cultures through the decorative arts and associated natural motifs. Currently Melanie is exploring plant and tree motifs with multiple view-points. Melanie works in a variety of mediums, with a special interest in watercolour painting.

Melanie has exhibited in private and civic galleries since graduation and has work in private collections in Australia, Britain, Sweden and Belgium.

 

Mosaic Artists

As the first artist project at Hotel Penaga in Penang, four mosaic artists from around the world spent almost a month in Penang creating a stunning work entitled ‘The Shyness of the Trees’ for the new boutique hotel.

Helen Bodycomb of Castlemaine, Australia, had had a residency at Rimbun Dahan in 2006 and organized this collaborative exercise with two other Australian mosaic artists, Dominic Johns and Glenn Romanis, and George Fishman from Miami Beach, USA. They stayed in the Lebuh Clarke houses for almost a month to create a piece for the verandah at the back of the four terraces on Jalan Transfer.

The fifteen shophouses of Hotel Penaga, in the buffer zone of the Georgetown heritage district, were developed as a luxury boutique hotel which will help to support ongoing activities at Rimbun Dahan. The images below show the development and final work of ‘The Shyness of Trees’, on the back verandah of the four terrace houses on Jalan Transfer.

Dan Wollmering

Dan Wollmering

Dan Wollmering was born in St. Paul Minnesota, USA and immigrated to Australia in 1975. He is currently Senior Lecturer in the Department of Fine Arts and Sculpture Studio Coordinator, Faculty of Art and Design, Monash University.

Wollmering holds the following degrees: BA, MFA and PhD and has held 25 solo exhibitions and work included in over 40 group exhibitions internationally. Completing major public artworks in Australia, China and the USA, he was recently awarded the prestigious Contempora Sculpture Award for a socio/political work that part sculpture and part architecture. He has participated in overseas residencies including Malaysia, USA, and the Ninth Guilin International Sculpture Symposium in Southern China. A recipient of the Dame Elizabeth Murdoch Sculpture Award (CSA), he also received a Nomination Award for the Beijing Olympic Park Sculpture Design Competition. His work is represented in private, corporate and public collections including Regional Galleries and Universities in Victoria. The artist is represented by Flinders Lane Gallery, Melbourne and BMGArt, Adelaide.

He was one of the resident artists for Rimbun Dahan’s residency in 2009, and did a short residency in Hotel Penaga in 2014.

Rimbun Dahan Artist Statement (2009)

danLately, I have been trying to reduce the clutter that inundates our lives. Whether its junk mail, email spam or just ‘things’ that build up over time in the bottom kitchen drawer, the backyard shed or those items that suddenly make their appearance when rifling through the wardrobe, closet, bookshelves or unopened boxes − throwing out is satisfying.

As a sculptor, clutter is a constant companion in the studio. I find it difficult to depose of anything that inhabits a sense of wonder and aesthetic potential – compounded by the fact that someday, it could form the basis of a new sculpture.

For the last five years or so, much of my practice has followed suit; whereby, my aim is to reduce and crystallise the essence of the form and thus the concept. It follows in the tradition of Minimalism – perhaps less of the ‘hard edge’ and more of the ‘organic’ type.

In this manner, the work is abstract, sometimes familiar and sometimes ambiguous in their final character. Stable and unstable, expanding and contracting, the forms may also suggest references to a secret and mysterious life form; one of less perplexity and in keeping with the forces of a self-ordering system of modular construction and organic unity.

As a sculptor, I am forever cognisant of the rich and marvellous history of both eastern and western sculpture traditions, and to that end, my small gestures and contributions to an expanding and vibrant culture and arguably, one of the most challenging disciplines in the visual arts.

clutter

Penaga Residency Artist Statement (2014)

During his stay, Wollmering will be researching and documenting architectural forms from a variety of sources in George Town − as a catalyst for new abstract sculpture. Using the rich and diverse cultural make-up of Penang and the built-environment structures emanating from Malay, Chinese and Indian influences, Wollmering will be locating and referencing unique constructs as a conduit to new sculptural forms in his practice. Using mainly cardboard and low-tech construction methods, he will be creating hypothetical sculpture maquettes with a chosen few being made in steel by a local sculpture fabrication firm in Penang. These new works will then be exhibited in the Penaga Hotel and at Flinders Lane Gallery; a commercial gallery in Melbourne that he has been exhibiting with since 1990.