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Malaysian Thailand Art Culture Program 2018 is a platform to bridge the 'Gap' of Cultural differences and embrace a stronger connection between both Nation and University. The Head of Program is Dr Sharmiza Abu Hassan, who initiated the MOU/MOA between Universiti Teknologi MARA (UiTM), Malaysia and Chiang Rai Rajabhat University (CRRU), Thailand. Thank you to Dr Azahar Harun as the Faculty Head of Centre Studies for trusting me with this opportunity.

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MUSADDIQ MOHAMAD KHALIL - MTAC 2018 - ART TALK

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'VCS DAN ANDA 2018' is a program focusing on students taking the Liberal Studies Course which is coded as 'VCS', This initiative was brought by the Department of Liberal Studies Supervisor, Shaliza Dasuki, in creating a transparent Educational Platform between Lecturers and Students of the faculty. Thank you for giving me your trust in leading this project for the better

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MUSADDIQ MOHAMAD KHALIL - VCS DAN ANDA 2018

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An Inspirational Series from Pulau Ketam

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MUSADDIQ MOHAMAD KHALIL: PULAU KETAM SERIES

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An Inspirational Series from Mallacca

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MUSADDIQ MOHAMAD KHALIL: MALLACCA SERIES

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An Inspirational Series from Kampung (Hometown)

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An Inspirational Series from Bangkok

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The Impact Between Place and UNESCO World Heritage Site in a Sociocultural Context: A' Famosa, Malacca.

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MUSADDIQ MOHAMAD KHALIL: ISI JOURNAL 2018

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The Impact Between Place and UNESCO World Heritage Site in a Sociocultural Context: A' Famosa, Malacca. https://www.ingentaconnect.com/co...

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Universiti Teknologi MARA Melaka (UiTM) Inaugurated their first Edutourism package consisting of five (5) Key-Products such as Batik Soft Toys, Batik Canting,
Souvenir Kit, Wooden Toys, and Barista. The program agenda was to link-between Higher Institution from the Upper-Level and Community Locally and Globally from every Level of the Society. Present at event, Ministry of Tourism, Arts, Culture Representative Melaka, Tourism Agencies, Stake Holders, Respected Rectors from UiTM around the country and International Guest Abroad. Thank you to Associate Professor Datuk Sabariah Mahat, Rector of UiTM Melaka,  Associate Professor Dr Azahar Harun as the Faculty Head of Centre Studies for trusting me with this opportunity.

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MUSADDIQ MOHAMAD KHALIL - EDUTOURISM 2018

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Melaka Chiang Rai  Art and Culture (MCHAC) MOU/MOA Ceremony between Universiti Teknologi MARA (UiTM) and Chiang Rai Rajabhat University (CRRU), Chiang Rai, Thailand. Present on Ceremony, Rector of UiTM Melaka, Malaysia, and President of CRRU, Thailand. Representative Art Talk Panel by Musaddiq Mohamad Khalil. The Head of Program is Dr Sharmiza Abu Hassan, who initiated the MOU/MOA between Universiti Teknologi MARA (UiTM), Malaysia and Chiang Rai Rajabhat University (CRRU), Thailand. Thank you to Associate Professor Dr Azahar Harun as the Faculty Head of Centre Studies for trusting me with this opportunity.

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MUSADDIQ MOHAMAD KHALIL - MCHAC 2019 - ART TALK

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An Inspirational Series from Chiang Rai

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MUSADDIQ MOHAMAD KHALIL: CHIANG RAI SERIES

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CHAI Exhibition was inaugurated by the Deputy Dean of Academic Affairs, School of Art & Design, Universiti Teknologi MARA (UiTM), at the Art & Design Gallery, UiTM Melaka. A retrospective journey from the presented MCHAC 2019 delegates, showcasing 2D & 3D artworks from student's, academician's, and practitioners. Represented moderator Musaddiq Mohamad Khalil.

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MUSADDIQ MOHAMAD KHALIL  - CHAI EXHIBITION 2019

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A program organized by the Department of Liberal Studies, School of Art and Design UiTM. Musaddiq Mohamad Khalil as Head of Project, and the representative speaker for Introduction to Social and Cultural Studies (VCS128)

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MUSADDIQ MOHAMAD KHALIL- VCS CORE -SOCIAL AND CULTURAL STUDIES

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An Inspirational Series from Kampung Lamir Ganchong

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KAMPUNG LAMIR GANCHONG (TEXTURE SERIES)
Situated near the Pahang river, the subject (house) has witness plethora of memories fabricated by generation for Mr. Nordin my father-in-law.
Since his early childhood days of at least 70 years back then, where means of transportation were channeled along the beautiful exoteric river bank using small rafts and boats. School was just apart of the shared unforgettable moments.
The struggle were real during the peak monsoon seasons for a tropical rainforest climate country, water levels would rise overnight, and soaked half the subject (house). It has been apart of the annual norms for the villagers, the friendly people lived simple life, yet more content than any other. Rubber plantations were vital in making ends meet, providing sustenance and security to keep on striving.
His (Mr. Nordin) father, was one of the early rubber tappers. Raising all 10 children in half the size of the subject (house), life was not made easy, but answered with hard work and prayers.
This Artwork Series is an exploration on the aesthetics of momento memories left through the beauty of texturized forms by the subject (house) and what is still left behind to cherish.
"Hard Work Has Never Failed Any Man"

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MUSADDIQ MOHAMAD KHALIL: KAMPUNG LAMIR GANCHONG (TEXTURE SERIES)

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KAMPUNG LAMIR GANCHONG (TEXTURE SERIES) Situated near the Pahang river, the subject (house) has witness plethora of memories fabricated by generation for Mr. Nordin my father-in-law. Since his early childhood days of at least 70 years back then, where means of transportation were channeled along the beautiful exoteric river bank using small rafts and boats.

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An Inspirational Series from Jejak Merdeka (Kuala Terengganu)

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JEJAK MERDEKA SERIES - KUALA TERENGGANU 29/8/2019
Resilience is nurtured through all the good and bad moments we have overcome together. This Multicultural pride we stand today does not happen overnight, rolling down in front of our door steps. The 62 years of nation independence we share as Malaysian was established by our great forefathers. They were the unsung heroes scattered around the region as rubber tappers in the deep plantations, tin miners working in remote quarries, and the local farmers bringing agriculture towards the next level in shaping this MALAYSIA we live upon today. This beauty manifested and encapsulated by the unity of race, religion, and region, will always represent Malaysia as one unique nation governed by Islamic Constitution harmoniously. This journey to Terengganu rejuvenates my experience in exploring one of the starting points of our early great Islamic civilization.
'THIS PRIDE STAYS WIDE TOGETHER'

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MUSADDIQ MOHAMAD KHALIL: JEJAK MERDEKA SERIES (KUALA TERENGGANU)

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JEJAK MERDEKA SERIES - KUALA TERENGGANU 29/8/2019 Resilience is nurtured through all the good and bad moments we have overcome together. This Multicultural pride we stand today does not happen overnight, rolling down in front of our door steps. The 62 years of nation independence we share as Malaysian was established by our great forefathers.

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MUSADDIQ MOHAMAD KHALIL : BERKAT SHOWCASE EDITOR 2020

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CORRELATION IN QUANTITATIVE RESEARCH APPROACH

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CORRELATION IN QUANTITATIVE RESEARCH APPROACH

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MUSADDIQ MOHAMAD KHALIL : ART & DESIGN RESEARCH TALK

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PUBLIC ART & CITY IMAGE 2020 SEMINAR TOWARDS SUSTAINABLE DEVELOPMENT

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PUBLIC ART & CITY IMAGE 2020 SEMINAR TOWARDS SUSTAINABLE DEVELOPMENT

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The Research Interest Group (RIG), Public Art and Creative Aesthetic Quality (PACAQ) introduced a International Online Webinar between the Malaysian Municipal Council specifically (MPAG) and other Authority Bodies, International Public Art artist from (CRRU) Thailand, to spark out a best practice model, addressing a common ground between Authority, Audience, and Artist towards a sustainable development community (SDG Goals). Thank you for having me as the guest moderator assisting our prolific panel speakers, Associate Professor Dr Azahar Harun (Head of PACAQ), and Dr Sharmiza Abu Hassan (PACAQ Artist/Practitioner).

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MUSADDIQ MOHAMAD KHALIL: MODERATOR ON THE INTERNATIONAL WEBINAR FOR PUBLIC ART (PACAQ)

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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.

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PACAQ: G.A.S Opening Exhibition

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 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 todays 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 happening in the 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 behaviour 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, colour, 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, rules 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 rather than preaching for answers.

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 coloured 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 colours, 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 favour the exclusive minority 'ruling-class' who are labelled as playing more significant roles in society rather than the majority. This idea of a favoured 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 fierces 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 colour coating, which can be viewed as representing the children's state of mind, on the manifestation of 'Tabula Rasa', a plain cloth to be coloured and shaped accordingly.

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

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.

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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PACAQ: G.A.S Opening Exhibition 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.

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The given theme 'Isolation Mind', celebrated a new experiences for these young artist-to-be, after encountering such challenging practical training experience, during the current global pandemic (Covid-19) situation where they find themselves, confronting the hardship in trials and tribulation, physically as well as mentally.

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20th April 2021, marks the date for the second exhibition taking place at G.A.S (Gallery. Art. Shop), by the department of Fine Arts, School of Art and Design, UiTM Melaka.

Inaugurated by PACAQ (Public Art Creative Aesthetic Quality) Research Initiative Group leader, Associate Professor Dr Azahar Harun, the current exhibition was devoted to young talented UiTM artist-to-be, from the program of Fine Arts, School of Art and Design, such as Hanif, Fariz, Nabila, Fatin, and Liyana.

The five talented young artist, were practical students, undergoing their apprenticeship upon three professional Malaysian Sculpture Artist, such as Dr Rosli Zakaria, Dr Sharmiza Abu Hassan, and Mohd. Saharuddin Supar, who happened to be art educators as well as active PACAQ members from UiTM Melaka.

The given theme 'Isolation Mind', celebrated a new experiences for these young artist-to-be, after encountering such challenging practical training experience, during the current global pandemic (Covid-19) situation where they find themselves, confronting the hardship in trials and tribulation, physically as well as mentally.

However, great ideas are garnished through the confrontation of such inconsistent, uncertain, and unknown situation where such art makers confront themselves. It is upon this clarity of reason, why Ideas and Art, deserves a particular place in the achievements and developments of such society we find ourselves today.

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.

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, upon celebrating freedom in art, as its own spirit in time.

The foundational ideas, were developed by the young apprentices, during their practical training, in the studio or workshop, of the given professional artists, respectively. The manifestation process in engaging the compound of ideas within subject, content, and form, can be viewed in figure 1, figure 2, and figure 3.

These process does not acts as formal recipes, but more towards a principle guideline, where every idea, subject, content, and form has its own dignity and place in the work of an artist.

In accordance to the four (4) stage model of creativity process by Graham Wallas, the process of idea development, from preparation, incubation, illumination, has finally came into its final stage of verification, or reasonably understood as the final manifestation of an artwork.

The professional art mentor or trainer, would enhance these passionate young artist-to-be, to experiment and experience with the three (3) factors such as material, techniques, and function, in not only engaging towards a final form, but emphasizing the connection and propagation of the 'Soul', which continuously connects the art-maker and art-viewer.

Art is a human process, in producing and consuming ideas, feelings, and emotions, which connects human souls towards a more transcendental cause, not only physiologically, however as well as, mentally or psychologically.

Such given ideas on art, as not only instrumental in value, but also extra-utile, can be found in the writings of our late national laureate, Datuk Syed Ahmad Jamal's manifestation, emphasizing the concept of 'Form and Soul'.

Reasonably, such process is connected towards what the German philosopher Emmanuel Kant, remarked as 'purposive without purpose', as one of the criteria's in art criticism, found within his significant writings Critique of Judgment, whereby fairly understood as 'Final with no End'.

A finalized masterpieces, manifested and materialized, which transmit ideas, feelings, and emotions between the art-maker and art-viewer.

Thus, art is a Hylomorphic compound consisting of, the finite physical form of an artwork which is limited to our sense, and the part of an artwork which is beyond the limitation of the senses, connecting infinitely to our soul, engaging and propagating unconditionally or unconfined by factors such as time, space, and cause.

This idea would be best described as the 'essence and presence' of art itself.

Fortunately, these young talented artist-to-be, had an experience of a lifetime in comprehending and apprehending such valuable knowledge from experienced and established, professional artist, as their mentor throughout the whole practical training process.

The challenging pandemic situation remade and remark these young trainees into becoming more independent, whereby in individualizing their journey as young artist-to-be in such challenging art landscape, especially in the Malaysian art scene.

Nevertheless, these young talented artist-to-be did well, in executing such interesting artworks, to be developed upon their personalized journey towards the art industry. The artworks can be viewed in Figure 4, Figure 5, Figure 6, Figure 7, Figure 8, indicating the names of their respective makers.

Title: Human Component (2021)

Artist: Nur Fatin Syafiqah

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 'Isolation Mind' exhibition is significant towards the achievement and development of young artist-to-be, especially practical training students in engaging towards direct exposure and experience.

Such experience in exhibiting artworks, with other members of the art world, perhaps would definitely create self-development, self-exposure, and self-identity of a given young talented artist-to-be.

The contributions of several PACAQ (Public Art Creative Aesthetic Quality) members as trainers in this premiere 'Isolation Mind' Exhibition, particularly the contributing artists such as Dr Rosli Zakaria, Dr Sharmiza Abu Hassan, and Mohd. Saharuddin Supar, is being seen as bringing pride and honor towards the sustenance of Malaysian art scene, especially during this global pandemic situation.

Department of Liberal Studies

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

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20th April 2021, marks the date for the second exhibition taking place at G.A.S (Gallery. Art. Shop), by the department of Fine Arts, School of Art and Design, UiTM Melaka.

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BUDI ART CATALOGUE 2021 request at: semangatbudi2021@gmail.com

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Artwork: Perjalanan (2019)

Artist: Shaharin Sulaiman

Perjalanan is the retrospective story of Shaharin Sulaiman's life journey of being and becoming.

Perjalanan translates as a journey, between man and his creator. The hylomorphic identical relationship between man and the universe, addressed by the benevolence as well as blessings of our creator. Everyday we wake up as if our actions were predetermined by our own free will, however such moral obligation upon doing justice towards one's free-spirited soul, eventually resolves as a confrontation between the predestined and destined fate in life bestowed by the creator. Hence, the exploration of such conflict lays as the fundamental element within the manifested artworks of Perjalanan. It celebrates the reciprocal connection between man and his creator, encapsulated within the harmonious cosmos of our universe .

The impact of nature towards the artist's artworks has been essentially phenomenal, which is seen as one of a count of blessings from the creator (Allah). Shaharin Sulaiman, is committed within producing 2-Dimensional as well as 3-Dimensional artworks, metamorphosed by his living principle of 'Be Grateful'. The artist's collection of 'Be Grateful' is now reserved as apart of UiTM Melaka's permanent art collection.

Shaharin Sulaiman beliefs in by giving value to others, the world would definitely become, one better than before. The artist utilizes his direction as an art educator, upon propagating fundamental art knowledge to be shared, mostly by academic communities, as well as dealers and collectors beyond academic. Devoting his master expertise in woodworking towards the development of creative art communities, especially among developing artist and entrepreneurs.

Perjalanan 2019 is a whole story about Shaharin Sulaiman's devotion, direction, and decision, revolving around his 20 years experience in the art and education industry

semangatbudi2021@gmail.com

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PERJALANAN: SHAHARIN SULAIMAN 2019 ART CATALOGUE

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Artwork: Perjalanan (2019) Artist: Shaharin Sulaiman Perjalanan is the retrospective story of Shaharin Sulaiman's life journey of being and becoming. Perjalanan translates as a journey, between man and his creator. The hylomorphic identical relationship between man and the universe, addressed by the benevolence as well as blessings of our creator.

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GUEST WRITER: "50 / 50" (2022) EXHIBITION ART SEGARIS

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GUEST WRITER: "50 / 50" (2022) EXHIBITION ART SEGARIS

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Thank you to the Department of Fine Arts, College of Creative Arts (CCA), Shah Alam, Segaris Art Center, and UiTM Holdings Sdn Bhd, as well as the other sponsors & collaborators.

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MUSADDIQ MOHAMAD KHALIL: “50 / 50” GUEST WRITER AT SEGARIS

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Thank you to the Department of Fine Arts, College of Creative Arts (CCA), Shah Alam, Segaris Art Center, and UiTM Sdn Bhd, as well as the ot...