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Web banner for SC Shekar's 'Sacred Currents' solo exhibition
The Kinabatangan River, Sabah © 2015 SC ShekarThe Kinabatangan River, Sabah (2015)
Central Forest SpineThe Central Forest Spine, Pahang (2016)
Sacred Currents - Pulau Tuba, LangkawiPulau Tuba, Langkawi (2016)
Sacred Currents - Perlis State ParkPerlis State Park (2018)
Sacred Currents - Straits of JohorStraits of Johor (2017)
Sacred Currents - Temurun WaterfallsTemurun Waterfalls, Langkawi (2021)
Sacred Currents - The Secret Sanctuary LangkawiThe Secret Sanctuary, Langkawi (2022)
Sacred Currents - The Perfect MangroveThe Perfect Mangrove, Langkawi (2016)

Artemis Art is pleased to be the collaboration partner of HARTA Space in presenting Sacred Currents, a solo photography exhibition by renowned Malaysian documentary photographer SC Shekar. More than simply a photography exhibition, Sacred Currents is a pictorial homage to Malaysia’s many riverine ecologies. While it is acknowledged that our rivers are important resources, they are also parts of Malaysia that many take for granted. Not only are our rivers important sources of sustenance, they are also home to a rich array of flora, fauna, and communities.

The main exhibition features some thirty stunning black & white landscape photographs, many of which are aerial views captured during Shekar’s many trips around the country. In addition, Sacred Currents also features several poignant images of the indigenous communities for whom our rivers play a pivotal role in their daily lives.

The Sacred Currents exhibition also serves as a prelude to the publication of Sekhar’s new book of the same name, which is expected to be r by the end of 2024. 

The exhibition began with a preview day on 18 May 2023 and continues until 2 June, 2024 at HARTA Space in the Ampang Point area. All the exhibited photography works are for purchase, each available in editions of 10.

For artwork enquiries, contact Artemis Art at in**@ar***************.com, or via WhatsApp at +60 12-373 2188 (the number may also be used to reach us via WeChat, Line, or Viber). Alternatively, you may use the Facebook Messenger chat function displayed on this screen.

Contact us for Enquiries

微信 / ID: UC-ArtemisArtKL

WeChat QR Code - UC (edit)

Preview & Official Opening

The Sacred Currents exhibition began with a preview day on 18 May 2024, and was officially opened on Monday, 20 May 2024. Click on the left/right arrows to navigate through the collection of images from the exhibition preview and opening. For more coverage shots, visit our Facebook and Instagram pages, plus HARTA Space’s feature page for the exhibition.

Welcome to Sacred Currents

Image 1 of 15

The exhibition poster greeting guests as they arrive at the HARTA Space elevator on the ground floor

Why Sacred Currents

When the entire world was besieged by the COVID-19 pandemic in 2020 and Kuala Lumpur was under lockdown, I, like many Malaysians, witnessed something extraordinary.

Peering out of my window, I beheld clear, blue skies and a river flowing past my home that was suddenly teeming with life. Fish darting in its crystal-clear waters, unfamiliar birds gracing its banks, and wildlife thriving in the neighbourhood. It was a revelation. The absence of human activity seemed to breathe life back into the environment, revealing the profound impact our actions have on nature.

The virus, in its own way, conveyed a message – a message of hope amidst despair. It showed us that reversing decades of ecological damage is possible if we prioritise environmental stewardship. Inspired by this revelation, I embarked on a personal journey to honour Malaysia’s lifegiving rivers through the project “Sacred Currents – An Homage to Malaysia’s Living, Life-Giving Rivers.

My motivation stemmed from witnessing firsthand the transformative power of nature when left undisturbed. It became clear that protecting our water sources is not just a responsibility but a sacred duty. I couldn’t ignore the plight of the Orang Asli communities, deprived of clean drinking water due to human greed and negligence. Their struggle highlighted the interconnectedness between our actions and the well-being of marginalised communities and ecosystems.

The River of Life project, spearheaded by Khazanah’s Think City, served as an inspiration of sorts. Witnessing the transformation of the confluence of the Klang and Gombak rivers in the heart of Kuala Lumpur was a testament to what concerted efforts can achieve. However, it left me yearning for more—a nationwide extension of such initiatives beyond mere picturesque Instagram-worthy spots.

Imagine if every village and every villager upstream took personal responsibility for cleaning up their local river, and were incentivised to do so. If every school incorporated environmental studies into its curriculum, teaching children not only about the importance of conservation but also instilling in them a deep respect for nature and a commitment to giving back what we take.

Our treatment of rivers reflects our relationship with nature as a whole. We build structures that turn away from rivers, disregarding their significance, and allow industrial pollutants to contaminate their sacred currents. Yet, every river holds stories of generations that relied on it for sustenance and biodiversity that flourished along its banks.

Today, Malaysia stands at a critical crossroads. Deforestation threatens to strip our rivers of their protective buffers, leading to soil erosion and water pollution. Industries like rare earth mining promise progress but come at the cost of poisoning our water sources. Indigenous communities, guardians of ancient wisdom, face extinction as their homes, cultural practices and knowledge vanish with the forests.

The consequences extend beyond human communities. Endangered wildlife, such as the majestic Malayan Tiger, faces extinction as their habitats are encroached upon. We are disrupting the delicate balance of nature, endangering our own existence in the process. The responsibility to act lies not solely with the government but with each of us.

Our rivers reflect our collective consciousness. We must demand change, advocate for stringent measures against deforestation and pollution, and support sustainable practices that prioritise harmony with nature. It’s a call to action, a plea for a paradigm shift towards values that honour and preserve the sanctity of our natural world.

SC Shekar Signature

SC Shekar
May 2024

SC Shekar Profile Pix
I think photography always has to have a purpose. It must mean something. At some point, it must help with a vision. You have to tell a story with it, it must weave a narrative, evoke emotion, and propel a vision forward. Without this essence, a photograph risks becoming a hollow shell, devoid of substance. I believe that when a photograph manages to touch another soul, to evoke a response or provoke thought, it fulfils its true potential.

SC Shekar

Educated in Malaysia and Australia, renowned award-winning photojournalist with over 35 years experience, SC Shekar began his career at a major Malaysian newspaper in the early 80s, and then went abroad to work for several international news agencies. Shekar’s passion for documenting rich and diverse cultures has taken him throughout Asia and around the world – and always back home to Malaysia, the heart of it all.

For the last 5 years, Shekar has been working very closely with a few indigenous communities and providing them with high-protein milk formula for infants & toddlers who are severely malnourished due to lack of proper nutrition and medical aid. The funds from the sales of his exhibition prints and publications helps fund this endeavour.

Shekar’s body of work includes over 32 books, amongst them: “Our Land Within – Passages through Southeast Asian Communities”, “Raising Land – The Way of Land and Life in Sarawak”, “Daughters of Asia”, “Thailand – 9 Days in the Kingdom” and “7 Days in Myanmar”. His most recent major project is “Grit & Grace: The Grandeur of Monochrome Malaysia“, a stunning collection of photos of Malaysia’s topography and communities, making extensive use of helicopters in his aerial photography. The images were published in a large-format handmade book of the same name. Many of Shekar’s works are in the collection of museums, corporations and private collectors.

Shekar describes his work as a combination of documentary photography and ethnographic portraiture which is rooted in the fields of anthropology and sociology. It is a study of mankind, ways of life, customs, beliefs and behaviours. Shekar’s publishing house, Beagle Books, specialises in large format photo-documentary projects.

Shekar is currently working on a book project documenting the rivers of Malaysia titled “Sacred Currents – An Homage to Malaysia’s Living, Life-giving Rivers“.

Catalog of Exhibited Works

 

Browse the catalog below or download via this link
(if catalog does not load, click Full Screen View or Page Thumbnail button)

Coming Soon!

Artemis Art returned to Hotel Art Fair Bangkok, this year held at the uber-hip The Standard Mahanakhon. The art fair took place from 3 to 6 November 2022, and we exhibited in room 808. This was Artemis Art’s second appearance in this art fair, which we first participated in 2019, the first time we had shown in Bangkok, Thailand.

Featured this time around were recent works by Chang Chiung-Fang, Cheong See Min, Dedy Sufriadi, Erzane Nova, Syahbandi Samat, and Taufik Ermas. The diverse styles of these artists come together in a visually fun themed display, matching the the party vibe this fair is known for.

Contact us about any works that are still available post-art fair, or for any other additional information – direct any enquiries to us via email us at in**@ar***************.com.

Contact us for Enquiries

微信 / ID: UC-ArtemisArtKL

WeChat QR Code - UC (edit)

Chang Chiung-Fang

b. 1984 in Taipei, Taiwan

Combining strong expressive tendencies and bold strokes in her works, Taipei-born Chang Chiung Fang’s embodies free-spirited expressions of life as it is experienced and observed. Much of what she expresses are autobiographical, basing her art on her own experiences, through the lenses of continuous self-discovery and understanding, enabling her to better express ideas and stories she wishes to convey.

For this art fair, we have also included the artist’s sculptures as part of our presentation, an added dimension to the paintings that we have previously exhibited by the artist. 
(artist profile available upon request)

Cheong See Min

b. 1994 in Johor, Malaysia

See Min is a young Malaysian artist who describes herself as an obsessive “street observer” as well as a collector of stories, all of which she then translates into her fabric-based artworks. The two works by her we are exhibiting have been executed using the Supplementary Weft technique.

This is See Min’s debut art fair appearance with Artemis Art, allowing us to present her intriguing fabric art to a new audience. 
(artist profile available upon request)

Dedy Sufriadi

b. 1976 in Palembang, Indonesia

Contemporary abstract artist Dedy Sufriadi has a wide repertoire of work and styles, encompassing the use of many different elements. The many disparate visual styles that can be found across his vast body of work can be tied together by one common trait – his mastery of color and composition. Dedy is perhaps best known for his work related to text, an element of modern life that humans are subject to at virtually every waking moment, whether realized or not.

2022 has thus far been an important year for Dedy. Earlier this year, he was featured as part of Artemis Art’s participation in Art Solo 2022, which took place at the EXPO Dome, Taipei Expo Park, in Taipei, Taiwan, from 15 to 17 April. This marks Dedy’s major art fair debut in Taiwan. In addition, Dedy made his exhibition debut in Europe when the European Cultural Centre Italy (ECC Italy) launched their Venice Biennale satellite event, Personal Structures: Reflection, in parallel with the main Biennale, from 23 April to 27 November 2022.  More recently, Dedy was also one of the participating artists in our participation in Asia NOW – Paris Asian Art Fair 2022 in October, just prior to this fair.
(click here for full artit profile)

Erzane Nova

b. 1983 in Sumatra, Indonesia

Making both his exhibition and art fair debut with Artemis Art is Yogyakarta-based Erzane Nova, whose Pop Art influenced works have been in our radar scope for some time now. Erzane hails from South Sumatra, and like the many artists who studied at the Indonesian Institute of the Arts, chose to remain in the city post-graduation.

Using visual characters he created, Erzane expresses the many aspects of global popular culture that have fast become integrated into everyday life within his and later generations. This is a phenomenon is not unique to Indonesia but can be seen the world over.
(artist profile available upon request)

Syahbandi Samat

b. 1992 in Malaysia

His use of the ordinary ballpoint pen has made self-taught Malaysian artist Syahbandi Samat one of the more unique Malaysian artists currently practicing, and whose works are almost always instantly recognizable.

Syahbandi’s works currently delve deeper into his own psyche, projecting his inner thoughts, experiences, and aspirations. Successfully breaking away from the need to “please” with his artistic creations, Syahbandi addresses issues that are important to him, such as corruption, the environment, and of course, introspective works dealing with his own life experiences.
(click here for full artist profile)

Taufik Ermas

b. 1984 in Indonesia

The dialectics of space and delving into what lies behind human psychological scarring are among the ideas central to the current body of work by Indonesian artist Taufik Ermas. He survived a near-tragedy during the major 2006 Yogyakarta earthquake that caused his home to collapse, burying him alive for a short period before being rescued.

Canvas augmentation is a central feature to his current body of work, either through physical canvas frame modifications to create negative space within his visual narratives, or through his layer/contour technique, where Taufik creates physical ridges (or its inverse, niches) on the canvas surface without tearing through or cutting the canvas. In addition to his canvas-based works, Taufik will also feature his limited edition Dora art toy, and a vinyl version of his well-known Cut-Out series of works.
(click here for full artist profile)

Coming Soon

LET THERE BE COLOUR! 

Artemis Art is pleased to announce our participation in the upcoming Art For All – Art Gala art fair, taking place on Level 3A of GMBB KL from 8 to 10 April, 2022, with a Preview Day taking place from 12 Noon to 9pm on Thursday, 7 April, 2022. You will find us at Booth B6, where we present what we hope will be a fun, eclectic collection of artworks by the 18 participating artists we will be showing.

Comprising a line-up of youthful artists from around the region, included in Artemis Art’s selection for the fair are:

Adeline Buenaventura (PH/TH)
Ajim Juxta (MY)
Angelo Magno (PH)
Bibichun (MY)
Carl Modelo (PH)
Chang Chiung Fang (TW)
Dedy Sufriadi (ID)
Jaime Pacena II (PH)
Kimberley Boudville (MY)
Leik Lim (MY)
Low Chee Peng (MY)
Muhammad Amirul Azman (SG)
Oky Antonius (ID)
Rangga A Putra (ID)
Ronald Caringal (PH)
Silas Oo (MY)
Syahbandi Samat (MY)
Taufik Ermas (ID)

Contact us for Enquiries

微信 / ID: UC-ArtemisArtKL

WeChat QR Code - UC (edit)

While Art For All is smaller in size than the full convention center-sized Art Expo Malaysia, this art fair is an important one for Artemis Art for a few reasons. For starters, it’s the first domestic and in-person art fair we’re a part of in the better part of the last two years. Also, a few of the artists featured are exhibiting with us for the first time, plus for a few of them, their art fair debut. 

For additional information about our participation or enquiries about the artworks, contact us at in**@ar***************.com, or via any of the communication channels listed at the top right corner.

Adeline Buenaventura

b. 1971 in the Philippines

Currently based in Bangkok, Thailand, Adeline Buenaventura is a self-taught mixed media artist, with a passion for colors and graphics, and is greatly inspired by the pop art milieu. Her fiberglass- and marble powder-reinforced resin sculptures are finished free hand, with always fun, bright, and eclectic colors, infused with voluptuous roundness and sensual lines, and look more like they have been created from blown glass or porcelain.
(click here for full artist profile)

Ajim Juxta

b. 1983 in Kuala Lumpur, Malaysia

Raja Azeem Idzham, better known as Ajim Juxta, is a multi-talented artist who’s formal training is in architecture. While visual art is the primary outlet for his creative wellspring, Ajim is also a talented musician and writer.

His abstract works are akin to organic blueprints created to make sense of a world that the artist sees as having gone wrong in more ways than one. Among his visual articulations are the many dystopian realities that have manifested themselves while individuals and societies pursue personal utopias, important aspects of life that rightly deserve more attention, becoming neglected in the process.
(click here for full artist profile)

Angelo Magno

b. 1979 in the Philippines

Angelo Magno is an artist and academician based in Metro Manila, whose primary mode of art production is printmaking. His series of disembodied mask-like faces are the result of his observations and analysis of the many personalities he has encountered, part of a vast collection of fragmented stories told through faces and the expressions they carry.
(artist profile available upon request)

Bibichun

b. 1983 in Malaysia

Bibichun is an artist who concerns himself with issues such as authorship, identity, and what he construes as “public sites” within the context of George Town in Penang, where he lives and works. His artworks are often visual critiques and responses to issues that are of concern to him, either in the form of paintings, objects, or sometimes interventions of existing mural works, from which he observes reactions and responses from the general public.
(artist profile available upon request)

Carl Modelo

b. 1994 in the Philippines

With layering and dry brush techniques in his acrylic paintings, his pieces birth characters that are equal parts candy-sweet and salty as tears. Having been fascinated by Fernando Botero’s works in his student days, he too started painting rotund and voluptuous figures with magnanimous personalities inspired by Fllipino pop-surrealist Luis Lorenzana’s quirky characters, then moved on to oddballs of his own invention – coneheads in pinks and purples he calls wanderers, each creature sporting its very own disposition and story with emotionally expressive faces as their bodies. Lines make up for limbs as they hop, skip and dance across the minimally adorned canvas, at times accompanied by text that add a layer of significance as it expounds on the image.
(artist profile available upon request)

Chang Chiung Fang

b. 1984 in Taipei, Taiwan

Combining strong expressive tendencies and bold strokes in her works, Taipei-born Chang Chiung Fang’s embodies free-spirited expressions of life as it is experienced and observed. Much of what she expresses are autobiographical, basing her art on her own experiences, through the lenses of continuous self-discovery and understanding, enabling her to better express ideas and stories she wishes to convey.
(artist profile available upon request)

Dedy Sufriadi

b. 1976 in Palembang, Indonesia

Contemporary abstract artist Dedy Sufriadi has a wide repertoire of work and styles, encompassing the use of many different elements. The many disparate visual styles that can be found across his vast body of work can be tied together by one common trait – his mastery of color and composition. Dedy is perhaps best known for his work related to text, an element of modern life that humans are subject to at virtually every waking moment, whether realized or not.

2022 will be a very important year for Dedy. Later this month, he will be featured as part of Artemis Art’s participation in Art Solo 2022, taking place at the EXPO Dome, Taipei Expo Park, in Taipei, Taiwan, from 15 to 17 April. This marks Dedy’s major art fair debut in Taiwan. In addition, Dedy will be making his exhibition debut in Europe when the European Cultural Centre Italy (ECC Italy) launches their Venice Biennale satellite event, Personal Structures: Reflection, in parallel with the main Biennale, from 23 April to 27 November 2022.  
(click here for full artit profile)

Jaime Pacena II

b. 1980 in the Philippines

Jaime Pacena II is a multimedia artist, educator and curator whose many talents include video direction for the advertising and music video industries, plus mentorship in learning programs and collaborations within the visual-creative industry. His series of “still life” works are more than just depictions of objects but is the artist’s response to how life has been “made still” due to the global COVID19 pandemic which hit the Philippines in a big way, bringing the bustle and hustle of everyday life to a virtual standstill.
(artist profile available upon request)

Kimberley Boudville

b. 1999 in Kuala Lumpur, Malaysia

Young Malaysian artist Kimberley Boudville is a recent graduate from the Nanyang Academy of Fine Arts in Singapore, and is a very versatile artist, adept at a variety of mediums used in her art creation. Much of her recent works deal with grief and loss, and how these form important components of the human experiential cycle.

The selected works by Kimberley at Art For All will be a teaser of sorts for the artist’s second solo exhibition, which is scheduled to begin late April at The Backroom KL. We will be providing more details as the exhibition date draws closer. 
(click here for full artit profile)

Leik Lim

b. 1991 in Ipoh, Malaysia

Important cartoon characters reminisced from her childhood form symbolic ties between childlike attributes of love, purity, and liberty, with the realities of adult life. Strongly influenced by contemporary surrealist pop art, and produced in vivid colors, Leik Lim likens her creations to “soft confrontations” between attributes and sensibilities of her childhood that persist, with the complexities and intrigue of the adult world.

Leik Lim is the artist name for Ipoh-based Lim Lei Kwan, whom Artemis Art is showing for the first time. Art For All marks the artist’s Malaysian art fair debut, having had success in both the China and Taiwan art markets.  
(click here for full artist profile)

Low Chee Peng

b. 1975 in Penang, Malaysia

If you’ve visited George Town, Penang, in the past five or so years, you will very likely have seen public art created by self-taught sculptor Low Chee Peng. Of particular note is the “The Last Tree”, near the corner of Lebuh Pantai and Lebuh Armenian, commissioned by George Town Festival in 2013. For Chee Peng, public art is a responsibility, providing communities with a strong sense belonging and character.

The artist’s inclusion in our line up marks Chee Peng’s first time exhibiting with Artemis Art in an art fair.
(artist profile available upon request)

Muhammad Amirul Azman

b. 1994 in Singapore

Amirul works with various mediums including digital illustrations, photography, creative direction and recently, painting. Fascinated with all things kitsch, bizarre and surreal, Amirul creates unnaturally distorted figures, juxtaposing them in a surrealistic approach that disrupts the line between reality and imagination.

This is Amirul’s first time exhibiting his artworks in Malaysia. In addition, Amirul is also the first Singaporean artist we have shown, making his inclusion in our lineup a double “first”.
(artist profile available upon request)

Oky Antonius

b. 1994 in Indonesia

Oky Antonius is a young artist who has been very active in the Yogyakarta visual art scene, participating in numerous group exhibitions while still being a student at the prestigious Indonesian Institute of the Arts, pursuing his baccalaureate in Fine Art. His color palette is mature, the textured expressionist figurations depicting events drawn from his own memories. The skilled tapestry-like rendering on canvas never fails to elicit a closer look from viewers. One could certainly call his works a visual interpretation of the phrase “fabric of life”.
(artist profile available upon request)

Rangga A Putra

b. 1995 in Indonesia

Since his childhood, Rangga A Putra (Rangga Anugrah Putra) has been interested in painting, a pure pleasure for him. Up until today Rangga has already participated in numerous shows in Indonesia and has received several awards. Anselm Kiefer, George Baselitz, Jean-Michel Basquiat, Jean Dubuffet, Antoni Tàpies and Zao Wouki are some of the “legend” artists (as he likes to call them) who have inspired him. Monochrome colors are his typical landmark, where colors bring the nuance of deep reflection.
(artist profile available upon request)

Ronald Caringal

b. 1980 in the Philippines

Manila-based Ronald Caringal has been described as the “Pop Art antithesis of a pop artist”, his art employing vivid color palettes used to depict familiar imagery yet carry a deeper undertone that defies what’s seen on the surface.

The treatment he gives to popular cultural iconography can vary from darkly humorous to downright crude, but what the artist presents is a gritty aesthetic reflection of modern-day urban life. We can glean much that is familiar in Ronald’s works, forcing us to ponder and think exactly why we get that feeling of familiarity.
(artist profile available upon request)

Silas Oo

b. 1996 in Malaysia

Silas Oo graduated with a Diploma in Fine Art from The One Academy in 2017. He primarily works in the medium of painting and drawing, with a particular interest in the conditions of post-Y2K modernity and pop culture.

Apart from artmaking, Silas also models for runways and editorials. This allows him to be in tune with the surface and appearance-level of culture that forms so much of his generation’s addition to technology and sense of self, both of which he interrogates deeper and articulates in his art.
(artist profile available upon request)

Syahbandi Samat

b. 1992 in Malaysia

His use of the ordinary ballpoint pen has made self-taught Malaysian artist Syahbandi Samat one of the more unique Malaysian artists currently practicing, and whose works are almost always instantly recognizable.

Recently becoming a father, Syahbandi’s works currently delve deeper into his own psyche, projecting his inner thoughts, experiences, and aspirations. Successfully breaking away from the need to “please” with his artistic creations, Syahbandi addresses issues that are important to him, such as corruption, the environment, and of course, introspective works dealing with his own life experiences.

Art For All sees the debut of Syahbandi’s sculptural interpretation of images he has previously included in his ballpoint artworks, something that we hope to see more of from the artist in times to come.
(click here for full artist profile)

Taufik Ermas

b. 1984 in Indonesia

The dialectics of space and delving into what lies behind human psychological scarring are among the ideas central to the current body of work by Indonesian artist Taufik Ermas. He survived a near-tragedy during the major 2006 Yogyakarta earthquake that caused his home to collapse, burying him alive for a short period before being rescued.

Canvas augmentation is a central feature to his current body of work, either through physical canvas frame modifications to create negative space within his visual narratives, or through his layer/contour technique, where Taufik creates physical ridges (or its inverse, niches) on the canvas surface without tearing through or cutting the canvas.
(click here for full artist profile)

Art For All eCatalog

The eCatalog for Art For All 2022 contains the complete collection of works exhibited for the art fair. The eCatalog may be browsed online here, or dowloaded as a PDF.

For additional information about other works by these artists, artwork enquiries, or any other information email us at in**@ar***************.com

Exhibited Artworks

Adeline Buenaventura

Bibichun

Carl Modelo

Chang Chiung Fang

Dedy Sufriadi

Jaime Pacena II

Kimberley Boudville

Low Chee Peng

Muhammad Amirul Azman

Rangga A Putra

Ronald Caringal

Silas Oo

Syahbandi Samat

Expand Your PERi-meters 2 Title

Thank you for visiting the archive portal for Nando’s YOUthReka Expand Your PERi-meters 2, whose live exhibition took place at WhiteBox in Publika, Kuala Lumpur, from December 9 to 16 2021, and whose online exhibition began concurrently but ran until January 20, 2022. We have archived the online exhibition, but it is still accessible via the link below. Additionally we’ve added a direct link to the series of artist introduction videos produced for the exhibition. You may also download a copy of the exhibition eCatalog via this link.

Expand Your PERi-meters 2 featured a solo exhibition plus a group exhibition by seven artists, all of whom were past years’ winners of the annual art competition organized by Nando’s Malaysia, up until 2018. These eight artists were all winners in both the Fine Art and Digital Art categories, between 2016 and 2018. The exhibition, a celebration of the past years’ winners, was a collaboration between Artemis Art and Nando’s Chickenland Malaysia Sdn Bhd. For additional information, contact us at in**@ar***************.com.

Solo Exhibition: Chew Song Kee (aka Zombie)
Group Exhibition: April Wong, Freeda Jane Madius, Jimmy Teow Hai Way, Lim Si Ting, Nik Mohd Shahfiz, Ong Hieng Fuong & SM Raja

Expand Your PERi-meters 2 Title

Get to know the artists who will be participating in Nando’s YOUthReka Expand Your PERi-meters 2 solo and group joint showcase. The exhibition takes place at White Box, Publika, Kuala Lumpur, beginning on 9 December and continuing until 16 December 2021. Opening hours are 11 am to 7pm daily.

In parallel, we will also be hosting an online version of the exhibition, which begins on 9 December (concurrently with the live exhibition), but continues until 20 January 2022. Follow our Facebook page and Instagram account for up-to-date information, or alternatively contact us at in**@ar***************.com.

YOUthReka - Chew Song Kee (Zombie)
b. 1996 in Batu Pahat, Johor

Grand Prize Winner, Digital Art Category 2018

Introducing Chew Song Kee, Grand Prize Winner of the 2018 Digital Art category in that year’s YOUthReka – Your Art, Your Story competition. His solo presentation this time around features a collection of digital concept art, whose sci-fi anime theme revolves around a dystopian, post-apocalyptic future. Click to view his profile video to get to know the artist better.

YOUthReka - April Wong
b. 1997 in Miri, Sarawak

Second Runner Up, Digital Art Category 2017

April Wong Xin Hui was the Second Runner Up in the 2017 Digital Art category, and currently works as an illustrator. Her works draw upon fond memories from her childhood. One of her more recent accomplishments is the publication of a children’s book that she illustrated. Her profile video allows us to get to know April better, and what inspired her collection of works for this exhibition.

YOUthReka - Freeda Jane Madius
b. 1994 in Kota Kinabalu, Sabah

First Runner Up, Digital Art Category 2017

First Runner Up in the 2017 Digital Art category, Freeda describes herself as a “zealous creator of art”, constantly striving to be a better version of herself. Her formal qualifications may be in the field of architecture, but Freeda remains passionate in artistic and creative endeavors. Currently, Freeda resides and works in Kota Kinabalu, Sabah. Her profile video gives us some insights into what inspires Freeda, and the importance of art in her life.

YOUthReka - Jimmy Teow Hai Way
b. 1986 in Kedah

Consolation Prize, Digital Art Category 2016

Currently a senior designer in a leading Malaysian healthcare corporation, Jimmy constantly searches for and experiments with different materials, modes, and methods of art creation. His series of epoxy resin sculptures is testament that as an artist, Jimmy never rests on his laurels, snug within his comfort zone. He was one of the consolation prize winners for the 2016 competition in the Digital Art category. His profile video takes a peek into Jimmy’s artistic practice, in particular, the process of creating the sculptural pieces exhibited. 

YOUthReka - Lim Si Ting
b. 1993 in Johor Bahru, Johor

Consolation Prize, Fine Art Category 2016

Si Ting was one of the Consolation Prize winners in the 2016 competition Fine Art category, and has a broad interest in several areas creative work. She currently resides in Singapore where she works as a Graphic Designer. Her creative portfolio spans fine art, photography, plus fashion and food styling, in addition to the work she has done professionally in graphic design. Her profile video gives us some insights into the thought process that led to the creation of her artwork showcased in this exhibition. 

YOUthReka - Nik Mohd Shahfiz
b. 1993 in Kelantan

Second Runner Up, Fine Art Category 2016

Shahfiz was the Second Runner Up in the 2016 Fine Art category, and prior to that the First Runner Up in the 2014 competition. The youngest of three talented Nik Brothers, he is an accomplished young artist in his own right and has exhibited extensively in numerous exhibitions both locally and internationally. Shahfiz’s artworks are often surreal stylized depictions of the real world, usually related to his own take on issues he feels need to be expressed. In the artist’s profile video, Shahfiz tells us a bit about how the pandemic contributed towards the inspiration for his artworks.

YOUthReka - Ong Hieng Foung
b. 1995 in Selangor

Grand Prize Winner, Fine Art Category 2017

Hieng was the 2017 Grand Prize Winner in the Fine Art category, but opted to join the group exhibition instead, due to his ongoing study commitments. He is currently pursuing a bachelor’s degree at the prestigious Central Academy of Fine Arts in Beijing, China, majoring in printmaking, an area of art that he is most interested in. His paintings for this exhibition have been done in the ukiyo-e style, a Japanese genre that flourished from the 17th to 19th centuries, which in addition to painting, includes printmaking as one of the dominant forms. Although the pandemic caused him some difficulty, particularly in the area of his ongoing education, Hieng used it as an opportunity to hone his skills towards becoming a better artist, as his profile video reveals.

YOUthReka - SM Raja
b. 1995 in Kelantan

Consolation Prize Winner, Fine Art Category 2017

Muhammad Riduan bin Raja Yunus, or better known as SM Raja, was one of the consolation prize winners in the 2017 Fine Art category. His creation process combines his internalized feelings about a subject with what he observes happening around him at the same moment. The layered thought process employed by the artist translates to his artworks being themselves visually layered. In his profile video he sheds some light on how his artworks relate to the ongoing pandemic, and the trials and tribulations he had to endure.

Back in August 2020, Artemis Art staged Conversation with Basquiat, the first of two tribute exhibitions honoring Jean-Michel Basquiat, who would have turned 60 on December 22 2020. The exhibition was made possible through a collaboration with three galleries from around Asia, namely Julia Gallery (Taiwan), Langgeng Art Foundation (Indonesia), and Vinyl On Vinyl (Philippines), each gallery contributing one or more artists making up the fifteen artists who took part.

We had also mentioned about Part 2, and hinted that it would be an exhibition of a larger scale. 

Letter to Basquiat is part 2 of the two part project by Artemis Art and the three galleries, under the collective name Asia Contemporary Art Program, or ACAP for short. As opposed to having all artworks located in one place, Letter to Basquiat sees the participating galleries stage their own group exhibition featuring artists from their country, with artworks available to the clientele of all four participating galleries, thus expanding the reach well beyond each gallery’s national borders. Most of the artists from all four countries featured in Part 1 return in Letter to Basquiat, with the addition of many more artists from each participating gallery.

Artemis Art: Letter to Basquiat

Ajim Juxta
Bibichun
Caryn Koh
Haris Rashid
Rekha Menon
Syahbandi Samat
Tajrin Faruqi

Langgeng Art Foundation: Letter to Star

Anton Afganial
Bob ‘Sick’ Yudhita
Cahaya Novan
Dedy Sufriadi
Diana Puspita Putri
I Kadek Didin
I Made Dabi Arnasa
I Putu Adi Suanjaya (Suanjaya Kencut)
Indra Dodi
Krismarliyanti
Laksamana Ryo
Mira El Amir
Mutiara Riswari
Oky Antonius
Petek Sutrisno
Rangga A Putra
Rawraw
Rizal Hasan
Soerosidji
Soni Irawan
Valdo Manullang
WA Santoso
Wisnuaji Putu

Julia Gallery: Letters to Basquiat

Chang Chiung-Fang
Tang Jo-Hung
Tsai Yi-Ju
 
 
 
 

Vinyl On Vinyl: Letters to Basquiat

Anjo Bolarda
Anton Belardo
Carl Modelo
Chalk Zaldivar
Ciane Xavier
Dennis Bato
Miguel Paulo Borja
Reen Barrera
Roberto Sanchez
Ronald Caringal
Teo Esguerra
Tyang Karyel
Wyndelle Remonde

Although Letter to Basquiat is the name given to the overall exhibition project, each of the four participating galleries was given leeway to either stick to the project name or name their exhibition a bit differently. But despite the variance in local exhibition names, the overall theme remains – if each artist had the opportunity, what would they want to say to Basquiat? Not surprisingly, in one shape or form, each artist paid tribute to the art icon. The phenomenal career of Jean-Michel Basquiat may have only lasted a decade, but his legacy lives on even to this day, remaining an inspiration to many artists the world over, well beyond his own time and well beyond the borders of New York City.

This exhibition feature posting will be updated as more material comes in from the participating galleries, but for a start we decided to present the complete collection of works from all 46 participating artists. 

Letter to Basquiat

For Artemis Art, Letter to Basquiat is something more than our contribution to the ACAP collaboration. It also marks the very last exhibition in our gallery space at Publika. Rest assured the gallery lives on, operating in a different mode than we have been for the past nine years. The exhibition has been moved to Greydea Studio in Taman Tun Dr. Ismail, Kuala Lumpur, where it continues its run until 18 January 2021. Greydea Studio is open Tuesdays to Saturdays from 12 Noon to 6pm, and by appointment on Sundays. Contact Azeem on WhatsApp at +60 13-246 7825 for more information.

All five artists featured in Conversation with Basquiat return for this exhibition: Ajim Juxta, Bibichun, Haris Rashid, Rekha Menon, and Syahbandi Samat. Joining them are Caryn Koh and Tajrin Faruqi, making it seven artists in all. Each artist prepared new works for the exhibition, complete with a short letter to Basquiat. 

For artwork enquiries contact Artemis Art via email, or WhatsApp at +60123732188.

click on thumbnails to view full image with details

Letters to Basquiat

In Conversation with Basquiat, Part 1 of this two-part project, Chang Ghiung-Fang was the sole artist from Taipei-based Julia Gallery who took part. This time around, joining Chang in Julia Gallery’s presentation, Letters to Basquiat, are two additional artists, Tang Jo-Hung and Tsai Yi-Ju. 

For artwork enquiries contact Artemis Art via email, or WhatsApp at +60123732188.

click on thumbnails to view full image with details

Letter to Star

Langgeng Art Foundation (LAF), based in Yogyakarta, Indonesia, is featuring artworks from 23 artists, including the five artists who participated in Conversation with Basquiat in August 2020. Joining Dedy Sufriadi, Oky Antonius, Rangga A Putra, Rizal Hasan and Suanjaya Kencut, featured in Part 1, are Anton Afganial, Bob ‘Sick’ Yudhita, Cahaya Novan, Diana Puspita Putri, I Kadek Didin, I Made Dabi Arnasa, Indra Dodi, Krismarliyanti, Laksamana Ryo, Mira El Amir, Mutiara Riswari, Petek Sutrisno, Rawraw, Soerosidji, Soni Irawan, Valdo Manullang, WA Santoso, and Wisnuaji Putu.

In their curatorial essay, among other things LAF curator Citra Pratiwi states that “Letter to Star, in addition to an exhibition, is an invitation to examine human values we experienced throughout 2020. The year 2020 is an important period where we experienced a pandemic. Human values were tested in this condition.” Indeed, the collection of works reflects the very human condition that all of us had to reexamine during a period unprecedented in recent memory.

All the artworks included in Letter to Star are available for purchase. For artwork enquiries contact Artemis Art via email, or WhatsApp at +60123732188.

Letters to Basquiat

Two artists from Vinyl on Vinyl who took part in Conversation with Basquiat return for this exhibition, namely Dennis Bato and Ronald Caringal. Joining them this time around are Anjo Bolarda, Anton Belardo, Carl Modelo, Chalk Zaldivar, Ciane Xavier, Miguel Paulo Borja, Reen Barrera, Roberto Sanchez, Ronald Caringal, Teo Esguerra, Tyang Karyel, and Wyndelle Remonde. Letters to Basquiat explores different vantage points and takes of artists embodying Jean-Michel Basquiat’s essence and how he affected the art movement of the contemporary time. Although decades and many thousand miles apart, how Basquiat’s influence has permeated through the art world is apparent from the collection of works put together by these thirteen participating artists.

For artwork enquiries contact Artemis Art via email, or WhatsApp at +60123732188.

ACAP logo

Asia Contemporary Art Program – or ACAP for short – is a loose collaborative framework set up by four galleries in four different Asian countries, as a means to cross-promote visual art by providing opportunities for each gallery’s artists to gain wider visibility across national boundaries.

At present, ACAP comprises of Artemis Art (Malaysia), Julia Gallery (Taiwan), Langgeng Art Foundation (Indonesia), and Vinyl On Vinyl (The Philippines). The idea for this collaborative framework came about in early 2020, as the social effects of COVID-19 were beginning to be felt throughout the art world. The four friendly galleries came to a simple consensus: that to weather future uncertainties, the best way forward would be through cross-territorial collaborations. Conversation with Basquiat marked the exhibition that kicked off this framework, and following up on this is Letter to Basquiat, the second part of a 2-part tribute to Jean-Michel Basquiat who would have turned 60 this year had he not died in 1988.

For Letter to Basquiat, each of the four galleries is hosting an exhibition featuring artists from their own country, with the entire collective repertoire of works cross-promoted by all four galleries. In addition, each gallery creates a virtual viewing room so that each local exhibition may be viewed anywhere on the planet via the Internet. There is an equal share of optimism and trepidation as we approach 2021, but ACAP believes that collaborations and cooperation among galleries will be one of the ways to face the uncertainty that lies ahead of us. It’s all about strength in numbers, so to speak.

Artemis Art is pleased to have the opportunity to present the debut solo exhibition by young Malaysian artist Kimberley Boudville. A debut solo is an important milestone in any artist’s career, but My Journey is meaningful for another more personal reason. A year ago, Kimberley lost her father (then aged 56) to cancer, a devastating loss to her and her family, losing her father at such a young age. This exhibition pays tribute to him, commemorating one year of his untimely passing. 

The exhibition began on 31 October 2020 in a very quiet way, due to the ongoing Conditional Movement Control Order (CMCO) that has been in place, and which now has been extended even further until 6 December. My Journey was supposed to have been officiated by Datin Paduka Marina Mahathir. We are currently looking into the possibility of doing an Instagram Live opening, and will update this post should this plan come to fruition. 

All the artworks exhibited are for sale, and Kimberley has pledged that part of the proceeds shall be donated to the Ronald McDonald House Charities. As an individual, Kimberley believes that anything she does must be meaningful, and this  includes her artistic practice. It’s another way she feels she can give back to society, on top of the humanitarian work that she currently does. The exhibition is now up at our gallery space, and viewing is possible on an ‘appointment only‘ basis. Contact us via email, Facebook Messenger (via our Facebook Page), or WhatsApp text, schedule a visit.

As a way to help those unable to visit the exhibition view the works as they are installed, we have included a 3D modeled rendering of our gallery space, using the Matterport platform. Click on the Virtual Exhibition tab above to view a 3D mapping of the exhibition. 

My Journey will continue its run at Artemis Art until Thursday, 10 December 2020.

Of grief, and of coming to terms…

It goes without saying that an artist’s first solo exhibition is an important milestone. It’s a momentous event that stamps the artist’s commitment to a path chosen as one’s life pursuit.

My Journey, young artist Kimberley Boudville’s first solo outing, is certainly important in this regard, but there is another more personal reason that this solo exhibition is significant for her, far beyond what a debut solo typically means to an artist.

One year ago, Kimberley lost her father to cancer, at a relatively young 56 years of age. More than a debut solo, My Journey is Kimberley’s tribute to her late dad, to commemorate one year of his untimely passing.

Consisting of paintings and drawings, many of which were done in the months Malaysia endured the various stages of COVID-19 Movement Control, the collection of works included in this exhibition are testament to Kimberley’s versatility as an artist. Collectively, the artworks are a visual diary of a young woman faced with a tremendous personal loss, of coming to terms with it, and of the process of healing that necessarily follows.

Within the outpouring of sadness that is to be expected under such circumstances, there are frequent glimmers of hopefulness and flashes of positivity throughout the body of work. The journey we witness isn’t one of wallowing in sorrow, no self-absorbed pity expressed.

Rather, it is anguish in its purest form, of a child mourning the loss of a parent. It is traversing the stages of grief, presenting them for what they are, and emerging a year later perhaps not fully healed, but at peace with the loss, and accepting it as part of the cycle of life.

but what is stronger
than the human heart
which shatters over and over
and lives
~ Rupi Kaur

It is this very resilience we witness on this visual journey; traversing the process of healing, and of coming to terms with events, tragic as they may be, beyond our ability to control.

Kimberley may be young in terms of years, but there is an innate maturity expressed in her works. It is a fitting tribute to a father she loved, and undoubtedly loved her in return. But more importantly, My Journey is a declaration that Kimberley Boudville – the artist, and the person – has emerged through this much stronger than when she began.

Her father, we believe, would have been proud.

UPDATE: This virtual exhibition has been archived, and thus no longer available for viewing. We will be uploading a produced video walkthrough in its place soon.

My Journey has the special honor of being the first exhibition presented via a 3D mapping of our gallery space, powered by Matterport, a new platform Artemis Art is using for presenting virtual exhibitions. Unlike, our previous virtual exhibitions (presented via Artsteps), Matterport utilizes actual 3D mapping of physical spaces. To view details of exhibited artworks, mouse-over the white and green circles placed beside each artwork. In the pop-up image that appears click on the image to reveal the artwork’s full details. 

This virtual exhibition is also accessible via Matterport’s website, via this link.

For artwork enquiries, contact us via email, FB Messenger (or via our Facebook page), or via WhatsApp Text

The exhibition catalog for My Journey may be viewed here, or you may download a PDF copy for offline reading.
(if catalog does not load, click Full Screen View or Page Thumbnail button)

Artist Profile & Exhibited Works
Kim Boudville profile photo

b. 1999, Kuala Lumpur, Malaysia
full artist profile

Previous art fairs & exhibitions (selected)

Xavier Art Fest
Sama Sama
B&W
The Millennials

Artemis Art first got to know about Kimberley Boudville’s artworks through her pen and ink drawings, and immediately we realized the tremendous talent and potential she possessed as an artist. To-date she has participated in a few group exhibitions with us in 2019, as well as featuring her works in selected art fairs.

My Journey demonstrates Kimberley’s versatility as a visual artist, particularly in the use of varying mediums. Included in the selection of works are paintings using acrylic and oil, as well as drawings both in pen/ink and graphite. Kimberley is a recent graduate from The One Academy, and is currently pursuing her Bachelors Honours in Fine Arts Practice at Nanyang Academy of Fine Arts, Singapore.

Exhibited Artworks

Our first focused exhibition for 2020 is a collaboration between Artemis Art and Indonesian gallery Art Serpong Gallery. MONOCHROME is a large scale exhibition that features six visual artists, each with a solo showing, three each from the two galleries. The exhibition combines the talents of Afdhal, Ajim Juxta, Danni Febriana, Dedy Sufriadi, M. Yakin, and Syahbandi Samat.

MONOCHROME will be held at Art Serpong’s Breeze Art Space, located at The Breeze, BSD City, Tangerang, Banten, Indonesia. The exhibition was supposed to have begun with an opening reception on Friday, March 20 2020. However, due to the COVID-19 situation, both galleries have made the decision to POSTPONE the exhibition until such a time that will be announced. 

This posting provides an opportunity to virtually view the artworks included in MONOCHROME, accessible via the tabs at the top of the page. For enquiries about the artworks included in the exhibition (all of which are available for purchase), contact us via email at in**@ar***************.com.

Virtual Exhibition Tour

As both Indonesia and Malaysia are currently facing the COVID19 crisis, we have designed a virtual exhibition walkthrough for MONOCHROME. The walkthrough comes with a guided tour function, but you may also point and click on any of the artwork images to view the artwork details.

The virtual exhibition may be accessed through this link, but it is best viewed on a desktop browser or via the Artsteps mobile app, available for Android and IOS. For mobile app users, do a search for MONOCHROME to find the virtual exhibition. A guided tour has been built into the exhibition, but you may also opt to manually traverse the virtual exhibition space.

For those unable to access the the virtual exhibition, we have produced a video walkthrough you can watch below.

MONOCHROME Virtual Exhibition Walkthrough

Art Serpong Gallery @ Breeze Art Space

Art Serpong Gallery is located in BSD City, Tangerang, and Breeze Art Space is one of the spaces that the gallery runs for their exhibitions. Tangerang is one of the urban areas that’s part of Metropolitan Jakarta, also known as Jabodetabek.

MONOCHROME will take place at Breeze Art Space, which is located at The Breeze, BSD City, Tangerang, Banten, Indonesia (link opens in Google Maps).

The location map on the right provides an easy reference to find the gallery.

Visit Art Serpong Gallery’s website for more information about the gallery.

The following essays are presented in either Bahasa Indonesia or English, and are originally part of the exhibition wall text, or contained within the publications associated with MONOCHROME. PDF copies of the publications may be obtained on request by emailing us at in**@ar***************.com.

Monochrome: Laku Rupa Eka Warna (by Huhum Hambilly)

Pada pertengahan abad 19 hingga pertengahan abad 20, para penduduk dunia yang sedang mengalami dampak modernisme, sebagian besar cenderung akrab pada citraan monokrom. Dunia tampil dalam hitam putih, baik melalui foto-foto, koran, majalah, buku-buku, film, dan beberapa media gambar reproduktif.

Sebaliknya, dalam seni lukis, dunia justru sedang tampil berlimpah warna. Setidaknya, sejak Michel Eugène Chevreul, seorang ahli kimia, pada tahun 1864 menerbitkan risalah tentang teori warna dan kemungkinan aplikasinya terhadap industry – dikenal dengan lingkaran warna (kromatik). Lingkaran kromatik didesain Chevreul dengan tujuan untuk merepresentasikan, mengklasifikasikan warna pada lukisan dengan ketetapan dan cara yang praktikal, ada 72 warna pasti, serta 20 lingkaran lainnya untuk warna menengah.

Hukum formulasi warna Chevreul membawa dampak besar dalam seni lukis akhir abad 19, selain juga fotografi. Sehingga para seniman tidak mampu lagi melukis seperti sebelum-sebelumnya. Mereka tak harus mengejar akurasi, tak melulu berada di dalam studio, juga tak membatasi tema dan status subjek. Di kemudian hari para seniman tersebut kita kenal sebagai generasi impresionis.

Impresionisme, boleh diketahui sebagai gerakan seni paling kaya dan kokoh, ada perayaan sekaligus pergelutan. Mereka mengalami, merespon dan bereksperimen langsung dengan berbagai temuan dan fenomena penting dunia moden, seperti teori warna Chevreul, proses Hillotype Levi Hill, penemuan wet collodion, sampai tumbuh kembang industry dan pengaruh pemikiran intelektual-sastrawan yang sedang panen-panennya.

Tak heran jika sejarawan terkemuka seni impresionis, Lionello Venturi, melihat bahawa para impresionis saling melengkapi satu sama lain, masing-masing dengan kelebihan tertentu seperti “sukacita, animasi, dan roh gambar berhasil diekspresikan Renoir, jiwa benda-benda oleh Monet, kekuasaan tanpa kekurangan dari dunia yang bersahaja lewat. Degas, kehebatan, pemurnian, dan kedahsyatan pengetahuan dari Cezzane; religiusitas pedesaan dan perkembangan daerah yang epic oleh Pissaro, serta kehalusan dan ketenangan dari Sisley.”

Namun, dunia segera berganti, seni niscaya berubah, perayaan bergelimang warna tak lagi lama, apalagi ketika wajah abad 20, tampil dalam kecamuk perang. Gambaran lukisan yang tadinya penuh warna seolah bergerak menuju pada yang sederhana, lebih simple, makin dalam – meski sesungguhnya rumit.

Lukisan monochrome pertama-tama mulai kenal pada pameran seni Incoherent pertama pada tahun 1882 di Paris, melalui lukisan hitam karya penyair Paul Bilhaud berjudul Combat de Nègres dans un tunnel (Orang Negro bertarung di sebuah terowongan). Karya ini tergabung dalam beberapa portofolio gambar monokrom berbagai warna dengan bingkai hias yang seragam, masing-masing memuat judul yang lucu.

Pada tahun 1897, Alphonse Allais menerbitkan Album primo-avrilesque, sebuah monograf dengan tujuh karya seni monokrom, menariknya terbitan ini juga ia maksudkan sebagai buku pengantar pemakaman.

Ia menyampaikan bahwa pelukis lain adalah “pengrajin konyol yang membutuhkan ribuan warna berbeda untuk mengekspresikan konsepsi mereka yang menyakitkan” dan bahawa pelukis idealnya bekerja “menuangkan secara sukarela, satu warna untuk satu kanvas… monokromatik.”

Picasso, pelukis sohor abad 20, di tahun 1901 karyanya tiba-tiba berubah membiru. Beberapa publikasi popular menyebutnya sebagai masa susah dan masa depresi. Picasso memilih subjek-subjek gelap, seperti pelacure, pengemis, dan pemabuk. Lukisannya pada dasarnya bersifat monokromatik dalam nuansa biru dan biru-hijau, hanya sesekali dihangatkan dengan warna lain, yang kemudian dikenal “periode biru”. Konon Picasso mengalami masalah keuangan, ia cabut dari pergaulan sosialis, public tiba-tiba tak tertarik melihat karyanya. Meski di kemudian hari, salah satu karya lukis yang dibuat pada masa “periode biru” tersebut, The Old Guitarist, menjadi sangat terkenal.

Jean Metzinger, seorang pelukis kubis – tidak identic dengan karya monokrom, punya penyataan cukup berani terkait warna dalam lukisan. Melalui wawancara dengan Cyril Berger yang diterbitkan di Paris-Journal (29 Mei 1911), ia punya prediksi, “Siapa yang tahu jika suatu hari nanti, seorang pelukis hebat, punya ejekan dan permainan brutal dari para pelukis yang mengambil tujuh warna kembali ke kanvas yang sepenuhnya putih, tanpa apa-apa, tidak apa-apa sama sekali.”

Tidak seperti Picasso yang dalam monokromnya masih menampilkan representasi subjek, prediksi berani Metzinger menyatakan bahwa seniman akan mengambil kesimpulan logis dengan mengosongkan materi subject representasional sepenuhnya dan kembali kea pa yang ia sebut sebagai “primordial white unity” (kanvas yang sepenuhnya putih). Tanpa dinyana ramalan tersebut terwujud dua tahun kemudian.

Sebuah manifesto satiris berjudul Manifeste de fécole amorphiste yang terbit di Les Hommes du Jour (3 Mei 1913) mungkin sevisi dengan Metzinger. Dalam pikirannya, penulis membernarkan kanvas-kanvas kosong amorf dengan mengklaim ‘cahaya sudah cukup untuk kita’. Dari semua teks tersebut, yang kebetulan terkait dengan karya pelukis Picabia, mungkin menjadi publikasi paling sulit untuk dijelaskan. Sejarawan seni Jeffery S. Weiss merespon “Vers Amorphisme mungkin omong kosong, tetapi hal itu cukup seagai bahasa dasar untuk mengantisipasi implikasi reduksi ekstrim non-objektivitas”.

Ketika dunia seni sedang menancapkan gagrak formalisme (abad 20 awal), sebuah gerakan yang berfokus pada praktik penekunan terhadap bentuk yang bercorak atau bentuk-bentuk eksternal lain. Karya lukis monokrom seperti mendapat tempat khusus, ia makin akrab. Oleh beberapa seniman avant garde dan aktivis formalis menempatkan karya seni minimalis, termasuk monkrom, berkembang menjadi semacam sikap ideal. Contoh seniman yang paling sukses melalui karya monkrom adalah Kazimir Malevich, pelukis asal Rusia, pencetus gerakan spremastime. Karya berjudul Black Square (1915) dan White on White (1918) adalah yang paling terkenal.

Meski karya seni monokrom tak pernah menjadi satu gugusan khusus, entah sebagai isme ataupun gerakan tersendiri, namun setidaknya sejak abad 19, gambaran dunia monokrom teap eksis dan berkembang sampai hari ini. Monokrom, sebagaimana umum diketaui, adalah moda yang mampu menyajikan citraan minim distraksi, focus pada objek dan komposisi, memperjelas pencahayaan dan detail. Selama 2 abad berlangsung, praktik karya monokrom teru-menerus hadir, yang mungkin hendak membangun ruang permurnian, ia bisa menjadi moda visual yang merangkum segala masa, timeless. Hingga hari ini, beberapa seniman tetap menekuni dan bergiat dalam laku rupa ekawarna..

MONOCHROME: Gradated But Singular Focus (by Artemis Art)

MONOCHROME, by definition, refers to artworks executed purely in black and white, and the many shades of gray in between. Or, by extension, varying gradations and tones of a single color. This definition alone presents many possibilities for the artist. But if we add “singular focus” as another potential definition, the possibilities become more abundant. This expansion/extension provides the artist greater flexibility, no longer bound to the use of color as the one and only consideration in presenting their artistic vision.

The three artists representing Artemis Art individually exhibit these defined characteristics of what could be considered “monochrome”. Ajim Juxta in his works utilizes the most recognizable definition, that of singularity in color scheme, as does Syahbandi Samat, to some extent. For Dedy Sufriadi it is his intent and approach to how he’s executed his works.

Each of the three artists exhibits strengths that are unique to each individual. In MONOCHROME, these strengths manifest themselves in various ways; mastery of color usage, aesthetic prowess, or perhaps a bit of both. Collectively, they make for an exciting assembly of artworks, providing added dimensions to a theme that may, at first glance, appear somewhat limiting or rigid.

Afdhal

Monochrome - Afdhal

b. 1981 in Dumai, Indonesia

Contact us for artist profile

The following write-up is in Bahasa Indonesia and has been excerpted from the MONOCHROME publication by Art Serpong Gallery, from the introduction by art writer Huhum Hambilly. We have included the publication for viewing (see the Publication tab to the right).

Berada dalam Lanskap Afdhal

Sebuah lanskap dalam lukisan Afdhal tidak hanya menggambarkan dari apa yang bisa ditangkap oleh mata normal. Karyanya hendak menangkap semesta, penglihatan mikroskopik, tampilan pola-pola matematis, dan memunculkan aura pada objek-objek sekaligus. Nampaklah sebuah pemandangan yang sarat akan ketenangan dalam nuansa dinamis. Afdhal tidak sekonyong-konyong menampilkan seluruhnya dengan tegas dan pasti. Ia memberi keseimbangan tersendiri dengan penggambaran yang, seperti menuju hilang atau menuju ada, kemunculan dan kekaburan, yang mendekat pula menjauh. Semua itu ditampilkan Afdhal dengan porsi dominan monokrom.

Afdhal punya intensi sendiri atas apa-apa yang berbau kosmos, itu mengapa lukisannya cenderung memberi kesan keruangan. Karya lukisnya adalah sebuah usaha menggelar dimensi luas pada halaman kanvas. Maka pemandangan langit dan bumi menyatu, binatang dan bintang-bintang tak berjarak, garis-bidang-bentuk-ruang menjadi sebuah kesatuan. Tidak ada yang rumit dalam proses melukis Afdhal. Sederhana, ia ingin melukis dari apa yang bisa dilukis. Gagasannya cukup dipengaruhi dari bagaimana kerap ia merasa terpukau ketika bersentuhan langsung dengan alam terbuka. Sepangkuannya, momen tersebut bak dzikir.

Hewan, kerap menjadi subjek lukisan, setidaknya sejak tahun 2015. Binatang yang kerap tampil dalam lukisan Afdhal menjadi refleksi bagaimana kehidupan modern yang tak memberi ruang hidup layak. Eksploitasi tiada henti, perampasan ekosistem, perilaku manusia yang terus-terusan menimbulkan kerusakan dan kepunahan. Afdhal ingin memberi tempat pada binatiang-binatang, yang olehnya kita bisa belajar kasih saying dan nilai kebijaksanaan.

Lukisan Afdhal merupakan usaha yang bisa dia jalani, meski faktornya banyak, persoalannya pun ada. Namun segalanya beres seketika lukisan sudah jadi. Meski baginya lukisan tetaplah menjadi misteri tersendiri. Afdhal terus mejalankannya dengan melukis dan melukis.

Exhibited Works

Click on the thumbnails below to view full image and details

Ajim Juxta

Ajim Juxta is the nom d’artiste selected by young Malaysian artist Raja Azeem Idzham Raja Azaham, an architect turned visual artist. His collection of works for this exhibition postulates a possible bleak future based on the artist’s observations of how today’s human activities impact the environment and natural world.

Entitled “Kanun Gila” (loosely translated, Code of Madness), Ajim’s works depict the possible aftermath of what he sees as society’s generally laissez-faire attitude towards the environment. Specifically, damage caused by human economic activities, such as developmental deforestation and mining. Could it be that in centuries to come, the razed landscapes left barren become monuments to present-day human recklessness? Will the damage caused to the environment one day become bitter reminders of human greed in exploiting natural resources for no other reason than self-enrichment?

Publication

Publication may be viewed below, or downloaded from here

Exhibited Works

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Danni Febriana

Monochrome - Danni Febriana

b. 1993 in Cilacap, Indonesia

Contact us for artist profile

The following write-up is in Bahasa Indonesia and has been excerpted from the MONOCHROME publication by Art Serpong Gallery, from the introduction by art writer Huhum Hambilly. We have included the publication for viewing (see the Publication tab to the right).

Estafet Spirit Merapi Danni Febriana

Beberapa karya monokrom Danni merupakan perpanjangan narasi atau relasi tentang Merapi. Gunung Merapi mungkin akan tetap menjadi misteri yang terus menyelimuti ataupun menghantui pengkaryaan Danni, setidaknya sejak 2013 ketika kali pertama ia meriset dan berkarya terkait gejala trauma masyarakat akibat letusan Merapi. Pemandangan monokrom, begitulah senyata-nyatanya wajah areal Merapi ketika terdampak erupsi pada 2010. Danni secara personal memang mengaku memiliki pengalaman traumatic, tapi ia juga tertarik pada persoalan di sekitaran gangguan mental. Alih-alih menghindar ia justru masuk lebih dalam, dan lebih dalam lagi. Dalam prosesnya, yang tentunya menyakitkan, ketika berhadapan dengan para penyintas tanpa diduga ia merasa sedikit demi sedikit mendapat momen penyembuh-pembebasan.

Pada lukisan Danni, kita menemukan hitam tak melulu muram. Ia menawarkan sunyi dengan cara bijaksana dan bersifat meditative.Subjek lukisan tidak menampakkan wajah. Di kepalanya penuh dengan aneka bunga dan dihinggapi beragam fauna macam kupu-kupu dan burung. Seperti ada simbol dari keramaian, sesuatu yang bergemuruh, penuh, dan bergejolak. Barangkali itu wajah yang terpapar trauma ketika sedang melalui proses healing. Melalui potret diam Danni, seperti meneguhkan bahwa trauma adalah proses menuju pencerahan. Berjuang melawan trauma adalah laku spiritual yang harus dijalani, betapapun sakitnya, agar bisa lebih memaknai setiap kejadian dan peristiwa. Trauma adalah bekal menuju kesadaran baru yang jauh lebih baik dari apa yang kita bayangkan. Sebagaimana trauma bencana Merapi menjanjikan tanah yang subur agar warga menjadi makmur.

Pengalaman riset mengantarkan Deanni dalam mengenali wajah Merapi lebih luas, baik secara historis, sosio kultural hingga spiritual. Merapi seperti memberi kekuatan tersendiri sehingga banyak mempengaruhi bahasa visual karyanya. Dalam proses membuat karya, kali ini Danni merasa diri tergerak untuk mengambil jarak pada Merapi, pad Jogja. Ia menyelesaikan karya-karyanya dengan memuat apropriasi imej oldmaster, mengambil objek-objek yang terhampar di jagat internet, digubah dan dimodifikasi dalam komposisi tertentu. Lukisan monokrom Danni tak hanya menampilkan subjek yang meditative, pengerjaannya merupakan upaya si seniman dalam membersihkan diri, hasilnya mungkin bisa jadi tawaran pengobatan sesama pemirsa.

Exhibited Works

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Dedy Sufriadi

For abstract artist Dedy Sufriadi, it is the singular idea of approach that becomes the driving force behind his collection of works. Tabula Rasa – a Latin term meaning “blank slate” – refers to how the artist approaches this body of work, coming to the blank canvas with a clear mind, without pretension or pre-defined agendas. But the result of Dedy’s approach is not a pointless meandering about the canvas, or artworks created completely without rhyme or reason. Dedy’s intuitive endeavor comes with it two decades worth of experience through his rich and versatile artistic practice to date.

The Tabula Rasa approach to creation is driven more by his intuition, and less so by the logic dictates formalist painting methodologies demand. The minimalist palettes used are tempered with strategic use of additional tones and hues, creating artworks that initially lure the viewer in visually, subtly converting the initial gaze to become deeper contemplations.

Publication

Publication may be viewed below, or downloaded from here

Exhibited Works

Click on the thumbnails below to view full image and details

Muhammad Yakin

Monochrome - M. Yakin

b. 1992 in Bukit Tinggi, Indonesia

Contact us for artist profile

The following write-up is in Bahasa Indonesia and has been excerpted from the MONOCHROME publication by Art Serpong Gallery, from the introduction by art writer Huhum Hambilly. We have included the publication for viewing (see the Publication tab to the right).

Potongan Perspektif Abu-abu Muhammad Yakin

Karya-karya pada kertas Yakin digambarkan secara abu-abu. Warna yang tampil dalam lukisannya adalah uraian abu-abu, meski terdapat bercak-bercak putih, dan hitam yang menjadi kesan. Secara tersirat Yakin hendak mewartakan transisi proses kreatif yang terus berlanjut. Yakin sebelumnya cukup intens menyajikan karya-karya ilustratif, melalui drawing hitam putih dengan tegas. Setidaknya sejak 2016, ia semakin tertarik pada monokrom, dan terus ia ulik sampai hari ini. Dalam satu karya, Yakin menawarkan berlapis perspektif. Baginya, abu-abu lebih membuka kemungkinan dan refleksi dalam memahami suatu fenomena melalui berbagai sudut. Singkatnya, Yakin menggambarkan beragam perspektif dalam satu lukisan sekaligus.

Karya Yakin hadir dalam figur-figur tunggal, tubuhnya anonimus, telanjang. Meski dengan anatomi layaknya manusia normal, wujudnya terkesan janggal. Hampir sebagian besar karyanya menampilkan potongan-potongan seperti tangan dan kaki dari sebuah gerak. Ia memotong gerak lambat yang dengan sedemikian rupa hingga akhirnya membangun sebuah perspektif. Sekali lagi, Yakin bukan memperlambat dan menjadikannya detail seperti dalam diagram slow motion. Ia membangun perspektif demi perspektif dari setiap gerak. Momen itu terkesan bias, sehingga menimbulkan persepsi akan, “bagaimana yang sebenarnya” atau “sebenarnya tidak jelas”. Karya-karya Yakin memang tidak memperjelas gambar, tapi memperjelas sudut pandang. Adapun fragmen tubuh. Yang kadang hendak menyatu, memisah, ataupun tercecer, adalah sebuah upaya memberi ruang pemaknaan atas perspektif.

Gagasan seringkali hadir di kepala Yakin. Kemudian ditindaklanjuti melalui serangkaian proses. Ia merancang konsep objek melalui software 3D, lalu melanjutkan rancangan ke dalam sketsa, di mana Yakin telah mengubah lagi komposisi, distorsi bentuk tubuh dan cahaya. Selanjutnya, dalam proses penintaan, ia menyusun kembali bentuk dan komposisi. Kertas sengaja Yakin pilih oleh kerena media ini mengalami proses oksidasi cukup cepat, sehingga menyebabkan perubahan warna. Proses ini bagi Yakin diamini sebagai kejutan estetis.

Yakin sengaja memilih abu-abu dalam pengertian seluas-luasnya. Hidup memang tak selalu hitam putih, ada banyak yang tidak bisa diprediksi, penuh misteri, dan kerap kali mencengangkan. Di sanalah Yakin ada dan berkarya.

Exhibited Works

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Syahbandi Samat

Have you ever dreamed in full color? The answer is likely, “No”. The monochromatic nature of dreams forms the backdrop to the body of work presented by young self-taught Malaysian artist Syahbandi Samat. Museum Mimpi (Dream Museum) is a confessional and a coming to terms with the artist’s past, part and parcel of the artist seeking personal redemption. Rendered almost exclusively with the ballpoint pen, the works contained in this collection are akin to dreams, seen as it were in monochromatic hues.

The symbolisms used in Syahbandi’s works may seem odd, but they are deeply meaningful to the artist. Perhaps this is one advantage of an artist being self-taught: the absence of needing to adhere to common convention, or more standard symbolic representations. Every one of the objects or symbols found in his works represents an important facet, person, or event in the young artist’s life that he seeks to come to terms with.

Publication

Publication may be viewed below, or downloaded from here

Exhibited Works

Click on the thumbnails below to view full image and details

In total, four publications were produced for MONOCHROME, consisting three individual solo catalogs for Ajim Juxta, Dedy Sufriadi, and Syahbandi Samat (published by Artemis Art), and one combined catalog published by Art Serpong Gallery for Afdhal, Danni Febriana, and Muhammad Yakin. Limited print copies shall be made available at the exhibition (new dates to be advised at a later time). You may view the online versions below, or download PDF versions of the catalogs via the links provided below:

  1. Combined Catalog for Afdhal, Danni Febriana, and M. Yakin (Revised)
  2. Ajim Juxta
  3. Dedy Sufriadi
  4. Syahbandi Samat

Ajim Juxta: Kanun Gila

Syahbandi Samat: Museum Mimpi

Dedy Sufriadi: Tabula Rasa

MONOCHROME (3 artists combined)

For our 2019 review, first off, Artemis Art takes this opportunity to wish one and all Happy New Year 2020, both a new year and a new decade. And just in case you were wondering, by bananas we’re not referring to Maurizio Cattelan’s “Comedian that became Art Basel Miami 2019’s hot talking point. Although, the installation piece did epitomize how… er, bananas… the high end art market has become. But that’s another story for another day.

What we are talking about is our year that just ended. 2019 was, in a nutshell, a momentous year for Artemis Art on several counts. Apart from continuing with our in-gallery programming, we also took part in a whole lot of art fairs this past year. To be exact, 11 art fairs around Asia. 

Art fair participations in 2019:
Feb 21 – 24: Art Fair Philippines
Mar 14 – 17: Art Tainan
May 10 – 12: AArt Citizen Art Shanghai
May 31 – Jun 2: Hangzhou Art Fair
Jun 21 – 23: Hotel Art Fair Bangkok
Jul 19 – 21: Art Taichung
Aug 31 – Sep 1: Art Jakarta
Sep 28 – 29: Xavier Art Fest
Oct 11 – 13: Art Expo Malaysia
Oct 24 – 27: ArtPlus Shanghai
Nov 21 – 24: Shenzhen Intl. Art Fair

In-gallery exhibitions in 2019:
Jan 12 – 27: and the award goes to…
Jan 29 – Mar 3: Collision Violence
Mar 8 – Apr 10: Small Small World 小小世界
Apr 13 – May 6: Dua Alam
Jun 29 – Jul 21: Lina Tan’s “Stuff”
Jul 30 – Aug 16: These Violent Delights
Aug 22 – Sep 16: The Millennials
Nov 15 – Dec 15: B&W

International & Collaborative exhibitions in 2019:
Jun 11 – Jul 10: Dystopians, a solo by Ajim Juxta (in collaboration with Vinyl On Vinyl, Manila)

Jul 24 – Aug 4: Vice Versa 2.0, group exhibition in Yogyakarta, Indonesia
Sep 2 – 16: Sama Sama, group exhibition in collaboration with Publika galleries, Fergana Art and Segaris Art Center
Dec 14 – Jan 31 2020: Nothing Gold Can Stay, group exhibition, a collaboration with Modeka Creative Space, Manila

Our participation in these art fairs did stretch us somewhat, and we knew this would be the case going in. However, we went ahead as art fairs are a good way to extend our reach, something especially important to do for a relatively young gallery such as ourselves.

Our activities outside of Malaysia in 2019 were not limited to international art fairs. The year saw us involved with three exhibitions outside of Malaysia, one in Indonesia and two in Manila, Philippines.

For the second time, Artemis Art held a group exhibition of young artists from Indonesia and Malaysia, staged during the annual ArtJog period. Entitled Vice Versa 2.0, the premise was similar to the first iteration of the exhibition held in 2016, a coming together of young artists from two nations, each bringing their own perspectives and practices. The difference this time around is that there were more participating artists from Malaysia making it to Yogyakarta for the exhibition opening, thus allowing them to meet and interact with their Jogja-based counterparts, coming closer to realizing the aim of the Vice Versa exhibitions.  

The two other overseas exhibitions were collaborations with two partner galleries based in Manila, the first being a solo exhibition in collaboration with Vinyl On Vinyl gallery, which hosted Ajim Juxta’s solo exhibition Dystopians in June. To reciprocate, later in July Artemis Art hosted a solo exhibition by VOV artist Iyan De Jesus, Act I of These Violent Delights.

More recently, three artists represented by us were selected to participate in Modeka Creative Space‘s inaugural exhibition, Nothing Gold Can Stay, namely Caryn Koh, Dedy Sufriadi, and Ronald Apriyan. Our collaboration with Manila’s latest contemporary art gallery is the first in a planned long-term collaboration that will see Artemis Art further its presence in arguably Southeast Asia’s most vibrant art market. 

At the same time, Artemis Art did not neglect our in-gallery activities, staging eight exhibitions at our Publika space. These comprised a mix of solo and group exhibitions, including the one by Iyan De Jesus mentioned earlier. One of the group exhibitions, Collision Violence, had an extended run when it was selected by ChinaHouse in George Town, Penang, to be re-staged there after completing its run in KL.

And that, in a nutshell, was Artemis Art’s 2019, a year that was hectic but very rewarding, all things considered. We did say that we went a bit bananas last year, didn’t we? But that said, it was a year that saw us explore further the possibilities in the Manila market, paving the way for more interesting initiatives in 2020, as well as reinforcing our presence in Yogyakarta, Indonesia.

So what does 2020 hold in store for us? Well, it’s early days yet, but suffice it to say for now that we will definitely not be taking part in as many international art fairs as we did last year. Instead, the focus will be on collaborations in selected markets, details of which we’re still working out. Also in the works is having a greater presence in Yogyakarta. In terms of art fairs, we will be focusing on the more important and strategic ones this year. In short, 2020 looks to be another eventful year for us, but in ways quite different from how 2019 panned out.

We will be providing more details soon, but kicking off our 2020 art fair programming will be our participation in the inaugural WHAAAAAT’S STUDIO OPENING, January 17 – 19 at The Place, in Taipei, Taiwan. Following that in February will be Artemis Art’s third appearance in Art Fair Philippines, taking place at The Link, Makati, February 21 – 23. Stay tuned for more details on both fairs as the dates get nearer. 

Lastly, one minor change and one addition to our website (as you may or may not have noticed) – our main menu is no longer displayed, but instead you may access a full-page menu by clicking on the three bars on the top right of the website. Also, we’ve added our page on LinkedIn to our Social Media list of sites where we’re online. 

Once again, a Happy New Year from all of us here at Artemis Art, and here’s looking forward to a fantastic year ahead for the art scene, not just in Malaysia but across Asia, and beyond…

Back in 2016, Artemis Art organized a month-long group exhibition in Yogyakarta, one of the events featured in that year’s Jogja Art Weeks, fringe events surrounding the annual ArtJog event. Entitled Vice Versa, the exhibition featured thirteen young artists from Indonesia and Malaysia.

This year, we return to Jogja with the second edition, aptly entitled Vice Versa 2.0, featuring a line-up of fourteen young artists from Indonesia and Malaysia. Featured artists are Diana Puspita Putri, I Putu Adi Suanjaya, Laksamana Ryo, Oky Antonius, Rangga Anugrah Putra, and Rizal Hasan from Indonesia, while from Malaysia are Ajim Juxta, Aleff Ahmad, Bibichun, Blankmalaysia, CaraOK, Haris Rashid, Lee Sydney, and Sattama. The collection of works span a gamut of artistic practices.

Vice Versa 2.0 opened at Badai Art Studio (link opens in Google Maps), an art space run by emerging Indonesian artist Indra Dodi, on Wednesday, June 24, and continues its run until August 4 2019. 

Art Jog is Yogyakarta’s most prominent annual art event, which has grown in reputation over the years. Some 100 – 200 fringe events take place surrounding the month-long artist-run exhibition every year, collectively known as Jogja Art Weeks, and Vice Versa 2.0 has been included as one of those events. In addition to being Jogja’s busiest visual art period, Art Jog attracts art enthusiasts and practitioners from all around the world, making it an opportune period where young artists can get a wide exposure.

Artemis Art extends our congratulations to all fourteen participating artists, and it is our earnest hope that this exhibition will provide them good exposure to a wide audience of art enthusiasts and art practitioners alike, all of whom have congregated to Yogyakarta from all corners of the globe.

badai art studio

badai art studio is located at Jl. Tegal Kenongo, Tegal Kenanga, Tirtonirmolo, Kasihan, Bantul, and home to emerging Indonesian visual artist Indra Dodi, whom Artemis Art has been actively exhibiting over the past few years. This is the first exhibition held here, which has been turned into an impromptu pop up gallery, especially to accommodate Vice Versa 2.0. Artemis Art is truly grateful to Indra Dodi’s generosity in allowing us to use his space to stage this exhibition.

As is typical of many locations around Yogyakarta, badai art studio doesn’t have an easy to locate street address. However, it is easy to locate via Google Maps, and is also listed on Waze and Grab – simply type in badai art studio on either one of these map/ride-sharing apps. We’ve provided a map snapshot linked to its corresponding Google Maps entry.

Clicking on the map image above opens badai art studio‘s location on Google Maps.

To view a larger image, click on the thumbnails below, which will also reveal the details for each work.

 

The eCatalog for the exhibition may be browsed below or downloaded as a PDF.