Faizal Yunus

Faizal Yunus

Faizal Yunus (b.1989, Malaysia) is a Malaysian based artist who works mainly in printmaking, painting and installation. He graduated in Bachelor of Fine Arts from Mara University of Technology (UiTM) in 2012 majoring in printmaking. Faizal has been drawn towards nature as he grew up in such a surrounding that has helped him nurture his imagination and interpretation of the greenery around him. Autonomy has driven him to believe that an egalitarian society is vital which is where he adapts to the banal practices of everyday life into his abstract print paintings. He draws inspiration from nature, a familiar landscape of lush greenery from where all his imagination had began. He explores alternative print language outside the limitation of printmaking studio by expanding his ideations and limitations through various printmaking techniques and processes.

In his first solo exhibition Matrix, circa 2016 he started looking into his daily life essentials and gathering objects surrounding him for ideas and inspiration as he found limitations in available facilities and easily gathered materials. He felt that by using the objects that so much so associates with a layman’s daily routine, he could create artworks with a heightened sense of desolation in his own narrative. That is how he preempts life to be based on the things that are happening around him. The process of reiterating his thoughts and reflections into his artwork depicts his personality as well as his conviction on the way life looks around him. His solo exhibition – Vortex 2018, revolved around a journey of finding different perspectives and causes of the actions he chooses to make. He believes it is a journey where he unravels the truth where he challenges his capabilities to explore within his reach. Vortex is his poetic statement on the current state of pollution and our role in undoing the beauty of our landscape.

Joining Rimbun Dahan would help me immerse myself in nature. When I’m one with nature, I believe I can uproot my thoughts into my abstract print paintings.

Faizal will be at Rimbun Dahan as a resident artist from mid Oct to end of Nov 2018, via a collaboration with Richard Koh Fine Art. You can check out more of his works at his website.

Nadhir Nor

Nadhir Nor

Nadhir Nor (b. 1994) is an illustrator based in Sungai Buloh, Selangor. Graduated from The One Academy, Sunway he aspires to dabble in as many media he can try on from a mural commission for Urbanscapes (2016), to designing journals and sketchbooks for Journalife (2017). He is also interested in all things otherworldly. Mythology, ancient cultures and its relationship with modern society are some of the major subjects explored in his works. He believes that there’s something about finding the otherworldly in the mundane and vice versa, and this makes a story worth told. He strives to share as much magical body of work as he can with the world.

Nadhir is our resident artist for August – September 2018. For his stay at Rimbun Dahan, he will be exploring ways to bridge his works back to traditional media. He wants to try to reconnect with the physicality and textures that traditional work has to offer while also exploring world-building fictional folklores in local cultures.

You can follow more of his work at his tumblr and facebook page.

 

Chuah Shu Ruei

Chuah Shu Ruei

Chuah Shu Ruei is an emerging contemporary artist based in Kuala Lumpur, Malaysia. Having graduated from ASWARA (National Academy of Arts, Heritage and Culture) in 2013, and also having done apprenticeships with Long Thien Shih and Studio TERUSI (a Malaysian artist collective), her educational exposure to traditional Malaysian heritage strongly informs her practice, which is primarily ephemeral community art installation projects. Her practice also includes mixed media collages that play with perceptual change and interaction with time, space, light and shadow, and an actively engaged/included viewer. The categories of installation and collage work often combine into/overlap each other in her practice, as her overall body of work branches into themes of multi-culturalism, inclusivity, assimilation and validation of the collective mindset, to be further explored  during her Rimbun Dahan residency.

Since 2011, her installation works have been exhibited in Kuala Lumpur, Langkawi and Penang, and most recently in 2017 as part of her solo residencies in Reunion Island (France) and Cebu (Philippines). In Malaysia, her object based artworks have been exhibited in group shows at Core Design Gallery, Hin Bus Art Depot, the 8thInternational Art Expo Malaysia, Pelitahati Gallery, the National Visual Art Gallery, Richard Koh Fine Art,  as well as in group exhibitions in Thailand, Singapore, and most recently Turkey. Her artwork is also part of the art collection featured in ‘Rumah Malaysia’(the Malaysian Embassy) in Beijing.

Shu Ruei is our resident artist for six months and will be exhibiting her work at our gallery in January 2019 along with Wong Xiang Yi. You can find out more about her at her facebook page and her website.

Hings Lim

Hings Lim

Hings Lim (b. 1989, Malaysia) studied Fine Art at the Universiti Malaysia Sarawak, Malaysia. He was awarded the Chair of P. Ramlee from Petronas Award in 2012. He is a multidisciplinary artist based in Kuala Lumpur. Working with a wide range of materials including situations, videos, objects and paintings, Hings is interested in intricating art and life by exploring experiences and relations of reality.

Hings will be at Rimbun Dahan as a resident artist from mid July to end of August 2018, via a collaboration with Richard Koh Fine Art. Through this residency program, Hings wishes to integrate the encounters of things and beings in the surrounding of nature and the everyday life around Rimbun Dahan, while exploring their relations.

 

 

Ruby Subramaniam

Ruby Subramaniam

Ruby Subramaniam (b. 1989) is a self-taught Malaysian visual artist.

In 2014, she quit her award-winning career in digital marketing to pursue her passion in arts.  Her experience in corporate communications now allows her to utilize digital marketing and social media as a tool to increase community engagement about art. She works actively with diverse communities to run art-related projects and events, including Art Battle Malaysia. This event gives the audience a chance to participate actively, allowing them to exercise their ability to discuss and appreciate art. With her own artworks, she draws inspiration from traditional Malaysian narratives and culture. She is fascinated by the romanticised idea of ephemeral art.

I believe art is a prayer and it has to dissolve. The sooner it decays, the faster it lifts your burden.”

Because of that, she is never loyal to any one medium, and instead, enjoys the creative process of experimenting with unusual and unexpected artistic formats.

For the past two years, Ruby has worked on huge contemporary kolams (traditional Indian coloured rice art on the floor) installation in public spaces for Publika and RapidKL. “As a traditional art form, how do we revive it using the same method that has been used for centuries? How do we bring it alive again?”

In 2017, using skin as her canvas, her project, This Body is Mine was inspired by the Hindu Goddesses to combat street-harassment and the general Malaysian society’s attempt stigmatise women and police their bodies. As a result of the work, the project was uploaded to social media platforms and consequently went viral and reached more than 2 million views across the world. This project was exhibited in several group shows locally, and internationally in “Be Bold for Change”, Adam&Eve DDB, London as well as a case study in ARTS and SOCIETY (IYGU) by Mémoire de l’Avenir, Paris. More recently, it was presented in UNESCO’s World Humanities Conference in Liege, Belgium in 2017.

During the month of March 2018, her new project, ANTIDOTE in Rimbun Dahan, she invited women to be active participants in her projects, by sharing their relationship with their bodies. Without imposing her ideas and concepts onto her “canvas”, for thirty days, Ruby listened to thirty intimate stories by thirty diverse women and interpreted them with body art.

Please check out her website, facebook and instagram to find out more about the artist.

 

 

Wong Xiang Yi

Wong Xiang Yi

Wong Xiang Yi (b. 1987, Kuala Lumpur) received her Bachelor of Fine Arts from Chinese University of Hong Kong in 2010 and her Master of Fine Arts from Taipei University of the Arts in 2016. Wong majored in ink painting and is trained in traditional Ling Nan Chinese Ink painting. She’s strongly affected by China’s new ink painting movement, Japanese style painting (Nihonga), and the impact of and trend of thought related to ink painting that she was exposed to while she was studying in Taiwan.

The medium of ink painting has always reminded Wong of the relationship between humans and the natural and how it contrasts with the rapid pace of life surrounding artificial objects. Wong can anticipate and work with fractional and overwhelming information through tedious preparations before painting. This process is like a ritual, a vacuum interval, where all the prattle of information is slowly processed, to intercept a process of thinking. She believes that a private natural space (Rimbun Dahan) will be a perfect place to calm down and experience ink painting media meeting the natural face to face.

Wong Xiang Yi is our Yearlong Resident Artist 2018 and will be exhibiting her works in our gallery in January 2019. To find out more about Wong, please check her website here.

Dancing in Place 2015

Dancing in Place 2015

DIP’15_FB Event Page

Dancing up a tree. On a sculpture. Underwater. Underground.
12 contemporary dance works in the tranquil tropical garden at Rimbun Dahan. Family friendly, FREE ENTRY for all!

3-6.30pm
Saturday 31 January
Sunday 1 February [same program on both days]

Rimbun Dahan
Km 27 Jalan Kuang
Selangor 48050. MAP

Photos below by our official photographers, Huneid Tyeb and James Quah. Click here for more photos of Dancing in Place 2015.

Mermaid meets monkey from classical myth, in the duet ‘Same Space’ by Shahrin Johry from Maya Dance Theatre [Singapore] and Phittaya Phaefuang [Thailand].

Colours lead you on a journey of rebirth, in ‘Dust to Dust’ with Rithaudin Abdul Kadir, Foo Chiwei and Pinar Sinka.

Three guys and three beds will always be a work-in-progress, in ‘Asing-Asing’ by Lee Ren Xin

Best friends forever and partners in crime, in ‘Then She Simply Disappears’, performed by Nurulakmal Abdul Wahid’s students from University Pendidikan Sultan Idris.

Joelle Jacinto dances through Jack Kek’s vision of a German city, in this excerpt ‘Strasse, Stadt’ from ‘A Wanderer in Berlin’.

The dancers of Batari Shakti let down their hair in a ritual purification with the sacred number ‘Seven’, with choreographer Alla Azura Abal Abas as their guide.

Mia Cabalfin and Rhosam Prudenciado Jr. from the Philippines welcome you to the Penang heritage house, with ‘Housewarming’.

 

A group of friends who might just be pretending to be dancers, choreographed by Leng Poh Gee.

What are we apart from names and numbers? Judimar Hernandez, Gan Chih Pei & James Kan explore ‘Existence.’

Indian classical dance stars Rathimalar Govindarajoo and January Low in their intimate duet ‘rehab’.

Selipar Dance Troupe turns every place into a stage, under the leadership of Loke Soh Kim.

Alisya Razman Adam and Chong Hoei Tzin combine youth and skill in the romantic solos from ‘Short Stories’, choreographed by Patrick Suzeau [USA]

Featuring:

++

++ Lim Sae Min takes everyone in a circle, hand-to-hand! [Saturday only]

Dancing in Place is a joint project of Rimbun Dahan and MyDance Alliance.

For more information, contact Bilqis Hijjas, Producer, +6017 310 3769 or bilqis@rimbundahan.org

Please note that Dancing in Place is not a wheelchair-accessible event.

Melissa Lin

Melissa Lin

melissaMalaysian artist and astrologer Melissa Lin was in residence at Rimbun Dahan in 2014, where her work ventured into new degrees of scale.

Bio

Melissa Lin is an artist and astrologer who loves how both disciplines deepen, teach about and reveal the mystery and richness of life and living. Art for her is a process of becoming and of encouraging the intrepid traveler on the way to wholeness and experience, not only for the individual self, but also for the health of the community and collective. Art can be the voice that returns us to our best selves and to the world.

Artist’s Statement

The gift of time and of spaciousness by the Rimbun Dahan residency has opened up new possibilities of exploration for my drawing and painting practice.

The process of exploration for me has been one of allowing and observing visual narratives, characters, expressive impulses that want to emerge from a sea of stories of the world, drawn from experience, the psyche, history, culture, magic, myth and wisdom.

This organic emergence to me is a way to return to feeling, sensing, drawing out pleasure from slowness, from savouring, and creates wholeness while living in a world where it is easy to lose and to drown oneself too much information and stimuli that leads to being dislocated from the self.

My drawings and paintings also reflect my interest in natural yet otherworldly environments that are like an interface or in between dimension where the personal internal world and the external world, the realm of imagination and of reality can come together and are a meditation on my physical travels, as well as traveling through ones own internal landscape and life.

Anniketyni Madian

Anniketyni Madian

Artist’s statement:

annikAnniketyni Madian is a Sarawakian artist who is currently creating a stir in the local art scene with her sculptural works. Fresh, energetic and visually arresting, her current works are an embodiment of her love for her native culture. Deriving her inspiration from the exotic Pua Kumbu textiles, her works are given a personal, contemporary touch which makes every sculpture a unique piece. She translates her works from two-dimensional drawing of Pua Kumbu patterns to a painstaking three dimensional sculptures , creating an interesting perspective and depth to her works. One cannot fail to notice the intricacies of her complex work where each slice of wood is minutely detailed and perfectly aligned in order create a smooth, seamless flow.

Having progressively paved her way in a scene which is largely dominated by male artists, Anniketyni’s sculptural journey is currently ongoing at Rimbun Dahan. Come interact and watch the artist delve into the intricacies of her complex work that narrates the beauty of her heritage in her very own language. The open studio residency will take place on 6 September 2014 and is open to public from all walks of life.

Text by Mona Kv.

 

Sabri Idrus

Sabri Idrus
Canggai. 2014. Wood, metal, copper & charcoal. 200 cm (diameter).

Canggai. 2014. Wood, metal, copper & charcoal. 200 cm (diameter).

Sabri Idrus was the Malaysian Artist for the Malaysia-Australia Visual Arts Residency 2013.

Artist’s biography:

sabri_profileSabri Idrus, (b. 1971, Kedah, Malaysia) is an artist best defined by his compulsion to experiment with media. Oscillating between a career as an artist and a successful graphic designer, Sabri studied fine arts at UiTM from 1995-1998. Received The Malaysia Young Contemporary Art Award in the painting category in the year 2004 and A Special Mention Award for the UOB Art 2011. Sabri’s works are held in private and public collections in the United Kingdom, Poland, Singapore, America, India, Hong Kong, Indonesia and Malaysia. He has participated in residencies in Poland, Indonesia and Rimbun Dahan, Malaysia. Sabri Idrus lives and works in Kuala Lumpur, Malaysia. Sabri is a constant researcher in the process of art making, specifically in his endless search in the production of prints, marks and traces as the notion of visual representation that operate as his medium in conveying his research and thoughts.

Disruptive Nature

Disrupting materials and surfaces are the main interests for the development of this series, simply entitled Disruptive Nature. Further developing his interest in mark making – a preoccupation with surfaces, spatial stacking, temporality and organic fluid forms (The Search of the Uncertainties, 1999), Sabri Idrus continues his semiotic-reference in art making by tracing down patterns of nature. Leaves, trunks and twigs were scanned and studied in order to understand the basic properties of these elements of nature. From his earlier experimentation with industrial materials, that had the objective of venturing into alternative media such as painted surfaces, this series of works marks a comeback for Sabri and his object making exercise. These processes of experimentation are a statement that echoes his search for creating new marks on new surfaces. How to create a desired effect on a particular material with its own specific characteristics, to be able to re-produce similar effects on different materials has been explored by Sabri in his long process in art making, and is further demonstrated this interpretation of ‘shadows’ as themed for the Rimbun Dahan showcase.

Taking advantage of his discoveries with industrial materials, Sabri, again, marks a change from his normal material play, venturing into the more subtle realm of natural patterns, forms and characteristics. The natural patterns he has discovered and mimicked on his choice of surfaces reveal their latent qualities in a two-dimensional manner. Sabri’s series of studies were then reconstructed using a very similar method to his deconstruction in order to transform them into three-dimensional sculptures. Only this time, the traces of patterns and surfaces were extruded to create solid forms coupled with the real natural patterns that originated from the material itself. These processes are not an escapism from his earlier ‘difficult’ process in producing his works, but rather should be seen as a new adventure of developing a more advanced understanding of the manifestation of moments that reconcile nature with the unnatural.

Researching within the natural context of Rimbun Dahan, coupled with his seminal research on natural and man-made elements from his residency period in Poland, and through in-depth studies of the architectural works of Anthony Viscardi, Sabri’s latest works examine the qualities shared between art and architecture through explorations of solid and void, presence and absence, static and dynamic, and material and ephemeral continuums. His daily observation of the site-specific elements of his work place at Rimbun Dahan has allowed him to capture measurable details in nature’s natural moment, where tactility and space-time relation of the natural evolution are always visible. The nature of observation places one’s visual sense in an almost circular perspective (looking at the surrounding in 360 degrees) and has been recorded, photographed, memorized and sometime distorted into the physical being of the artwork itself. Sabri’s observations have been replicated in the form of circles, reflecting the way he looks at things around him. The conflicting elements of the natural and unnatural characteristics of these objects were further elaborated through detailing and specific material usage, hoping the artwork would be able to present itself as a signifier of the context that they represent.

What Sabri is interested in is that the work should not represent itself as an object to be confronted, making the viewers merely face the subject, but rather to create a feeling of being wrapped in it, as though it were our shadow.

Shadow and light is a dual reality, the hypertrophy of a double sensation: there can be cavernous, dark, soft, humid, sensorial, crystalized, cold, luminous, and all this can be used like an individual zapping of perception. Return to text…

Masa Series: A Reduction Process (pp. 17). Return to text…