A Kaleidoscope of Fresh Perspectives
By Elizabeth Low
By Elizabeth Low
“We never look at just one thing; we are always looking at the relation between things and ourselves.” – John Berger, “Ways of Seeing”
The annual ‘Ways of Seeing’ exhibition at CULT Gallery places emerging Malaysian artists centre-stage and offers a larger than average window into their creative practices by presenting a body of work of each artist in a single show. Hand-picked for the diversity and strength of their creative voices, Six Ways of Seeing features Amani Azlin, Binti, Dhan Illiani Yusof, Kimberley Boudville, Syahmi Syazwin, and Yoss Yoseff
Amani Azlin gives boring a chance
Amani Azlin gives boring a chance
In conversation with Amani Azlin, she explained that her way of seeing as an artist has to do with challenging her domesticated vision. Believing that we are trained to see the world in a specific way, she invites us to step out from what we are accustomed to seeing – and she hopes to inspire her audience to see the potential in the things we often overlook. In Amani’s words: “Give boring a chance.”
In her body of work, Amani explores the potential of a seemingly mundane and utilitarian object – getah. Getah – which is Bahasa Malaysia for rubberbands – is commonly found within most Southeast Asian households – sometimes hung on hooks or kept in our kitchen drawers and other times in the most peculiar corners of our homes. They are practical but often an afterthought. This everyday object became a subject of interest for Amani when she first observed the abundance of getah at home. She found that it not only correlated to the duration of time spent at home, but also reflected her family dynamics on a personal level.
Although the artist lives with her parents, eating meals together is not a part of their routine due to their differing schedules. Thus, the growing collection of getah became an indicator for when members of the family would order out for meals. Her parents had subconsciously designated space for their collection of getah; her mother would leave hers on top of the tudung saji – known as a food cover in English – while her father would hang his on one of the door handles at home. For Amani, it became a comforting reminder of their presence within that space.
Thus, in her observation of the quiet, but relevant presence of getah at home, Amani’s body of work explores themes of play and pain in the context of getah. Through a series of photographs, this everyday item is no longer a prop or an afterthought but is the main event.
Many of us may have memories of playfully shooting our friends or siblings with rubber bands, or fashioning skipping ropes by looping them together. ‘Cara Digetah’ features four photographs of two girls holding opposite ends of a chain of getah as they continue to toss the rope up in circular motions continuously. Though neither of them is engaged in physically jumping, their arms move with the rhythm of the rope. In this context, they are connected and bonded by this movement; the chain of getah becomes a point of unity between the two. This bond and relationship with the bodies are further stressed in Amani’s ‘Kasih Digetah’ where two girls are found at opposite ends of one giant orange getah, stretching it away from one another. Despite the tension, the resilience of the getah is placed at the centre of attention. In subjecting these elements of the getah into the spotlight, Amani has created a pictorial love letter to the ordinary.
The highlights of Binti’s life are the things we overlook
Binti is an artist who is fiercely honest and unapologetically themselves. “The things you overlook, are the highlights of my life,” Binti expressed. Seeing God in everything and everyone is enough to inspire Binti as an artist. Thus, in this body of work, Binti invites us to look into our souls with honesty and ask ourselves: who are we, without the embellishments and facades?
Born and bred in Johor, it seemed natural that Binti chose to return to their hometown and immerse themselves within the space they grew up in. Allowing geography to guide and influence their work, ‘Tuju One’ looks at Binti’s life between ages one to twenty-four. However, more than just an opportunity for Binti to reflect on life, it allowed them to grow as an artist as well. Venturing away from the A5 scale drawings Binti was accustomed to, this body of work comprises twenty-four A3 size works that embody the essence of Binti’s life in 24 years. The experience challenged their abilities and vision as an artist as Binti navigated larger compositions.
‘Tuju One’ is intimate in both the memories it reflects and the materials it encompasses. Paper is Binti’s choice of surface for this body of work as the artist resonates with its fragility. Explaining that the humbleness of the material allowed them to be in its presence just about anywhere, Binti found that it allowed them to collect their thoughts and treat the paper candidly and with ease. “In comparison to other materials, paper is patient and less demanding. But most of all, it is forgiving,” shared the artist. The simplicity of the material allowed them to share with us Binti’s humble, but richly genuine world; they now welcome us warmly, to step into their world as our authentic self.
The artwork ‘One’ reflects Binti’s arrival into the world and the first year of their life. The bright orange tiger and its black stripes crawl down from the page behind Binti’s pink delivery card, proudly reflecting their Chinese zodiac sign of the tiger. Also present on the right bottom section of the artwork is the aged wristband belonging to Binti’s mother from when she was in delivery. Splatters of red surround the wristband, like red, bloody fireworks that welcome new life into this world. The artwork ‘Twelve’ features a collage of sixteen copies of Binti’s standard 6 yearbook picture. Each picture is accompanied by a leadership title, but only half of these images have been treated with artistic elaborations. For Binti, they recall that year as the period where they fully immersed themselves in school activities. From head prefect to the head of their sports team, Binti described themself as a baby dictator with all the achievements and trophies a twelve-year-old can get. While ‘One’ and ‘Twelve’ are evidently over a decade apart, they maintain the same distinct vulnerability which Binti has bravely set out to share with us.
Dhan invites the world to see from the lenses of possibility
Dhan Illiani Yusof strives to approach uncertainty from the lenses of possibility. She believes that there are many ways to approach and react to any situation and that it is a matter of perspective. Inviting the audience to step out of the comfort of their existing views to consider alternative perceptions, she tells us, “Don’t fear the unknown or react to uncertainty with hostility, instead approach it with an open mind.”
The last two years brought on a hurricane of turmoil-filled events. From the chaos of the global pandemic to the nationwide flooding which affected many, Dhan found that her state of mental health desperately needed addressing. Choosing to seek a temporary change of environment, she made a trip to Dubai to visit her sister and ventured on a creative retreat. Ironically enough, she found creative replenishment in the desert, resulting in much of her work featured in this exhibition being influenced by her time in Dubai.
This year, Dhan’s practice will largely focus on the theme of ‘Peluk Darurat’, which translates into an emergency hug. In her attempt to encompass the broadness of anxiety and how it penetrates different parts of our lives, Dhan explores the concept of the warmth and comfort behind a hug amid distress.
‘Anxsty I’, ‘Anxsty II’, and ‘Anxsty III’ feature a series of conceptual photography prints and an interactive installation piece. Appearing to be asleep in three different positions, Dhan dons a baby pink pyjama set while laying on a large duvet. She is accompanied by a white adult size bantal busuk which she embraces in the three prints. The bantal busuk represents an object of comfort in Dhan’s work; this was inspired by her artist friend, Jessica Tan, a performance artist based in Indonesia who previously held a workshop surrounding comfort objects. In the interactive installation piece, ‘Anxsty III’, Dhan combines her signature fetal position with her bantal busuk; this position juxtaposes a sense of calm amidst the chaos of the creased, messy duvet. The theme of anxiety is further emphasised in the artistic decision to arrange sugar on the outline of the installation, inviting ants to attack the surrounding of the artwork. Hung outside on the terrace, this artwork is purposefully isolated to convey how anxiety can make anyone feel alone emotionally and mentally. There is very little that is conventional about Dhan’s work. In her attempt to approach uncertainty from the lens of possibility, she has built her practice with bold and experimental works that reflect her distinctive way of seeing.
Kimberley gives life to found objects
In her sensitivity towards organic matter, Kimberley Boudville recognises the potential in found objects to tell stories. Believing them to be a channel to connect with her audience through shared experiences of loss and grief, she invites us to recognise the value of the history behind found objects; for the life they served before, and the memory they store.
The series ‘Home’ had initially stemmed from Kimberley’s experience of losing her paternal grandfather’s seashell collection after his passing; her father and grandfather used to bring home these shells during their diving escapades. Fondly recalling her visits to her grandparents’ home in Terengganu as a young girl, the seashell collection remains her most vivid memory there. Today, that collection is lost, and as the only grandchild, she grieves for the loss of the remaining ties and memories she had of her grandparents. However, this series does not only encompass the artist’s familial grief; it is also a response to recent events– the nationwide flooding in late 2021 which had devastated the homes of many.
With the relevance of both events of loss in mind, it is fitting that seashells are the chosen subject matter for this series of works. They symbolise a form of protection and shelter for many sea creatures, therefore presenting an appropriate metaphor for the loss of homes.
The selected shells in this exhibition were carefully sourced, as it was important to Kimberley that they were second-hand; having once belonged to another person or family at some point in time, they retain the essence of their histories. While the past stories of these seashells may remain untold with the exchange of hands, this sense of loss is reflected in Kimberley’s grief for her grandfather’s missing collection.
Featuring thirteen pieces of shells encased in bell jars, the numerical significance behind this series is associated with the 13th card of the major arcana in most traditional Tarot decks. Though this card is known as the death card, it does not hold an ominous meaning. Rather it suggests the end of a chapter and a start of a new one in life. Though the exterior of the shells is painted in black, a colour universally associated with grief, the interior is left untreated except for the handwritten titles to their sub-poems. In leaving its natural state to highlight the intimacy of a home, Kimberley has inherently memorialised the traces of history in these found objects.
Awin challenges the boundaries of space with surrealism
Syahmi Syazwin, who goes by Awin, is a proud young female artist. Filled with great passion and enthusiasm, she draws inspiration from her personal experiences and utilises her practice as a tool to see beyond hardships. With the firm belief that our reality can be subjective to our perspectives, she encourages the audience to recognise the potential in their surroundings.
The series of lockdowns found Awin without a studio space in the middle of her degree programme. Her small bedroom, a place of rest, turned into a place of work. Choosing to not allow the physical size of her bedroom to affect her practice, she turned to art to consider the possibilities of the space she occupies. In the series ‘Ethereal’, Awin uses surrealism to contradict the physical limitations of her bedroom in creating an alternative reality. Tapping into her imagination and aspirations she invites elements of the outside world to unify with the room, thus redefining the perspective of space and scale in her practice.
An artwork that has inspired Awin’s approach is René Magritte’s ‘Values’ (1952). Presenting a bedroom with several everyday objects blown to larger than their normal proportions, Magritte used the illusion of scale to defy common sense. With that approach in mind, Awin’s painting, ‘The Outsider’ which depicts a train chugging down railway tracks from a bedroom cabinet adopts the manipulation of scale and space to create a reality outside the one we know.
A chair wrapped in white cloth appears frequently in this body of work. Awin shares that this is a metaphor for keeping herself grounded, as to not lose herself in her daydreams. No matter how wild her imagination, she ensures a balance to keep herself present in reality. The relevance of balance is further depicted in the painting ‘Getting Inside’, where Awin’s bedroom appears to have largely transformed into a deserted forest, perhaps referring to the time when many of us longed to be outside during lockdown.
Yoss invites us to check in with ourselves
Naturally sensitive to the emotions of people around him, Yoss Yoseff’s practice draws from how current issues affect people on an emotional scale. Just like plants, we are beings that require care. Recognising the highly paced culture we live in, Yoss encourages us to check in with our mental health in his latest series ‘Jam Rawan’.
The term Jam Rawan refers to moments of melancholy; Yoss believes that everyone has specific moments in their day where they are more sensitive and aware of their emotions. This period is the best time to check in with ourselves to acknowledge any underlying emotions. Yoss identifies his jam rawan to be between 5PM and 7PM every evening. He usually takes that time to be away from work and commitments, allowing himself the space to breathe, reflect, and do things for himself. Championing against toxic positivity, Yoss hopes to foster acceptance of our emotions as the first step to addressing the root of our troubles.
This series of work was inspired by his struggles in late 2021 when his mental health took a turn due to a series of events that impacted his family and financial state. Still fresh in his memory, the experience led Yoss to prioritise his mental health by dedicating the time and space for it in his daily routine.
Featuring a series of figurative paintings and drawings, Yoss captures his sentiments through body language and fabric. His tertiary background in fashion is evident in the consistent presence of the beautifully captured textile. ‘Jam Rawan 2’ depicts a graceful figure whose head is veiled by batik fabric, the covered faces no doubt resembles emotional suffocation or suppression. With arms positioned in an exaggerated distressing pose, the torso of the figure appears to fade into nothing. The absence of limbs and fabric which seemingly fades away is a recurring theme in most of the works from this series. A metaphor for loss, Yoss indicates how we can lose parts of ourselves when we fail to acknowledge our emotional and mental state. Through his quiet but graceful figurative works, he captures the darker side of positivity when we remain in denial.
The poetics of safe spaces
The beauty of works in this exhibition lies in the knowledge that the artists have presented a piece of themselves for our observation. In remaining true to their perspectives of life, they have each created a safe space for us to view the world by stepping into their shoes.
In drawing our attention to mundane getah in our homes and the everyday hawker stalls, Amani has created space for childlike curiosity and wonder. Through a revealing and intimate series of drawings, Binti has created a space to be bold, and unapologetically themselves. In embracing the uncertainty of life, Dhan's experimental practice makes way for innovation, as well as failure. Kimberley has created a space that encourages us to approach found objects with more care to their histories and place in the world. In transforming her place of rest into somewhere possible to dream and aspire for more, Awin has created a space where barriers can be broken. Finally, through his figurative works, Yoss has created a space for self-care and reflection.
As we immerse ourselves into these thoughtfully curated spaces we may recall the dreams we once had in our room or the time we shot getah with our friends. The intuitive nature of each artist has shown us that the unexpected and overlooked can hold deeper meanings.
