Sittiphon Lochaisong, alias ‘Bomb, was born in Mahasarakham, Thailand. He graduated from the University of Silpakorn, Bangkok, Thailand, with Bachelor and Master of Arts Degrees in visual arts.
His paintings are a subtle combination of traditional Thai spiritual influence combined with his own unique vision. Ambiguous dots are joined and assembled, creating free-floating stellar scapes where figures and symbols meet with imagination and sensation. The spontaneous combines with delicacy, reflecting and embracing the complex and extreme nature of existence — a place of birth, life, death and the eternal.
Lochaisong’s hope is to create paintings that have the potential to motivate the viewer to examine their own interconnected existence: where one can consciously perceive the unstoppable propulsion and expanse of nature and their place within it. His abstracted ‘universes’ are a place where the viewer is compelled to concentrate, and rewarded with a glimpse of a deeper understanding of a greater truth.
In the residency program, living among beautiful nature at Rimbun Dahan has given me inspiration to create paintings related to the environment here. I aim to create paintings that depict the beauty and wonder of trees, flowers, insects, wind, sunlight, rain, etc, through the process of working in a semi-abstract style. It is the presentation of nature as it appears, but combined with imagination, bringing reality towards a more fantastic world to show how magical nature really is.
Malaysian artist and architect Shiela Samsuri joins us for a month-long residency in August 2020, as part of our Southeast Asian Arts Residency series.
About the Artist
Shiela Samsuri (b. 1989) received her training in architecture. She leads R+, a research unit of GDP Architects, which focuses on ways of living in the changing context of our environment and impact from technology. Shiela is also a visual artist, a parallel trajectory that she believes stems from her postgraduate years understanding the language of lines. Her works have been exhibited at many contemporary art shows such as SH/FT 2019 and a finalist of the Malaysia Emerging Artist Awards 2019. At her best, Shiela is a human being who contemplates aspects such as shadows, sun and skin. She has always thought of projecting them into lyrical poetry, the way the late Sapardi Djoko Damono does, although she can never reach such depth (and she’s okay with it). And so she resorted to writing bullet points, drinking lots of good coffee and curating Spotify playlists. She spent the year 2019 collecting tarmacs around her neighbourhood for introspective reasons, however the year 2020 turns out slightly different than expected…
A drawing language exercise where one wanders around Rimbun Dahan, collecting things that have fallen onto the ground, microscoping them to understand their discreet patterns (and sometimes unseen lives), archiving and unfolding them into drawing iterations and narratives.
Before Your Very Eyes (an entry for ArtScience Prize 2020 by Academy of Sciences Malaysia)
A collaboration project with a marine microbiologist that draws upon social stratification as exemplified through microorganisms interaction where different characteristics of water is used as a way to look at boundaries and social class. This is an entry for ArtScience Prize 2020, currently on-going, organised by Academy of Science Malaysia.
OPENING HOURS: Weekends 10am – 5pm; Mon to Fri by appointment only (Whatsapp Angela at +6012-210-4229).
ADDRESS: Km. 27 (entrance before Lorong Belimbing), Jalan Kuang 48050 Kuang, Selangor
Admission is FREE.
You are also welcome to walk around our indigenous Southeast Asian garden and view our heritage houses during your visit.
About the Exhibition
Influenced by living habits and the environment that we live in, Kim Ng’s work has a strong connection to social experience, human conduct and memory. He collects an abundance of abandoned objects from the street for their aesthetic values and possibilities, taking pictures of the marks, textures and graffiti left by men and nature. To him, those are gestures of storytelling in their pictorial and physical forms. Those traces also indicate the behaviour left behind by someone or something that held the story of the past.
The artist residency in Rimbun Dahan provided Kim Ng the opportunity to explore and investigate, rather than being tied down to a fixed direction of excessive production. His exploration in various materials and art forms is related to his experience in art-making. A new level of sensitivity towards the materials and forms has been established during his stay in Rimbun Dahan which allowed him to delve into a much deeper aesthetic awareness through further exploration and encounters with various materials and visual propositions.
Shadows That Flourish pulls together Kim Ng’s six months of explorations into a finale and is presented in the Underground Gallery at Rimbun Dahan. Artworks are divided into three types: unprimed canvas buried in the ground or cement, speaking to the transformation of material essence into something that signifies the rural and the urban, and ceramic sculptures and installation works that express nature and social phenomena in a metaphorical way. His colourful mixed media and silkscreen prints on canvas convey a complication of emotional feeling towards the environment. The series of found objects keep track of the authenticity of the materials and their origins, reiterating the existing history of the materials beyond their surface values, and rebuilding their meanings from the past for new interpretations. Much of the thinking process of his art-making was associated with the subject matter, materials and forms, attempting to build a dialogue with the viewers through the visual presentation, and evoking different senses of experience through a variety of materials.
Kim Ng is sensitive to the fact that each different material and form has their own voices. He does not particularly highlight the making process through his works, but from the processes of making, he creates symbols and meanings for further communication and dialogue, contributing to the sensual reading of the work on a personal level when one confronts them.
Originally from Brazil, in the last three years Carlos Carvalho has been living in Asia, first India, now in Indonesia. Using crafts techniques and everyday materials, like textiles (mostly felt), paper, cardboard and paint, he builds topographies. Those topographies are found through the combination and juxtaposition of shapes cast from his body. His process is time consuming and repetitive, almost meditative.
My body is the center of my work, my body is queer and I’m gay. Thinking queerness in places where it’s not welcome or allowed is what is going through my mind. Especially because Brazil is also facing a conservative wave right now that is pressing against women, LGBTIs and the African-Brazilian population.
At Rimbun Dahan, being in the middle of all this green I wonder about things that hide in the vegetation, in the bushes. Being mostly by myself, this also brings about the idea that things that we fear hide in the dark, among the plants. I decided to play with the idea of camouflage as a starting point, as we can think of animals that hide. I mock the hunter animal print over the casts taken from my own body – I fear they are part of each of us, that they are constituents of our minds. This is supposed to be a turning point of the dynamics of fear. The body parts originating from the queer-gay body to become the element that hides and hunts, I put the body in a position of power and control, which is what the queer body needs to have in today’s reality.
Mariana, 2015, acrylic felt, cardboard, paper and acrylic paint on canvas, 3 x 30 x 40 cm
Untitled, 2016, acrylic felt, cardboard, paper and acrylic paint,70 x 25cm
Lavaflows, 2016, acrylic felt, cardboard, paper and acrylic paint2 x 25 x 70cm
Under the Bell Jar 3, 2015, acrylic felt, cardboard, paper, glass and wood
30cm (diameter) x 40cm
Rimbun Dahan presents Everlasting Love, a showcase of recent works made by Malaysian artist Azliza Ayob who, in her 16 year career, has worked in many mediums such as collage, painting, sculpture, and installation. She has spent her year in residency exploring the possibilities of creating art from discarded and unwanted daily items to sustain and survive in the field that she loves most, which is making art. The exhibition also ties together the themes of labour, community, tradition, and sustainability.
DATES: 27 November – 4 December 2016
OPENING HOURS: Weekends 10am – 6pm, Monday to Friday by appointment
Admission is FREE. For the event page on Facebook please click here.
There will also be a free guided tour of Rimbun Dahan’s grounds and traditional village houses at 9am on 27 November, conducted by Angela Hijjas. Our other current resident artist, Si Jie Loo, will also be having an open studio 10am to 6pm on Sunday, 27 November.
Nature plays a strong part in her work and like many previous Rimbun Dahan resident artists, Azliza took inspiration from the surrounding grounds and the various types of flora and fauna growing in the gardens, using her time cleaning the lawns in front of her cottage to understand different types of leaves. In that process, she also got acquainted with the inorganic things accumulating (and “growing”) within the grounds as well as in the surrounding village. Azliza started out with one studio and a small collection of plastic bottles made of polyethylene terephthalate (PET). One year on, the scale of her work has required her to utilize two studios to house pieces made from an estimated 2000 PET bottles and other materials. The bottles were either handpicked from the roadside and the trash or donated by fellow artists, friends, family, and eateries and shops from Kuang all the way to Kuantan.
“I am fascinated with the transparency of PET bottles,” says Azliza. “I’m fascinated by its longevity and how it’s so easily accumulated to the point where it is ‘haunting’. [Through working with the material], I became more sculptural. The process is so tedious, but the result is satisfying.”
HIGH, 2016, 122cm x 122cm, Acrylic, collage, and glitters on wood
PLEASURES, 2016, 122 x 122cm, Acrylic, oil, collage, and glitters on wood
ETERNITY, 2016, 214cm (diameter) x 40cm
PET bottles, spray paint, beads, and glitters on wire mesh
SERENITY, 2016, 78cm x 183cm, PET bottles, spray paint, glitters, and beads on wire mesh
Azliza learned various traditional crafting techniques from a young age and put this knowledge to use to both figuratively and literally weave together her unconventional and modern materials into softer forms, organic shapes, and detailed sculptures and collages. She has used plastic bottles in an interactive site-specific installation titled For Our Daughters (2011), glitter to fill thousands of mushroom forms and pink rain drops for her residency exhibition at Fukuoka Art Museum in 2012, and paper collages in her 2014 solo at Wei-ling Gallery, All That Glitters. New materials joined her repertoire in making work for Everlasting Love.
“I made weavings by substituting plastic strips, wires and wire mesh for traditional mengkuang, I incorporated glass and plastic beads, rhinestones, oil paints mixed with spray paints, recycled printed items, glitters, stuff from local hardware stores and all-in-one convenience shops. The materials [I use] must be considered trash, unwanted, or too ordinary and unimaginable to create art, it must show the laborious process of art.” She supplements these with the inclusion of a more sentimental material – batik cloths from her own personal collection, mostly wedding presents from her mother-in-law’s Kelantanese family. Ordinary perhaps, but certainly not trash or unwanted. “These batik cloths have gone through and withstood the vigorous activity of a mother, wife, artist, and best preserved in art.”
DELIGHT, 2016, 78cm x 183cm,
Acrylic, collage, glitters, rhinestones & batik stretched on wood
WHERE WE BELONG, 2016, 244cm x 122cm,
Acrylics, collage, glitters, rhinestones & printed fabric stretched on wood
FIRST CLASS, 2016, 77cm x 57cm, Acrylic, collage & glitters on paper
HARVESTING, 2016, 52cm x 37.5cm, Acrylic, collage & glitters on paper
The use of everyday materials was both a matter of principle and necessity. Azliza says, “I find being creative is somehow connected with being frugal. Working with limited finances is possible with good interpersonal skills and when you work together in a supportive community. In this way, I think of creating art as a way to empower our economy, to live cleaner and greener, to help us think of sustenance and sustainability as a way to maintain our freedom (to love, to be, to do).”
Rimbun Dahan is also a proud participant of Gallery Weekend Kuala Lumpur, a festival tour of the rich and innovative arts and culture scene of the city happening 25 – 27 November 2016.
Rimbun Dahan is now accepting applications for a year-long residency from January to December 2017 for visual artists from Malaysia. We have hosted year-long residencies from 1994 up to the end of 2013, and have seen Malaysian artists use their time with us to further their practice and become illustrious names in the local art scene and beyond. We hope to continue this tradition in 2017, alongside our growing Southeast Asian Art Residency program. Read below for more information.
We’re looking for artists interested in expanding their art practice, exploring new ideas/themes in their work, producing a new body of work, establishing themselves even further in the field of art, or all of the above. We’re looking for engaged and motivated artists who are looking to commit themselves to investing the time and resources provided by this residency into pushing themselves somewhere they couldn’t otherwise go. The year-long residency will culminate in an exhibition* held at Rimbun Dahan’s underground gallery in November 2017.
* This exhibition could be a solo or could feature work by other artists in residency at Rimbun Dahan
Expectations of the residency
The resident artist must stay and work full time on-site in the accommodation and workspace provided and engage with the other resident artists
The resident artist must make themselves available for student groups visits, general visitors, and other outreach events (artist talks, showcases, etc) organized by Rimbun Dahan throughout the year
The resident artist must produce work for the exhibition and work together with Rimbun Dahan’s administrative and groundskeeping staff in putting together the show
What’s provided by the residency
Monthly living and materials allowance of RM1000
Private accommodation with access to a kitchen and private bathroom
A private studio
Access to washing machine, exercise equipment, communal garden, swimming pool, and our library and artist lounge
Weekly grocery shopping trips
Administrative support
Eligibility criteria
Artists must be from and based in Malaysia
Artists must be working in a visual medium; writers, curatorial researchers, choreographers, performance artists and artists/creatives not working in a visual medium should look at our other residency opportunities
It is preferred for artists to have a tertiary education in art from a certified institution and some exhibition experience
Former Rimbun Dahan resident artists are not eligible to apply
Applications from former Hotel Penaga resident artists will be reviewed on a case by case basis
If you would like to apply, please send the following:
Biodata/CV
A selection of images/samples of recent work
An artist statement telling us how a year-long residency at Rimbun Dahan will benefit your art practice and why we should consider you as a resident artist
Please send in COMPLETE applications only. All applications are due by Sunday, October 30 2016.
Send electronic applications via email (preferred method) to
Ms Syar S. Alia, Arts Manager
Rimbun Dahan
c/ Hijjas Kasturi Associates Sdn.,
23rd floor Menara Promet,
Jalan Sultan Ismail,
50250 Kuala Lumpur
Malaysia
Hard copy application material will be returned after selections are made.
This year’s Art for Nature exhibition takes its concept from the gardens of Taman Sari, originally located in the palace grounds of the Sultan of Yogyakarta, and the fragrance garden of the same name at Rimbun Dahan. Both gardens represent the physical manifestation of a set of ideas about man, their place in the world and how they should interact with other humans and with nature.
Taman Sari in Yogyakarta is a vast complex that includes three large swimming pools, water gardens, lakes and pavilions. Built in 1758 by Sultan Hamengku Buwono I of the Kingdom of Yogyakarta, the project was funded by the Dutch, ostensibly to serve as a fort. While seeming to fulfill this project, the Sultan instead focused on augmenting his grounds and structuring the gardens to amplify his spiritual power.
Legend has it that the power of the Sultan is linked to his mystical marriage to the Queen of the South Sea, variously known as Ratu Laut Selatan or Nyai Loro Kidul. The days and nights preceding their union are marked with rituals and meditation in especially constructed chambers. Should he fail to appear, then harm will befall Java. Taman Sari, then, served as no less than a sacred site to facilitate the harmony of the Kingdom.
In a more personal vein, Taman Sari at Rimbun Dahan was built to express many of the ideas that their owners hold dear. Specifically, the concept that indigenous plants and their symbolic, medical, fragrant and edible qualities must be preserved and celebrated inspired the collection. Plants with a strong sense of cultural identity, such as the pinang palms from which the betel nuts integral to traditional hospitality, are features. Fragrance, rather than colour has been emphasized as that is how plants advertise their fertility in the forest. Laid out to provide sustenance, pleasure and a sense of place, Taman Sari at Rimbun Dahan makes visible the ideas that its owners direct their lives by.
Most importantly, the gardens underscore concepts about place, identity and purpose. Their integration and reliance on the natural world is key. Areas to focus on can be how ideas translate into action, how concepts of self, spirituality and community can be expressed in a creative form, whether or not that is two, three or even four dimensional.
The focus on the gardens is not meant to be literal, but rather symbolic. Themes may include how a sense of place is created, harmony with the natural world, integration of spiritual dimensions with a more mundane reality.
Artists are invited to spend time at Taman Sari in Rimbun Dahan and to consider making works that can be displayed outdoors.
— Laura Fan, curator
Contributing Artists:
Abdul Multhalib Musa
Ahmad Fuad Othman
Ahmad Shukri Mohamed
Ahmad Zakii Anwar
Akbar.aka.Bebe
Arahmaiani
Bayu Utomo Radjikin
Bibi Chew
Chong Siew Ying
Choy Chun Wei
Chuah Chong Yong
Eric Chan Chee Seng
Fariza Azlina Ishak
Ili Farhana Norhayat
Ilse Noor
Jailani Abu Hassan
Kolektif Taring Padi
Nadiah Bamadhaj
Noor Mahnun Mohamed
Nur Hanim Mohamed Khairuddin
Noor Azizan Rahman Paiman
Raja Shariman
Ramlan Abdullah
Saiful Razman
Sharmiza Abu Hassan
Terry Law
the clickproject
Tony Twigg
Umibaizurah Mahir
Wong Perng Fey
Yau Bee Ling
Yee I-Lan
Yusof Majid
Victoria Cattoni
Vincent Leong
Zulkifli Yusof
G of D (Garden of Delight) in a Digital Age – Terry LawThe Garden of Delight, the G of D, has arrived in an abstract world of symbols and metaphors. This multi-media installation explores what unites landscape and nature with contemporary perspective, and contemporary perspective with technology.
The kinetic sculptures draw parallel messages from nature and humanity. The diversity of the garden with its variability, eco-dependence and unpredictability, exemplifies the mysterious order of chaos, reflecting the fragility of our existence.
The digital media creates parallel insertions, conflicting images and links between worlds. The absence of a narrative reduces visual activity to optical poetry. This suggests a shift in the way we think about space and time.
Coloured beads and streaks of flickering light create a rhythmic staccato of warm and cool spots, you no longer know where you are, transported to these new experiences of the soul.
tree – Victoria Cattoni (in collaboration with Masnoramli Mahmud)tree is a montage of image, sound, text and performance structured around a simple question: ‘if you were a tree, what kind would you be?’ The video acts as an imaginative trigger, inviting the viewer to identify with a tree that becomes a metaphor for human existence, an embodiment of ourselves in relation to others.
Deep Night – Eric ChanThis is part of a series dealing with night, paying attention to the reflection behind the subject that renders the foreground as a mass of dark shadow-like shapes. My visits to Rimbun Dahan have always been at night, surrounded by a lush moonlit landscape. These memories provided the inspiration for the painting.
In Between – Bayu Utomo Radjikin
Gantunglah kami sebelum kamu digantungkan… Contributed for the 2005 Art for Nature fundraising exhibition.
Gantunglah kami sebelum kamu digantungkan... – Saiful Razman (in collaboration with Bernice Chauly and Rahmat Haron)This work uses Bernice’s text and Rahmat’s poetry that speak of hopes and dreams. The words have been transferred to the cloth, creating an amulet to symbolise protection against evil.
Thompson Birdwing Butterfly – Tony TwiggShortly after arriving in Kuala Lumpur, I found a very appealing broken wooden box in Chinatown. Back in the studio, I put it together as an ordinary looking thing that I then tried to liven up with yellow paint. A month or two later, I was on a demolition site and found two pieces of circular something in wood. Back in the studio it was a match for my yellow construction. Once it was together I started wondering if a butterfly might be a solution to the picture, inspired by the Art of Nature show. Bee Ling came to my studio and said that I had a word on my box, and it was butterfly. Next Angela was looking at this piece and said, “Look, a yellow and black butterfly,” just like my work, outside the studio, in the garden. It is Troides aeacus Thompsonii, a male Thompson Birdwing.
My garden does not exist in reality but evolved as a mental picture of those who inhabit it; a garden that oscillates between dream and reality. It changes from a site for self-discovery to a place for cultivating personal vision.
This is part of a series that delves into the formation of mental maps to explore human dwellings within the landscape. The garden is a place for tactile and sensory engagement, where one may expand sensibility within space.
This year’s exhibition deals with personal definitions of paradise and explores our roles in creating or destroying these ideal places. Malaysian reefs and rainforests resemble descriptions of paradise on earth and yet we continue to destroy them at an astonishing rate. How do concepts of paradise guide our actions? Can they lift us outside our immediate concerns? Can we save our paradise?
Art for Nature will be open to the public from
September 25th – October 10th 2004
at Rimbun Dahan, 10am – 6pm
The word paradise conjures up a range of image. We tend to think of paradise as a place; beautiful, idyllic and free of suffering. Often tropical beaches and rainforests are described as paradise on earth. Pleasure may or may not be included but paradise always includes settings of natural wonder.
Paradise also carries a strong spiritual association. The Garden of Eden that man inhibited before the realization of Original Sin is often described as being like paradise. Heaven is also described as Paradise.
Islam, Christianity and some forms of Mahayana Buddhism incorporate concepts of paradise as reward for man’s good works on earth. In this way, paradise exists on an alternative/higher level of reality and is reachable through man’s choices. This dimension of will and effort is an important consideration. Paradise is both a spiritual goal and a personal goal. We strive to use action to reach an invisible ideal.
Yet the concept of paradise is not defined by religion but holds a universal appeal. Most powerfully, the concept of paradise is a metaphor for a state of being, free form guilt, suffering and pain. Unlike ecstasy or bliss, paradise does not carry the associations of enjoying pleasure but rather is a happy state that we can attain and earn.
Some dimensions explored by the contributing artists include personal definitions or paradise, spiritual or secular; paradise as an environ or paradise as an absolute state of being; is paradise a cultural or personally defined state or place?; does it exist physically or mentally? Note that one can be in paradise and not recognise it until it is destroyed or withdrawn.
This year’s theme takes its inspiration from the epic poem by John Milton, Paradise Lost & Paradise Regained. For those who may be interested in Milton’s Paradise Lost, the poem provides rich imagery. It was written just after the time of Shakespeare and finished in 1667. The book is a way into the theme and does not have to be involved in your deliberations.
In Paradise Lost, Satan leads a rebellion against God and is thrown out of Heaven with all the heavenly beings who sided with him. To decide on their course of action, he opens the debate to all his followers to decide what to do next. They decide on exploring the new world of man. Earth is the only dimension that has a gate to heaven and so is the only way possible to approach heaven. Prophecy states that God will create a new world: Earth. Chief amongst his world is man.
God gave man the gift of free will, the choices of good or evil are up to him. The rebellious angels decide to tempt man instead of attacking heaven directly. Created as the first man and woman, Adam and Eve live in blissful ignorance in the Garden of Eden. God’s only requirement is that they do not eat the fruit from the Tree of Knowledge and the Tree of Life.
The poem continues to describe Satan’s successful persuasion of Eve to taste the fruit of the Tree of Knowledge. After Eve and then Adam eat of the fruit, they are cast out of Eden and doomed to make their way with life on earth.
— Laura Fan, curator
curator
Laura Fan
contributing artists
Ahmad Fuad Othman
Ahmad Shukri Mohamed
Ahmad Zakii Anwar
Bayu Utomo Radjikin
Bibi Chew
Chong Siew Ying
Choy Chun Wei
Chuah Chong Yong
Eric Chan Chee Seng
Fariza Adline
Jalaini Abu Hassan
Malcolm Utley
Nadiah Bamadhaj
Noor Mahnun Mohamed
Nur Hanim bt Mohamed
Khairuddin
Raja Shahriman
Saiful Razman
Sharmiza Abu Hassan
Shooshie Sulaiman
Tara Sosrowardoyo
Terry Law
the clickproject
Umibaizurah Mahir
Ahmad Zakii Anwar, Breath, 2003, oil on canvas, 68 x 200 cm.
This year’s exhibition involves the concept of playing games. In different contexts, play can have positive and negative meanings and outcomes. Playing builds friendships, tests physical and mental skills and develops the ability to concentrate. The danger arises when people play at policy or relationships without considering how it affects others. Policy makers play with the environment, threatening the ecosystem; and in relationships, people play with their lovers or people around them to gratify their ego. In any case the games people play affect all of us.
Playing games is an activity that occupies our lives from childhood and beyond. In youth, playing builds friendships, tests physical and mental skills and develops concentration.
Yet, as adults, games take on a more complex nature. In every language, play as a word has both positive and negative meanings. When a person tries to cover up a hurtful comment they might say main main sahaja or jyou shr kai wan siau, both meaning I’m just joking. Romance also uses the language of games with main mata or the angry accusation that someone is just playing with you and not taking the relationship seriously.
Games on their own are neutral. They require an agreed upon set of rules, clear objectives and a willingness to suspend disbelief. We have to step out of our lives for a game to be fully played. Sometimes the game becomes confused with life or becomes so attractive that we find ways to make it a crucial part of our lives.
The danger arises when others play at policy or relationships without considering how it affects the fabric of life. Policy makers may play with the environment, imposing grandiose structure that will destroy endangered species or threaten fragile ecosystems. Rather than considering the impact of their actions, the fleeting goals of pride and greed are fed in the game of power accumulation.
In relationships, people play at love to gratify their ego or provide distraction from pressing issues at home. Romance serves as an escape from reality, the reality of ageing, emotional complexity or financial concerns.
Play can also be a very positive activity. As a means to build up the skills to make changes in life, playing with something or as someone else may help to give one the confidence to make necessary changes. Additionally, play is a crucial ingredient for creativity. Artists, designers and architects use the freeing power of play to learn what happy accidents can reveal. Without play, creativity is impossible.
— Laura Fan, curator
Anne Morrison, From ‘Hybrid series’ 1. Hive 2. Pod 3. Spore 4. Scale, Size: 71.5 x 71.5cm (each work), Medium: oil on canvas
Ilse Noor
Istana Mestika
2003
20 x 30 cm
Line drawing etching, AP (artist’s proof)
on Hahnemuhle paper, 250 gm.
Troy Ruffels: Artist in Residence Rimbun Dahan
Sampled Reality (detail)
Size: 58 x 58cm (each panel)
Medium: oil on canvas
Yusof Majid
Enough of your games
2003
oil on canvas
153 x 168 cm
turing the gardens to amplify his spiritual power.
