Lauren Lee

Lauren Lee

Lauren Jeyoon Lee was born in Maryland, USA and moved to South Korea when she as four. She spent most of her teenage years in Singapore and returned to USA to receive her education in Fine Arts. Lauren is currently a grad student from Yale University and is spending three weeks in Rimbun Dahan as an Open Residency artist. Lauren’s a sculptor who works with found objects and clay. Her working process heavily involves writing that are often reduced as titles to inform and create narratives for visual elements.

A pair of large plastic breasts labeled “Super Droopers.”
A two feet long rubber chew toy with orange bulbs on both ends.
A red SOLO cup full of half-thawed chicken feet.
A bag full of Joshua Nelson’s beard.
A petri dish with mice fetuses.
A burnt-out glue gun with strands of blonde hair around it.
Aqua beads soaked in black vinegar.
A picture of my five-year-old-self crying with chewing gum glued over my boobs. A plastic bag of flesh toned cosmetic sponges.

A bag of make-up sponges sold for $1.29. I opened it and took a sniff. It smelled like my mother’s pillow. My mother spent every Sunday night with me. She would leave my grandparents’ house the next morning for work. I always believed I could cling on to her. It never worked. My grandfather would wake me up instead in his bright blue sweatpants that smelled like his medicine cabinet. So I would bury my face in my mother’s pillowcase to smell her instead. My grandfather would then carry me to the living room and lay me down on a leather sofa. It felt cold even on summer days. That was my Monday morning until I grew tall enough to realize how childish it is to feel that empty.

I have been reliving my childhood since then. Hiding behind the weight of cultural and religious issues, I laughed at traditional values imposed on me and unresolved resentment the Korean War had left on my grandparents. When I moved to Singapore in sixth grade, I witnessed my mother’s loneliness as a woman away from her lover. When I came to America, I witnessed middle-aged adults, self-proclaimed children of God, be possessed with petty jealousy over the death of a family member. I now maliciously poke fun at the emotional conflicts and complex feelings adults engaged in, with different materials, from a glamorous piece of bronze to a cheap clump of fake hair.

So I started collecting. I collect cheap things that trigger feelings of shame; humiliation; regret; disgust; and sometimes humor. I frequent local dollar stores, beauty supplies, pet shops and sex shops to rummage through things. Some give me immediate answers and others have eldritch noise. I spend time with them. I wrestle with them. Most of them are willing to work with me at first. They would bend, squish, tear and bond themselves, as I demand. Soon they start to rebel. They straighten themselves up, separate from the others and refuse to be put back together. Like a frustrated, demented child, I angrily pierce, nail, shove and tighten them. Some give in, others refuse. They are awkwardly and precariously put together. I see myself in them, insignificant and small, yet screaming to validate my existence to someone.

During her stay in Rimbun Dahan, Lauren plans to create assemblages and drawings specific to this place, informed by the interactions with people, locals and expats that she’ll meet. Lauren will be with us throughout July 2018.

Haffendi Anuar

Haffendi Anuar

Haffendi Anuar (b. 1985, Malaysia) is an artist based in Kuala Lumpur. He works with a variety of media and disciplines such as drawing, painting, sculpture and photography. He did his International Baccalaureate certificate in fine art at the International School of Kuala Lumpur, his foundation at the Rhode Island School of Design in Providence and his BA honors at Central Saint Martins College of Art and Design in London. In between his studies, he worked as a model maker at T.R Hamzah and Yeang in KL, studied Mandarin in China, worked in an art gallery in London and Kuala Lumpur and assisted artists in studios in London (Hew Locke and Nicolas Deshayes). He has exhibited locally and abroad.

Haffendi is a multidisciplinary artist. Mining history of art, digital technology, nature and local contexts, he creates object-based works that recycle found images, objects and artistic styles from digital and local sources. He was previously at Rimbun Dahan for a one-month residency in 2015, via a collaboration with Richard Koh Fine Art. This time he will be doing a four month residency alongside fellow artist Veronika Neukirch.

Le Hoang Bich Phuong

Le Hoang Bich Phuong

Le Hoang Bich Phuong (b. 1984) is a visual artist based in Ho Chi Minh City, Vietnam. Her art is an outlet for expression and a means to deliver her concerns regarding sexuality and eccentricity. Recently, Phuong’s focus has shifted more toward nature, time, space and social awareness in her country, Vietnam.

Even though Vietnamese culture doesn’t emphasize on individuality, I often wonder about the state of individuality in the other countries. My works are usually a blend of imagery of human sexual organs twisted into seemingly familiar distortions and contrast elements that do not seem to belong together. For me, these unlikely combinations often create the perfect piece. I have been using Vietnamese traditional silk paintings as my primary medium, but I always experiment with new mediums as it could be the new language in my art. I enjoy reflecting my thoughts on contemporary issues through art, using traditional medium and materials as a way to challenge to the dogmas of society.

To view more of Phuong’s work, visit her website. You can also view the process of making one of her works (pictures below), here on YouTube.

Riel Jaramillo Hilario

Riel Jaramillo Hilario

Riel Jaramillo Hilario (b. 1976) is a Filipino visual artist and curator, and was born in Vigan, Ilocos Sur, Philippines, which like George Town, is declared a UNESCO Heritage Site. He is a sculptor, painter and an art historian and was the curator for the Pinto Art Museum in Antipolo, Rizal.

Hilario’s main body of work are hand-carved wood figures inspired by rebultos, a colonial art form of religious statuary that was introduced from Spain to the Philippines by way of Mexico in the 1600s to the late 1900’s. Hilario uses the rebulto depicting subjects that are “para-psychological” phenomena, such as presences, place memories, popular mythologies and dreams. For the artist this practice fulfills the need “to render visual” that which are unseen. For his residency at Hotel Penaga in the month of August, Hilario will deploy “Place Memory” – a project that attempts to collect and take note of, occluded and manifested presences and psychic histories in and around spaces in George Town.

Hilario is a Cultural Center of the Philippines Thirteen Artist Awardee (2012). His work has been shown in several exhibitions in Adelaide, Jakarta, Hong Kong, Singapore, London, Basel, Delhi, New York, Paris and Berlin. He has been artist-in-residence in Paris at the Cite Internationale des Arts (2012) and in New York at the Lower Manhattan Cultural Council (2013) as a fellow of the Asian Cultural Council.

Riel was a Hotel Penaga resident for August 2016. For more information on Riel’s work, please visit his website.

Al-khuzairie Ali

Al-khuzairie Ali

Al-khuzairie Ali (b. 1984) hails from the Malaysian state of Pahang and works with ceramics. He will be at Rimbun Dahan as a resident artist from July to December 2015. You can view some of his past works on his blog.

Artist Statement

I look at the hideous side of the human character which has an impact on other beings in the ecosystem. My work is inspired by the life of the animal. We know that some animals are threatened with extinction. The modern world and the importance of money simply make people lose their judgment and ignore the nature of life. Will future generations be able to see the wildlife species that exist now?

Hasanul Isyraf Idris

Hasanul Isyraf Idris

Hasanul Isyraf Idris (b. 1978, Malaysia) was trained at Mara University of Technology, UiTM, in Perak. He has received a number of awards, including the Young Contemporary Arts Award in 2007 at the National Visual Arts Gallery, Kuala Lumpur, the Incentive Award at the  Open Show held at the Shah Alam Gallery and the Consolation Prize for the Young Talent Art  Exhibition at the Penang Art Gallery. A highly elusive artist, Hasanul shuns attending openings and attempts to work anonymously in the art scene. He produces works in a variety of media, from paintings and meticulously crafted drawings to painted oven-baked clay sculptures. Mining inspiration from within, he articulates his personal struggles as an artist by personifying them as strange characters  that inhabit his invented universes. Influenced by the graphics of underground comic books,  1960s science fiction, fast food, and street art and fashion, he juggles pop-culture references  with a personal viewpoint. Recurring topics in his practice are the meaning of life and death, memories and fantasies and sin and reward.

Hasanul will be at Rimbun Dahan as a resident artist for the month of June 2015, via a collaboration with Richard Koh Fine Art.

Tran Dan

Tran Dan

Tran Dan studied architecture in university, but his artistic career is built on self-taught painting and sculpture. His primal medium is lacquer, which is widely represented and used in Vietnamese traditional and modern arts. Tran is keen to further develop its form and use in art: lacquer with/as mix-material paintings/sculptures or (video) installations. He has made full use of Rimbun Dahan’s gardens and surroundings for materials to make into lacquers and paints. His collaborations with foreign cultural institutions in Vietnam, such as British Council, Embassy of Denmark, L’espace French Cultural Centre, and The Japan Foundation Center for Cultural Exchange have resulted in experimental videos and performances about human consciousness, dreams, Vietnamese culture, and food. Tran has also opened an independent art space in Hanoi where he organizes and directs programs for local and international artists. His recent lacquer paintings are inspired by the relationship between humans and animals, and by the power of humans and nature. Tran’s work explores the dreamlike rhythm of life, stories that are repeated every night; this also speaks to existentialism, a theme he consistently returns to.

For more information on Tran Dan and his work, visit his blog or his Facebook page.

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…

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