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A Brief Insight from the Malaysian Modern Art

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MUSADDIQ MOHAMAD KHALIL - MALAYSIAN MODERN ART

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A Brief Insight from the Malaysian Social and Cultural Studies Course

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MUSADDIQ MOHAMAD KHALIL - MALAYSIAN SOCIAL AND CULTURAL STUDIES

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A Brief Insight from the Malaysian Modern Art

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Culture is derived from the Latin word 'Colere' which means to create, develop, and cultivate the world. The society we live in today, is the product of culture from our ancestors. Auguste Comte (1798-1857), A French philosopher who was regarded as the founder and father of sociology and the doctrine of 'Positivism' believes that changes are roots to the evolution/revolution of a society. He stated that 'Change' could be divided into two which is 'Static Change', and 'Dynamic Change'. Both changes plays a crucial role in shaping the Society we live in today.

These Changes evolves through space and time. A 'Static Change' is the permanent or biological factor, for example, if the parents of a child is divorced, and the child continues to live with his mother and the new father, this does not make his new step father his biological father, which this biological factor is called 'Static Change'. In a worse case scenario, his mother may be divorced by his new father, and she marries another guy, this makes the changing of the child's father a 'Dynamic Change' process. It looks simple when we see it on a micro perspective view, but if we observe other issues related to Societies 'Static' and 'Dynamic' changes, we could see how this changes impact the culture we live in today.

Among the factors that cultivate the changes on a Society, one of the strongest impact today is technology. We are living in the Fourth Industrial Revolution (4iR), the world that we live in yesterday, today, and tomorrow has revolutionized on the front step of our door, neglecting our consent. Before the 4iR, we have witnessed how an iPad could access the internet of libraries from the whole globe, you can even grant access and save the book on iBook's, in just one click. As hard as it gets to swallow this truth, Artificial Intelligence (Ai) has made a major leap in creating humanoid version of intelligence such as automated cars and drones. It is not hard to even imagine that from the first Industrial Revolution in 18th century, an agricultural system of man power are develop into an industrialized system of machines making mass productions that transcend the quantity power compared to traditional relying man made production.

The imaginations beyond physical reality which mankind for thousand of years has seek to conquer, how Picasso has dedicated his whole life in presenting the process of 4th Dimension reality in his Artworks, where everything moves on a deep transparent dimension, which we now call it as the 'Cloud' from the internet, where everyone can access everything from any dimension virtually in a split of a second. Not to mention, Virtual Reality (VR) has made this possible, even you can get to meet your version of Picasso in VR. It seems that when the 4iR emerges, nothing seems so limited, everything is beyond boundaries. To agree that one day technologies of Ai would replace our 'White Collar' jobs has never been the question, this type of change is coined by Auguste Comte as 'Dynamic Change' of the environment based on todays evolution of technologies.

This blast of 4iR has modernized the society we live in with blessings of facilities and adding on the basic products we need to fit in the system we live today. But does it evolves the creative capacity of mankind while at the same time increase emotional intelligence of values on humanity? has it been too dynamic for humanity to cope up.

Thank you

MUSADDIQ MOHAMAD KHALIL

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Culture is derived from the Latin word 'Colere' which means to create, develop, and cultivate the world. The society we live in today, is the product of culture from our ancestors. Auguste Comte (1798-1857), A French philosopher who was regarded as the founder and father of sociology and the doctrine of 'Positivism' believes that changes are roots to the evolution/revolution of a society.

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A Brief Insight from the Malaysian Edutourism

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MUSADDIQ MOHAMAD KHALIL - POST BIZ PITCH - EDUTOURISM

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A Brief Insight from the Malaysian Edutourism Biz Pitch Slide

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MUSADDIQ MOHAMAD KHALIL - EDUTOURISM 2018

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Biz-Pitch Presentation by Musaddiq Mohamad Khalil on the Inauguration Ceremony of Edutourism Product Package by Universiti Teknologi Mara (UiTM). Present at Ev...

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PUBLIC ART: ALOR GAJAH, MELAKA, MALAYSIA

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PUBLIC ART: ALOR GAJAH, MELAKA, MALAYSIA

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A Brief Insight from the Public Art at Alor Gajah, Melaka, Malaysia

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Art is the product from society and culture. In this Industrialize era (4iR) of technology advancement, art has played a pivotal role in giving humanity the freedom of creativity. This sense of wisdom can never be found from Artificial Intelligence (Ai).

In the most anticipated philosophical concept 'Mimesis', introduced by the prominent Greek philosopher 'Plato'. He explained that the world we live in, is the absolute beauty, and to portray what we sense towards Visual Art and Culture is the transcendence of wisdom in the form of creativity itself.

'Mimesis' has been studied and applied by western visual artist. The reality of this acceptance on what we observe and react emotionally makes it easier to understand why humans appeals more friendly to mankind rather than modern geometric robots. There is a study on the 'Anthropomorphic' of how the organic style from humans creates a 'Comfort Behavior Scale' in a sense of familiarity, which this beauty can only be generated and understand by humans rather than Ai.

"Beauty lies in the eyes of the beholder"

Plato quoted this in a sense that everyone is attracted to beauty. But it takes wisdom to differentiate eternal beauty, and artificial beauty. Eternal beauty is from the inside, and artificial beauty is around us. There is no one in this world who is more beautiful that our mother, yet as time passes by, our mother gets old, but we still sense that eternal beauty within her.

Public art has been an artificial beauty that engages the community from society and culture. Visual Art is the intrinsic eternal beauty from the immersed from the material-culture cultivated by the vibrant rich cultures and traditions through generations from the host community. Time and space has witnessed how Visual Art has been playing vital role in shaping society and culture, making this place 'Alor Gajah' beautiful throughout the times.

https://www.facebook.com/uitmcmrasmi/videos/1101636409985493/

This Street Art project above was initiated from the 'public for the public'. A corporate social responsibility (CSR) by Universiti Teknologi MARA (UiTM) with Majlis Perbandaran Alor Gajah (MPAG) in engaging the public towards eternal beauty of the Streets of Alor Gajah through Street Art Community service.

It is hoped that this journey on transcending socio-culture through visual art by enlightening the beauty on the streets of Alor Gajah does not ends here, thus other aspects of visual art should be highlighted in terms of cultural identity, heritage, and values.

Thank You

MUSADDIQ MOHAMAD KHALIL

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Public Art: Alor Gajah, Melaka, malaysia

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Art is the product from society and culture. In this Industrialize era (4iR) of technology advancement, art has played a pivotal role in giving humanity the freedom of creativity. This sense of wisdom can never be found from Artificial Intelligence (Ai). In the most anticipated philosophical concept 'Mimesis', introduced by the prominent Greek philosopher 'Plato'.

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I am Honored to be apart of the Teaching and Education Research Association (TERA) International Committee Member by EURASIA Reserach Organization.

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MUSADDIQ MOHAMAD KHALIL: EUROASIA RESEARCH INTERNATIONAL (TERA) 2019

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Honored to be apart of the Teaching and Education Research Association (TERA)

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I am Honored to be apart of the Social Science and Humanities Research Association (SSHRA) International Committee Member by EURASIA Reserach Organization.

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MUSADDIQ MOHAMAD KHALIL: EUROASIA RESEARCH INTERNATIONAL (SSHRA) 2019

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Honored to be apart of the Social Science and Humanities Research Association (SSHRA)

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A Brief Insight from the Melaka Chiang Rai Art & Culture Project Art-Talk Post Presentation

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MUSADDIQ MOHAMAD KHALIL - POST MCHAC 2019 ART TALK PRESENTATION - CHIANG RAI, THAILAND

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ART TALK - ART & DESIGN / SIMILARITIES AND DIFFERENCES - MSMK

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Despite the devastating situation it brings, the coronavirus (Covid-19) pandemic penetrates globally, as well as locally in the Malaysian art scene landscape. However the new-normal is embraced  as a count of blessings in materializing interesting artworks, significant towards its own unique moment of time.

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Celebrating Humanism: The Will to Art in the New-Normal

Despite the devastating situation it brings, the coronavirus (Covid-19) pandemic penetrates globally, as well as locally in the Malaysian art scene landscape. However the new-normal is embraced as a count of blessings in materializing interesting artworks, significant towards its own unique moment of time.

15th March 2021, marks the premiere date for the launching ceremony of G.A.S exhibition, by the department of Fine Arts, School of Art and Design, UiTM Melaka.

The most awaited exhibition, enlisted 14 local professional Malaysian artist such as Rosli Zakaria, Sharmiza Abu Hassan, Diana Ibrahim, Hisamuddin Ahmad, Shaharuddin Sabu, Saharuddin Supar, Azhari Khalip, Ahmad Zuraimi, Wan Zulkifle, Munir Kaulan, Ali Bebit, Bahrim Samuri, Shahariah Mohammed, and Salmah Ali.

In engaging towards this interesting premiere exhibition, it would be reasonable to frame an intended theme on the celebration of 'Humanism'. In portraying ability of the artists side as humankind, in responding towards the current global situation of Coronavirus (Covid-19) especially in Malaysia.

The acronym G.A.S (Gallery. Art. Shop) is particularly chosen for its main objectives which serves as an Art Gallery and Art Shop specifically for the art community in UiTM Melaka, as well as generally in engaging towards the development of local and international collaboration between artist and artisan in this new-normal art scene landscape.

The engaging concept was evident in the whole strategy of its first G.A.S exhibition, which was conducted and assessed virtually through UiTM Melaka's main online platforms. The idea of an art shop which at the same time functioned as a gallery, fortunately blurred the distinguishing line between the field of arts and business, establishing the important development of a 'sound-mind', apart of Humanism in higher education, and fairly understood today as an approach in developing holistic educational skills within campus community.

G.W.F Hegel in his writings on Phenomenology of Spirits, remarks 'beauty' as an expression of the human desire for freedom, which sets standards for what is beautiful. In addressing aesthetics as a philosopher, Hegel viewed the freedom of spirit in the history of humankind, as an unfold series of dialectical opposition which resolves as the ' Zeitgeist', or the spirit of its time. In the social history of art, German art historian Arnold Hauser in his writings The Philosophy of Art History, remarks his leading principle which the behavior of individuals is the product both of their inborn capacities and of the situation in which they find themselves.

In the history of art, great despairs contributed great hopes, thus establishing great artist, artworks, and movements we encounter today. This is evidently seen in the establishment of multiple art movements during the uncertainty period of Modern Art (1860-1960) which was fairly accepted by majority of art historians.

In the early 1900, marks the heyday developments of the Modern Art movements, where artist find themselves in between the conflicts which would lead towards devastating world wars effecting everyone globally. However, these series of war did not set back the artist of its time. Movements such as futurism, proceeded with the Futurist Technical Manifestos by Fillippo Tommaso Marinetti, charging artist such as Umberto Boccioni in the establishment of change and freedom, manifested on the rhythms and movements of how Boccioni treated his elements of line, shape, color, and space towards the movements of time and space, changing freely and dynamically. This is evidently seen in his painting ' The Streets Enters the House (1911)', and sculpture ' Unique Forms of Continuity in Space (1913)' artworks.It would be reasonable to say that he did set the standards for what is beautiful (freedom) during his time, despite the fact that he had the capacities of an artist, in a situation which he finds himself situated upon.

Ironically, today we find ourselves in between the global war against the coronavirus. Despite all the directions of policy planning, precautions, and regulations of multiple forms regarding Covid-19 charging everywhere, which would be a major set back for most in this moment of time. Nonetheless, the artists contributing towards this G.A.S Exhibitions portrayed a strong spirit of freedom in Humanism which does not merely intend to oppose the current situation aggressively, however more towards celebrating the freedom of humankind in practicing the ability to look for directions and capacity to make decisions together dynamically rather than preaching alone for answers statically.

The art historian Erwin Panofsky, in his writings The History of Art as a Humanistic Discipline, defines 'Humanism' as an attitude of belief in dignity of man, insisting on the values of rationality and freedom and acknowledging the limitations of fallibility and frailty, and resulting in the ideas of responsibility and tolerance'. This particular side of 'Dignity' in Humanism is well celebrated in the 'Categorical Imperative' in the works of Emmanuel Kant. Moreover, the spirit is evident in the artworks portrayed in the G.A.S Exhibition.

In figure 1. The artwork title is translated as 'My Body' by sculpture artist Shaharuddin Sabu charged as one of the first wall sculpture in this exhibition, with a semi-representational form of a human body, made out of iron steel and plastics. Dominantly it appears as the reminiscent of the humankind made out of fragile flesh and bones, exposed and vulnerable, the artist establishes this effect on applying the treatment of contrasting media of the hard iron steel as the inner form, and the meltable plastic as the outer shell form signifying the humankind flesh.

The ideas of 'Tabula Rasa' would perhaps portray this artwork, the idea that every child is born as a plain cloth, which eventually is colored or shaped by the establishments of culture and society. This is evident on the white plastic media dominantly wrapping the semi-representational body form of this wall sculpture, charged with different contrast and movements of colors, as if they were thrown upon the subject, defining and shaping the identity of the vulnerable piece of humankind 'My Body', especially in seeking directions and decisions upon what is within or without the area of a humankind 'consent' in this devastating pandemic situation, where we do not work the rules, instead we are defined by the rules and regulations even towards our own body.

This idea is what the philosopher Martin Heidegger addresses as, the concern of beings, or what he calls as in German 'Da-sein', in which, a situation where we are as if thrown into this world, vulnerable of our past and future in a society like today, where its hard to conform as a humankind with the consent on what is the direction and decision of moral justice, even towards our own personal body.

In figure 2. The artwork title is translated as 'I Want To Be A Champion' by sculpture artist Rosli Zakaria charged significantly among the other wall sculptures in this exhibition, with an approach fairly towards one of a wall collage by Pablo Picasso Still Life (1914). The artist explores his discovery on the freedom of direction and decision of oneself in the explorations of multiple mix media, compromising of organic and non-organic material which sparks the dynamic contrast and resolving harmony of the artwork.

The Zeitgeist or heyday spirit of one's time, is evident in the treatment of how the artist applies the multiple frames and windows arranged in the basis of a specific narrative order. This is evident in the portrayal of the artist linguistic writings, which is viewed from one perspective point as his recitation of prayers, and the artist use of iconic objects and images as signs of success within his life story, depicting photos of his early success involvements in sports on the lefts side, and his high time on the right side, with his medal as being accredited as a 'Champion'.

The whole artwork is seen as a manifestation process of his success since his young ages and towards his high time who is a successful professional sculpture artist and an art educator who is awarded with a doctoral philosophy degree in his intended art field. The narrative of the process can be seen from the left to the right side of the artwork, where in the left is his recitations of prayers on his intended success and on the right side is his achievements in the paradigm of 'I Want To Be A Champion'. Nevertheless, the artist also connects success with the reflection of him as being a Muslim, where eternal success is viewed in this world and the hereafter, this is evidently seen on the emphasis of the golden frame mirror on the right side, where his picture is superimposed in-direction towards the image of the sacred 'Kaabah' in Islam.

The artist composition of the different juxtapose of material is also seen as in accordance to the 'Cartesian' dialectical approach of the idealist and materialist of Humanism. This is evident from the idealist representation of the artist believing in himself with the two early linguistic statement on the left 'Before I was a Champion', and 'Now I am a Champion', which asserts his idealistic belief, predominantly one such of Corgito Ergo Sum (I Think Therefore, I am), by the philosopher and father of analytical geometry, Rene Descartes. The materialist representation in the artwork is seen on the actual image of the artist success in being credit 'Champion' and the actual object of his successful medals which validates his clear vision on 'I Want To Be A Champion'.

In figure 3. The artwork title is 'reconstructed By Heart Series: Value It While You Can', by sculpture artist Sharmiza Abu Hassan charged significantly among the other wall sculpture artworks in this exhibition.

The fairly Feminist approach on this artwork is evidently seen in the choices of the media object by the artist which are conventionally associated with the femininity side of women, such as velvet cloth and red rose. The artist's exploration in the interplay of contrast and emphasis of the chosen dominant colour red, found on the artist media of the red velvet, the red rose, and such round shaped outline in the colour red signals the 'alarming tone'! of the pandemic situation we find ourselves in currently, especially the moral imperative towards freedom of choices in the basis of equality.

This idea of equality can be seen in the emphasis of the concept of 'equilibrium' or balance in the nature of the chosen media object by the artist, which is evidence of the inclinometer slope level or understood as the 'water level' on the left side of the artwork, and arranged close within the main subject form of the artwork. It is reasonable to consider the elements of equality itself as fundamental as the 'Heart' of Humanism.

The freedom flow in direction and decision of one's personal choice is represented as equally important as the voluntarily circulation of the blood through the valves and towards the heart of humanity itself, despite selections of gender, race, ethnicity, class, or religion in obtaining the freedom of one's personal state of truth.

In this artwork, the manifestation concept of freedom as one's personal state of truth is as equally interesting in reference to the artwork 'I Want To Be A Champion' by artist Rosli Zakaria. Sharmiza Abu Hassan portrays her interpretation of truth in a semi-representational form of a humankind 'Heart', chosen as the main subject form in a very subtle approach, as well as the same time directly honest in the nature of the material chosen as her medias.

The articulation of the main subject form of a human's heart in this artwork, is dominated by the direct color of black. This choice on the selection of black is not coated accidentally or intentionally, but applied in the very rawness of the material itself, which is a black wire mesh grill material, and is significant towards the journey of the artist and her previous artworks in the Malaysian art scene. The nature of the material wire mess and the rose flower is in the state of 'metal', representing the qualities of strength, persistence, and transparent in the test of time. The specifically chosen media epitomize the reflection of the artist's courageous journey in seeking direct and transparent truth in herself as a women, mother, artist, and educator, especially in this uncertain pandemic situation of Covid-19 in Malaysia.

Thus the artwork is a reactions towards the important directions and decisions humankind can make, in this fight against the coronavirus situation, especially towards the balance of our own physical and emotional well-being, as entitled 'reconstructed By Heart Series: Value It While You Can'.

In figure 4. The artwork title is translated as 'Changing Orbit' by sculpture artist Saharuddin Supar charged significantly among the other wall sculptures in this exhibition, fiercely the treatment of acid lines which penetrates the metal plate addresses the fierce situation that the artist and the whole humankind experience during this devastating pandemic.

The rhythm and movement of the contour lines which is predominant in this artwork, represents domination of uncertain directions and decisions to be taken my humankind in this devastating pandemic situation in ensuring the existence of the whole species. The changing ability of the coronavirus in adapting to the spatial change is portrayed by the artist within the name of the artwork 'Changing Orbit', which is viewed as rapid, however evident in a very subtle way, to one that is beyond the naked eyes of humankind. This process is in fact the evident of vulnerabilities existing within humankind in the process of surviving this new-normal.

The rust effect on this artwork, is a result from the treatment of applying acid on the metal plate by the artist, manifesting the process of 'natural selection' in nature, or popularly understood as 'The survival of the fittest' in the society that we find ourselves living in. The rules and regulation seems to favor the exclusive minority 'ruling-class' who are labelled as playing more significant roles in society rather than the majority. This idea of a favored political, economical, or social class which is superior above others does not only brings safety and security towards the vast majority, however acts more as an acid which penetrates and destroys society from the inside.

Thus the artwork title 'Changing Orbit' depicts the freedom imperative of humankind with the ability to take directions and make precautions in this rapidly changing new-normal landscape of a fierce war againts Covid-19.

In figure 5. The artwork title is 'Versus' by painter artist Munir Kaulan charged as one significant collage, or perhaps reasonably an assemblage among the other artworks in this exhibition.

The representational painting which dominates the background of the artwork is the representation of the coronavirus in its crude and vicious appearance as seen under a microscopic view. Apart from the iconic image painted in the artwork, it is evident of multiple object materials in the form of children toys used as the media at the lower part of the artwork. The process of gluing or attaching the object materials reasonably describes the nature of a collage artwork produced by the artist.

The narrative of the intended message delivered by the artist in this 'Versus' artwork is as equally interesting in reference to the artwork 'Changing Orbit' by the artist Saharuddin Supar. The idea of the 'natural selection' in the survival of the fittest is brought back, however in a different approach where in the former artwork, the survival selection was on the superiority upon the ruling political, economical, or social class, whereas in this artwork, the survival selection is on the superiority base upon freedom of choice.

In this artwork, freedom of choice is manifested in the nature of children with the imperative towards happiness in playing, the urge to play is stronger than its opposite. The artwork portrays the freedom imperative to play from a children's mind in the lower part, and the contrasting survival imperative to stay-aware from the adolescence mind in the upper part, this sort of imperative marks the superiority of 'freedom over survival' in the eyes of a kid, who is the early building blocks towards the development of our humankind society.

The title of the artwork which is 'Versus', also encapsulates the struggle taken by children's during this devastating pandemic situation. As vulnerable as humankind is in taking directions and decisions, the children's are sacrificing one slice of their early ages in the struggle between the 'freedom and survival', which is with utmost respect hard to comprehend by adults who have already past that part of the life phase. The toys are coated with a white color coating, which can be viewed as representing the children's state of mind, on the manifestation of 'Tabula Rasa', a plain cloth to be colored and shaped accordingly.

The artwork 'Versus' is a conscious reflections upon our taken actions towards our fresh young generations in this uncertain pandemic situation.

In figure 6. The artwork title is 'The Ficus' by painter artist Hisammudin Ahmad charged significantly among the other painting artworks in this exhibition.

The treatment of the peculiar vanishing point in the central part of the artwork is dominant, which fairly represents the central part of the painting. The movement of the strokes, moving outwards from the vanishing point, is evidently seen as an organic explosion of line, shape, color, texture, and value encapsulating the viewers attention on this mix media artwork 'The Ficus'.

'Ficus' is a tropical tree, shrub, or woody vines growing in tropical and warm climates such as Malaysia. The approach used by the artist in manifesting this semi-representational form of the ficus in the artwork, signals the close attention of the artist towards his natural surroundings, especially in the tropical rainforest climate in Malaysia where trees, shrubs, and woody vines erects freely in the freedom of its natural habitat, nevertheless the artist capitalize this naturalistic process by acquiring floras natural sap as apart of this unique 'Batik' painting artwork.

Furthermore the semi-representational form of the ficus unfolds the close representation of the freedom imperative in humanity, especially in the home soil of the artist being born in Malaysia. This is evidently seen in the dynamic rhythm of the contour lines and strokes of colors applied by the artist in the artwork, growing organically freed, as if piercing and transcending beyond the outer plane of the artwork.

The plane of the artwork is seen to be divided by one of the strokes in the middle, if viewed vertically which perhaps separates the upper and lower part of the painting. As an alternative foreground and background section separated by the horizontal line at the center of the vanishing point. This is evident in the black strokes of lines crossing the dark vanishing point in the artwork plane.

It would be reasonable to view the different contrasting sections invading the spaces within the surface of the painting as a connection between the natural and supernatural, which both epitomize the wonders of humankind, nature, and the pandemic situation experience globally.

Thus, the artwork 'The Ficus', encapsulates the essence and presence of the human will towards freedom and the act of gratitude between man and his maker in this catastrophic pandemic situation.

In figure 7. The artwork title is 'Intoxicated' by painter artist Azahari Khalip charged significantly among the other painting artworks in this exhibition.

The representational form of the artwork is dominated by a figurative subject at the center of the painting plane represented by the artist. The movement of lines, colors, shape, value, and form depicted from the vanishing point area which is the head of the figurative subject, treated in such disturbing and alarming approach which remarks the artwork title 'Intoxicated'

'Intoxicated' is a sub-conscious effect on the human mind. Such response-effect is cause by a stimuli 'substance', commonly affected by alcohol or drugs, in a point where the physical and mental control is apparently diminished.

In this artwork, an evident concept on the importance of physical and emotional state of well-being is equally interesting in reference to the wall sculpture artwork 'reconstructed By Heart Series: Value It While You Can' by artist Sharmiza Abu Hassan. Nevertheless, the artist Azahari Khalip expresses his approach in a unique representational painting form, as much as the same time maintaining an iconic image of a dominant red colored flower.

The red flower in the artwork, reasonably represents the 'Hibiscus flower', which is significant to the nation of the artist in producing the artwork, which is Malaysia. The Hibiscus flower or locally understood in Malay as 'Bunga Raya' is carefully chosen by Malaysia's first prime minister Tunku Abdul Rahman Putra Al-Haj after independence, which symbolize courage, vitality, and love for the birth of our nation. This signals the sensitivity and awareness of the artist towards his surroundings in the current pandemic situation.

The red Hibiscus also denotes the rebirth of freedom in the pride of his fellow countrymen nation, especially the persistence of the Malaysian front liners in battling the coronavirus (Covid-19) pandemic.

The figurative subject in the artwork, apparently representing a health worker front liner wearing the Personal Protective Equipment (PPE). This is evident in the PPE set of the cloth, mask, and goggles applied by the figurative subject in the artwork.

The dynamic juxtaposition on the treatment of lines varying at different size, strokes and thickness applied by the artist encapsulates the uncertain 'intoxicated' situation the health worker or subject finds him/herself trapped within, this is evidently seen in the arrangements of lines and colors intentionally arranged in a linear perspective moving towards the vanishing point, which is the mind of the subject.

Thus, the artwork epitomize the unavoidable circumstance the nation is address towards, in a challenging state against this pandemic 'Intoxicated' situation.

In figure 8. The printmaking artwork entitled 'nCov19: Isolation Cube II' by artist Diana Ibrahim charged significantly among the other artworks in this exhibition.

The representational form of the subject, which fairly is a microscopic view of the coronavirus (nCov19), depicted in its crude form, dominated the first impression of this interesting printmaking artwork. The unique treatment of the collagraphy printmaking process and the sewing effect of the threads creates a coherent texture which centers at the main focal subject of the artwork.

'Isolation' is understand as a process of isolating oneself or being isolated, the term remarks significant, especially in the current pandemic coronavirus (nCov19) situation, where such process is meant as appropriate regulations and measurements in taking precaution and preventing the spread of the pandemic virus.

The whole process of isolation contributes to uncertainty and anxiety, not only towards the well-being of the human society, but also on the collapse or uncertain future well-being of the other connected institutions within the system, such as political, economical, and social development in the fight against the coronavirus (nCov19). This intertwine connection is evidently, in the emphasis treatment on multiple movements and directions portrayed by the artist, as evidently seen in the sewing lines of threads piercing the paper plane in multiple size, interval, orientation, and directions all collaborating as a system contributing towards the manifested message of the artwork.

Inside the representational microscopic coronavirus (nCov19) subject, situated at the center of the artwork, is the figure ground between the positive and negative space, representing the shape of a house. This part of the artwork is seen as intentionally treated by the artist, with an intended message to emphasis the importance of isolation during the current pandemic situation, especially in our own respective house. Precaution measures such as Isolation at home has been contributing towards positive changes globally, where the concept is worth to be materialized.

Thus, the artwork unfolds the interconnected system of human social institutions in battling the current pandemic situation, enhancing self measures as equally important such as home isolation order, epitomize in this artwork 'nCov19: Isolation Cube II'.

In figure 13. The artwork title is 'Kiting A Dream' by artist Shahariah Mohamed Roshdi charged significantly among the other artworks in this exhibition.

The representational form of the artwork is dominated by the iconic image situated in the center of the collage artwork. The interplay between the unity of the dominant iconic image and linguistic drawings evokes the spontaneous apprehension the artist find herself in, this current pandemic situation.

The iconic image in the central section of the artwork, is evidently seen as the composition resulting from the treatment of superimposed and manipulated images by the artist, all together encapsulated to form the apparent artwork entitled 'Kiting A Dream'. The overall situation in the image represents two figurative subject respectively seen as a father and child, both struggling in controlling and maneuvering the fairly huge scale kite.

The iconic image can be separated into two sections vertically consisting of the upper and lower section. The upper section of the artwork depicts the dreams or fantasy of a child which is never restricted nor boundless. This is visible in the representation of such 'surrealist' object forms, depicting a huge scale fish, wrapped in colored silk, and floating in the air, moving freely outside its natural habitat, such unconscious encounters only happens in one of a kind of the Childs wildest dreams.

Nevertheless, the lower section of the artwork depicts the conscious reality as evident in the treated image, this is apparently seen on the reasonable proportions between the size of the two figurative subjects, as compared to the mountain at the background of this interesting artwork. The artwork portrays a conflicting struggle between the boundless dreams of the child in the subconscious realm of dreams and the rationalize realm in the conscious world.

The materialized idea of this artwork lays upon the intended message from the artist, which highlights the fundamental role of parents in channeling appropriate directions towards the upcoming journey of the younger generations who are creative in nature and exposed with technological means such as smart phones in assisting the new-normal education. If the parents pulls the string too hard, the string of the kite would break easily, however if it is pulled too soft, the kite would not conform towards the respective direction it needs to fly.

Thus, the artwork 'Kiting A Dream', encompass the challenging directions and decisions to be harness by parents, especially during this uncertain pandemic situation.

The framed theme of 'Humanism' in portraying the ability of the humankind within its relatively crude and vulnerable nature in conforming towards the 'Will-to Art', or road towards the spirit in freedom, is encapsulated by the artists in this G.A.S Exhibition.

A plethora of significant artwork collections are evidently visible in this significant exhibition, which extends to all the acquired facets on the manifestation of the 'freedom' and 'expression' in Humanism, demonstrated by these respective professional Malaysian artist enlisted, such as Rosli Zakaria, Sharmiza Abu Hassan, Diana Ibrahim, Hisamuddin Ahmad, Shaharuddin Sabu, Saharuddin Supar, Azhari Khalip, Ahmad Zuraimi, Wan Zulkifle, Munir Kaulan, Ali Bebit, Bahrim Samuri, Shahariah Mohammed, and Salmah Ali.

Apparently, the natural inborn capacities of the artist to capitalize their artistic abilities in dissecting and disseminating their expression, confronting and materializing ideas, thoughts, and feelings, of the situation in which they find themselves, is to be seen, with 'equal' respect and honor apart from all the appreciation as well as gratification bestowed in the name of freedom, given towards our courageous front liners in the battle of this devastating pandemic war.

As a nutshell, it is reasonable to say, that it is certain that within great moments of uncertain devastation lays the unfolding freedom of truth celebrated in the ability of humankind to produce art and consume beauty which resolves as the ' Zeitgeist', or the spirit of Humanism respectively in its own time.

The contributions of several PACAQ (Public Art Creative Aesthetic Quality) members in this premiere G.A.S Exhibition, particularly the contributing artists, is being seen as bringing pride and honor towards the sustenance of Malaysian art scene, especially during this global pandemic situation.

15th March 2021, marks the premiere date for the launching ceremony of G.A.S, by the department of Fine Arts, School of Art and Design, UiTM Melaka. The number of the date '15' chosen did not intend any specific rationale, however it would be rational to say that the most waited exhibition, listed 15 local professional Malaysian artist such as Rosli Zakaria, Sharmiza Abu Hassan, Diana Ibrahim, Hisamuddin Ahmad, Shaharuddin Sabu, Saharuddin Supar, Azhari Khalip, Ahmad Zuraimi, Wan Zulkifle, Munir Kaulan, Ali Bebit, Bahrim Samuri, Shahariah Mohammed, and Salmah Ali. There were no particular theme connected to the premiere exhibition, nevertheless it would be reasonable, or perhaps the intended theme were on 'Humanism'. In portraying ability of the artists side as humankind, in responding towards the current global situation of Coronavirus (Covid-19) especially in Malaysia. The acronym G.A.S (Gallery. Art. Shop) is particularly chosen for its main objectives which serv

In walking the path towards the provenance of Public Art, One has to meet the paradoxical discourses which intersects between the terms of 'Art', 'Public', and 'Public Art'. Technically, 'Art' is a form of expression or application of human consciousness from the imagination towards reality. A subject strip out of its natural context into an artistic object, under the name of a/the 'form'. Furthermore, the provenance of Form can be traced back since the Classical Greek, upon the Theory of Form by Plato, and his concepts of 'Mimesis ' (imitation/representation). In addition to 'Art', the term 'Public' has an extensive dialectic discourse regarding the interplay between the knowledge of Human Civilisation, Society, and Culture. To stand on the Archimedean Point, In acquiring the provenance of 'Public Art' from the term 'Public', I will use the approach, from the study field area of Visual Culture. It is a

The zenith of both Art genre is within the nexus of the Postmodern Zeitgeist . In analysing the provenance formal-nature of 'Street Art' and 'Public Art', the approach in the study of Visual Culture is deemed as fundamental as its high point in the present of Society and Culture. The dynamic interplay between Artist/Artwork/Authority/Audience seems fascinating by entangled concepts of 'Power' and 'Conflict' of Philosophical Interest by Postmodernism. Hegel in 'Elements of the Philosophy of Right (1820)' , remarks in the Preface that, "Philosophy" (Concept) is "its own time" comprehended in thought. Moreover, suggesting that a concept (Phenomena/Process) attaining existence in any society is conditioned by its historical or cultural presences in reality. At the same time, emergence of Street and Public Art, is in the locus of attention at the conflict of 'Power' between Artist/Artwork/Authority/Audience in the refut

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Celebrating Humanism: The Will to Art in the New-Normal

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Celebrating Humanism: The Will to Art in the New-Normal Despite the devastating situation it brings, the coronavirus (Covid-19) pandemic penetrates globally, as well as locally in the Malaysian art scene landscape. However the new-normal is embraced as a count of blessings in materializing interesting artworks, significant towards its own unique moment of time.

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“Kembara Seni Dan Budaya” (Journey on Arts and Culture) was initiated by Institut Pendidikan Guru (IPG) Kampus Tun Hussein Onn Batu Pahat with UITM Melaka Art Gallery.

Represented at event, Gallery Manager: Musaddiq Mohamad Khalil, KPP: Ts Dr Nadzri Hj Mohd Sharif, Director of IPGKTHO: Dr Masitah Muhammad Yusof, Head Department and Deputy STEMS IPGKTHO: Ts Hj Ismail and Dr Mazlan as well as both institutions staffs and students.

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MUSADDIQ MOHAMAD KHALIL - GALLERY UITM MELAKA - KEMBARA SENI DAN BUDAYA 2022