catalogue essay - The Edge Galerie

BY
UMIBAIZURAH
RECENT WORKS 2015 - 2016
PREVIEW
2 0 J U LY, 2 0 1 6
7PM
PUBLIC EXHIBITION
2 1 J U LY - 5 A U G U S T, 2 0 1 6
11AM – 7PM
(Closed on Mondays and public holidays)
The Lady “Smoky Haze” (see page 21)
CONTENTS
Foreword
4
Umibaizurah: Ceramic Sculptor
6
Ceramic sculptures
12
Wall sculptures
32
Paintings
45
Collage on paper
54
Biodata
64
Index
68
Acknowledgements
70
"I AM LIKE A CHEF. I BAKE CLAY
FOR THE PEOPLE" — Umibaizurah
4
FOREWORD
Strength through adversity
Widely recognised for her ceramic sculptures, contemporary artist Umibaizurah
Mahir@Ismail is set to show her latest installations at The Edge Galerie for the very
first time.
Fragile, which is her third solo show, features 17 ceramic sculptures and includes
wall hangings, four paintings and a set of 10 collage works. The ceramic works
— inspired by children’s toys — are a combination of hand-painted, ceramic and
terracotta figurines and zoomorphic figures that rest on steel discs, wooden shelves,
plinths and pedestals.
The concept for the exhibition came to Umi during her time in Europe in 2013 and
2014, where she attended a residency programme in Amsterdam and participated in
an exhibition, Diversity – Malaysia Art, at La Galleria, Pall Mall, London. Contemporary
art writer Tony Godfrey, who has also written an essay for this exhibition, curated the
show.
“The theme ‘Fragile’ is an observation of life and humanity — touching on issues like
love, honesty and loyalty — in the context of human principles, in politics as well as
in the economy. It is not so much about the fragility of the medium,” Umi says.
“For instance, The Orchard is a depiction of willpower. The giraffe represents an
individual or family facing financial difficulties, thus, it is willing to sell its valuable
possessions (in the form of vegetables) in order to survive.”
In her new series, Umi explores the human condition within the layers and depths
of modern society, reflecting on issues such as co-existing within a community,
emigration and the constant conflict between man and nature. Her designs are
derived partly from imagination and inspired by vintage toys found in European flea
markets.
After teaching ceramic art at her alma mater Mara University of Technology in Shah
Alam from 2000 and 2004, Umi decided to be a full-time sculptor at the age of 30.
Umi has chalked up 18 years of experience in ceramic making. “I am drawn towards
the unpredictability of clay and ceramic as an art form. For example, if I envision a
red duck, it may turn out pink because of the type of clay used or the temperature
level during the firing process. I love the element of surprise in ceramic making.”
She adds: “One has to be very patient and disciplined to work with ceramics. The
experience is filled with mixed emotions. It’s the excitement of making and the
anticipation of opening the kiln door that is nerve-racking!” Umi recalls attending
classes conducted by distinguished local artists such as Yusof Ghani, Jalaini Abu
Hassan and Ahmad Shukri Mohamed, whom she later married.
5
It has taken one
and a half years
for Umibaizurah
to stage her latest
solo show at The
Edge Galerie
Umi and Ahmad Shukri often collaborate and exhibit together.
In 2003, they presented Incubator Series at Rimbun Dahan —
an arts centre established by architect Hijjas Kasturi and his
wife Angela Hijjas in Kuang, Selangor.
Later, they presented Virus at the Art Season Gallery in
Singapore and a joint-show called Toys at Wei-Ling Gallery in
Kuala Lumpur in 2006. The following year, they staged Grand
Opening – Warning! Tapir Crossing at their workspace called
Patisatustudio in Puncak Alam, Selangor.
Patisatustudio, which means “uniting essence”, also serves
as a creative space for visiting artists. “We have been organising international exchange programmes for artists since
Patisatustudio’s inception in 2007. Over the years, we have
welcomed friends from Indonesia, Japan and Europe,” Umi
says of the self-funded programme.
The non-profit project is aimed at building a network for international artists working in ceramics and sharing knowledge
and culture through art.
Since her last solo exhibition, Tag, in 2012, Umi has developed
another way of presenting her works. By incorporating the
“repetitive stacking” or building block technique matched with
custom-built plinths, Umi has expanded her creative vision
beyond producing imagined characters that represent the
spirit of her art.
“Fragile is a challenge that I gave myself in terms of skill and
scale. I have adopted the modular concept in my work … to
add or subtract a piece to create a whole new composition and
dimension.”
With the support of IJM Land, The Edge Galerie present Umibaizurah’s latest solo exhibition in line with its endeavour to
promote and cultivate Malaysian art.
HO KAY TAT
Publisher and CEO
The Edge Media Group
6
UMIBAIZURAH:
CERAMIC SCULPTOR
… from every Part,
They shift the moving Toyshop of their Heart.1
A few days after visiting Umibaizurah’s studio or workshop, I was trying to think
what it reminded me of. When I visited, she had made almost all the constituent
elements of her large complex pieces and was beginning to put them together: the
tables were covered with figures and architectural elements.
So, what did it remind me of?
This nagged me for days and then, an unexpected image finally floated up to my
consciousness: it is from the film Blade Runner2 where, in a vast desolate mansion, J
F Sebastian, a genetic designer and one-time maker of replicants, surrounds himself
with hybrids that are part-human, part-animal and part-machine. Creatures that are
human, but not human, strut around and stare at Dekker (Harrison Ford) as he enters
the mansion. His and our reaction is one of confusion: one feels admiration for the
artistry of such things; fear or distaste at the alien, uncertain status of these things
that live or seem to live; and then there is this deep attraction to their unexpected
beauty.
This is not so far from how I felt about Umi’s studio. One may not expect things made
of clay to be, if not exactly frightening, certainly potentially alien and strange because one’s assumption is that ceramics will be straightforwardly pleasing — charming and ornamental. But these are sculptures, not knick-knacks. Not everything
is delightful and chummy here. The unexpected visitors may also be unwelcome
visitors.
But for the rest of the day after I had left Umi’s workshop, I was thinking especially
of a particular sculpture of hers — The Giver. On a triangular base, there is a triangular pyramid of short columns. On the bottom level, there are ten columns, six on
top of that, three on top of that and one on top of that.3 On top of that is a boy or
doll with outstretched arms, his face all made up, and in a pouch like a kangaroo’s,
a small green animal is emerging. On the lower levels of the pyramid are set pear
shapes and black birds — they are glazed and shiny. The columns are covered with
decals of cherries. The base is important: it not only brings the work up to our eye
level but it also emphasises the triangularity of the sculpture.
1 Alexander Pope. Rape of the Lock. 1712.
2 Directed by Ridley Scott, 1982. A final cut issued on
DVD in 2007 represented how he wanted the film to be
before major interference by the film’s producers.
3 It may be that there are no columns in the centre – I
would only find out if I took the piece apart.
The structure, in profile from bottom to top, 4,3,2,1, is very simple. It is like the simple structure used by Sol LeWitt and other minimal sculptors.
Umi tells me that for this body of work, she has been composing by modules. Again,
the material, clay, and figurative elements may deflect us from the insistent simple
mathematical structures: Five in a row in Famous Five, six in a row in Unexpected
Visitors and so on.
7
But the more satisfying these complex forms are to me, the more puzzling their symbolism becomes. I am uncertain what they may mean. They are richer than decorative works but more difficult to grasp.
Because they are brightly coloured and have strong, clear shapes, one might initially see Umi’s works as pop-arty and funky. The five girls in Famous Five, for example,
seem to have come out of a cartoon. But unlike most pop-type works, this is no mere
celebration of pop culture. These works seem to be about something.
Who is the figure at the top of the pyramid? What does the sculptor mean by the
title, The Giver? What is he giving? There seems to be a story or allegory here. Does
he bring and give life? Is he the trickster or the coyote? Is he like the green man
of pre-Christian beliefs in England, who breathed the new life of spring from his
mouth? Some may see the figure as an innocent or a child. As with so many of her
figures, the eyes and eyebrows are painted fantastically; such a focus emphasises
both their delicacy and that they look at us, just as we look at them.
And the birds? We see birds often in ceramic form. We like bird, and in ceramics,
we tend to portray the more charming or beautiful birds. But the black birds that
surround the giver or the pair of lambs in “Love”, Word of the Day are more than
decorative. They have a different type of presence.
When we say a character or art work has a “presence”, what does that mean? That
there is something individual and contained within it, that it has some latent power.
If you think of the way Goya, for example, portrays birds and animals, they have a
vitality that is very different from the birds in wallpaper or porcelain. They are actors
in a drama, not mindless spectators.
“My work is playful but serious,” Umi says.
One thing I found initially odd in our conversation was that she referred to these
works as “toys”. They are not, of course. No collector is going to let his children play
with them. But what else should one call them? Sculptures, of course. Yet, they elicit
some of the complex emotions we have about toys.
Toys are to be played with — they are participatory. A toy that cannot be played with
is odd — uncanny even. If they seem alive, even more uncanny. Toys that come alive
constitute almost a genre in themselves, from Pinocchio through Toy Story to the
Lego Movie. It could be argued that they are rooted in the myth of Pygmalion, the
sculptor who made an ivory image of a woman so beautiful that he wished she were
alive. The goddess Aphrodite granted his wish and she came to life. But crucially,
toys remain different because they are not human. They are always an other.
Toys are mass-produced these days: Lego, Barbie, and so on.4 Only a few toys are
handmade now and they are prestige productions meant more as collectibles for
4 When I wanted to buy my first granddaughter a teddy
bear just as my grandmother had bought me I wanted
to buy her one made in Britain as mine had been made
– not one made in China.
There was only one small firm making teddy bears left
the UK: it was beautifully made but expensive. (website: merrythought.co.uk)
8
adults than children’s playthings. These works of Umi’s are clearly handmade and
the skill with which they have been made is one of the great pleasures of seeing and
handling them.
If the word “toys” remains problematic, perhaps we could think of them as dolls or
puppets, remembering the fragility or vulnerability of dolls, their status as placebo
people, their vulnerability and the richness of puppets in Southeast Asia. Or we
could think of the ceramic dolls left in the tomb of Liu Qi, a notable emperor of the
late Han Dynasty (206 BC to 24 AD) and his empress, Empress Wang, at the Yangling
Mausoleum near Xi’an, China. They are less well known than the nearby terracotta
army but more intimate in feel: hundreds of simple ceramic men and women put in
place to serve the emperor and empress in their afterlife. But each has an individual’s face. They have pathos. That would be true of the characters Umi makes too.
What led her to ceramics? Most of her tutors were painters, not ceramicists. “Clay
chose me, there was no ceramic artist to follow,” she tells me. She wanted to make
sculpture with clay. When we think of ceramics, we think of useful things, the plates
and bowls we eat from, or ornaments, small decorative objects that carry no big question or statement about life. In contrast, when we think of sculpture, we think of big
things: life-size bronzes or marble statues of heroes — or, if we are Hindus, Gods.
So, what do we mean by the term “ceramic sculpture”? Go to wiki and you are just
led to the websites of shops selling decorative ceramics for homes. That is not what
Umi does. She is more interested in Brâncuși than studio ceramics.
5 Kenneth Price (1935-2012) made abstract work, Robert Arnesan (1930-1992) made figurative work.
6 Famously he accepted his Turner Prize in 2003
wearing a dress.
7 http://www.saatchigallery.com/artists/grayson_perry_articles.html
8 R. Dorment, Daily Telegraph, May 2, 2001.
9 In England the most famous war memorial, the
Cenotaph (designed by Edwin Lutyens 1919-1920) is
nothing but an enormous, beautifully shaped plinth.
Nine other versions of it were built through the British
Empire, including Hong Kong.
10 In his catalogue essay Burton wrote, “I think that
some of Brancusi’s pedestal-tables are of the same
conceptual order as any of his busts or torsos. …not
only functional objects but also representations of
functional objects. We have here sculptures of tables,
close in character to Brâncuși other sculptures. They
are both object and subject.” Reprinted in Art in
America March 1990. See also http://www.neromagazine.it/magazine/index.php?c=articolo&idart=1056&idnum=40&num=30
There are not many ceramic sculptors around. As Umi points out, she is one of very
few in Malaysia. Internationally, Kenneth Price and Robert Arneson in California
come to mind.5 Grayson Perry in England is currently the most famous — partly
because he has also become the most famous transvestite of the planet.6 He is, in
fact, more a painter than a sculptor: the beauty of his vases lies very much on their
surface, not their shape. But much of what he has said pertains to Umi’s situation:
“People say, ‘why do you need to put sex, violence or politics or some kind of social
commentary into my work?’ Without it, it would be pottery.” 7
Sex, violence and politics may not be very explicit in Umi’s work; her themes, the
things that concern her — ecological decay and abuse, the state of Malaysia — are
more implicit than explicit. As with Perry, she is committed to escaping from the
decorative. When Richard Dorment wrote, “By covering the surfaces of his ceramics
with visual images that demand to be read as if they were painting, Perry challenges one of the basic assumptions that divide the decorative from the fine arts”8, he
could have been speaking of Umi too, except that it is the shapes and forms, not just
the surface glazing and painting, that evoke unexpected things from ceramic.
Each of her sculptures has a different presence — visionary, strange, fantastic and
threatening at times. The large ones come with a very specific plinth — indeed, we
should see the plinths as an integral part of the sculpture as each is individually
conceived and made. Many of the plinths are like those for war memorials.9
Since Romanian sculptor, painter and photographer Constantin Brâncuși, the plinth,
or its absence, has been a crucial factor in sculpture. Indeed, Brancusi was on Umi’s
mind when she made these “monumental” plinths. Scott Burton made a point of
curating a show of them at MOMA without the “sculptures” on top of them.10 The
9
Belgian sculptor Didier Vermeiren’s plinths were considered works of art in themselves and in 1989, he used the plinths under older, famous sculptures as a model
for his own works.
When we meet, Umi tells me that the theme of her show is “fragile”. In Malay, the
word she uses is rapuh, which can also mean “brittle”, “frail”, “crumbly”, “flimsy”
or “tender”. What are her issues? Hope and concern for the ordinary people of Malaysia who face economic and social problems.11 She tells me her own thoughts and
stories: Famous Five refers to the Rukunegara, the five principles of Malaysia set out
in 1970.12 The hybrid birds (Unexpected Visitors) come from destroyed forests. Like
all hybrids, they will make a new species. She sees them as businessmen arriving.
They are the only figures in this exhibition who she does not see as vulnerable or
fragile. The piece with the sheep surrounded by birds (“Love”, Word of the Day)
refers to the fragility of marriage.
These are not the tales that one expects from ceramics normally — or from toys.
What other stories would a wise child make up with these toys as props?
Umi began the work for this show after doing residencies and workshops in Europe
and Japan. When attending the sixth Echigo-Tsumari Art Triennale in Niigata, Japan,
last year and showing in a satellite show, she was especially moved by the beautiful
nature and mountains around it. She talks of how she felt at home there, cooking
and doing simple things. Nature and being in the landscape have always been important to her. In 2003, when she and her husband Shukri moved to Puncak Alam, it
was the countryside. Now, it is much more built up but it is still quiet and near mountains and areas where they can go biking.
After returning from Japan, Umi’s mood prompted her to paint first — she needed to
express her ideas very quickly. Like collages, the paintings function much like a diary or sketchbook. Clay is slow for her, especially large ceramic sculptures like these
that challenge her skills and technique.
I ask her if the “I” shapes are “I” as in “me” but she says they are just “shapes”,
like the I-beams used in construction. Umi is building a world but it is not just for
herself. It is for others, too. The invitation is to enter it, enjoy the skill, imagination
and playfulness she has made it with and search for stories.
Tony Godfrey
This essayist has been writing on contemporary art for over 35 years. To date, he has published more
than 140 articles and 300 short compositions on art-related subjects.
Godfrey’s 1998 book, Conceptual Art, was the first publication to project “conceptual art” as a
global phenomenon. Eighteen years on, it continues to be in print and has since been translated into
six languages.
From 1989 to 2008, Godfrey worked for the Sotheby’s Institute of Art in London, where he was
director of the Master’s programme in contemporary art. He was also professor of fine art at the
University of Plymouth before moving to Singapore in 2009.
Since then, he has worked as a writer and curator with artists from Southeast Asia and China. He
currently lives in The Philippines.
Godfrey’s books include New Image in Painting (1986), Drawing Today (1991), Conceptual Art
(1998), and Painting Today (2009).
He recently co-authored the book, Contemporary Photography in Asia, and is currently writing
two books including one on contemporary Indonesian painting.
11 A Malaysian flag flies in the foyer of Umi and
Shukri’s house.
12 1.Belief in God. 2.Loyalty to King and country.
3.Upholding the constitution. 4.Rule of Law. 5.Good
behavior and morality
CERAMIC SCULPTURES
12
U N EX P E C TE D
VIS IT O R # 1
2016
60cm x 25cm x 25cm
Ceramic and mixed media
on steel disc
13
U NE X P E C TE D
V IS ITO R #2
2016
59cm x 25cm x 25cm
Ceramic and mixed media
on steel disc
14
U N E X P E C TE D
V I S I TO R # 3
2016
66cm x 25cm x 25cm
Ceramic and mixed media
on steel disc
15
UN E X P E C TE D
VIS ITO R # 4
2016
62cm x 25cm x 25cm
Ceramic and mixed media
on steel disc
16
U N E X P E C TE D
V I S I TO R # 5
2016
62cm x 25cm x 25cm
Ceramic and mixed media
on steel disc
17
UN E X P E C TE D
VIS ITO R # 6
2016
60cm x 30cm x 30cm
Ceramic and mixed media
on steel disc
18
19
THE O RC H ARD
2015 - 2016
77cm x 36cm x 36cm
Ceramic and mixed media on
steel plate and wooden plinth
20
21
THE L AD Y “ S M O K Y
HAZ E ”
2015 - 2016
92cm x 79.5cm x 79.5cm
Ceramic and mixed media on
steel plate and wooden plinth
22
23
F AM O U S 5
2015 - 2016
36cm x 29cm x 140cm
Ceramic and mixed media on
wooden plinth
24
25
LOV E “ W O RD O F
THE D AY”
2015 - 2016
81cm x 58cm x 40cm
Ceramic and mixed media on
steel plate and wooden plinth
26
27
THE G IV E R
2015 - 2016
91cm x 91cm x 91cm
Ceramic and mixed media on
steel plate and wooden plinth
28
29
YES , S IR! ... O N D U TY
2015 - 2016
85cm x 75cm x 65cm
Ceramic on steel plate and
wooden plinth
WALL
SCULPTURES
32
N E W K I D S I N T OWN # 1
2015 - 2016
38cm x 30cm x 18cm (approximate size for each)
Set of five
Ceramic figurines on mini shelves
33
34
35
NEW KIDS IN TOW N #2
2015 - 2016
38cm x 30cm x 18cm (approximate size for each)
Set of five
Ceramic figurines on mini shelves
36
N E W K I D S I N T OWN # 3
2015 - 2016
40cm x 30cm x 18cm (approximate size for each)
Set of five
Ceramic figurines on mini shelves
37
38
K I N G & Q UE E N
2016
75cm x 63cm
Set of two
Ceramic figurines mounted
on board and framed
39
40
41
SH ARE L O C ATIO N
2016
70cm x 39.5cm, each
Set of four
Ceramic and mixed media
mounted on wood
PAINTINGS
44
F RIE ND L Y H AZ E
2015 - 2016
126cm x 95cm
Mixed media on canvas
45
46
KITA
2015 - 2016
126cm x 95cm
Mixed media on canvas
47
48
OCEAN
2015 - 2016
122cm x 91cm
Mixed media on canvas
49
50
YES S IR...O N D U TY
2015 - 2016
122.5cm x 91cm
Mixed media on canvas
51
COLLAGE
ON PAPER
Set of 10 works
54
THE O THE RS #1
2015 - 2016
42cm x 32cm
Collage on a reproduction
photogravure of The Lady
with a Fan
(1638-1639)
by Diego Velazquez
(1599-1660)
55
TH E O TH E RS #2
2015 - 2016
42.5cm x 32cm
Collage on a reproduction
photogravure of The Duke
of Gloucester as a Boy by
Sir Joshua Reynolds
(1723-1792)
56
THE O THE RS #3
2015 - 2016
41cm x 30.5cm
Collage on a reproduction
photogravure of
Mrs. Elizabeth Carnac (1775)
by Sir Joshua Reynolds
(1740-1749)
57
TH E O TH E RS #4
2015 - 2016
41cm x 30.5cm
Collage on a reproduction
photogravure of Cardinale
Infante Don Fernando of
Austria Hunter (1634-1636)
by Diego Velazquez
(1599-1660)
58
THE O THE RS #5
2015 - 2016
41.5cm x 30.5cm
Collage on a reproduction
photogravure of
Self-Portrait Playing the
Lute by Jan Steen
(1626-1679)
59
TH E O TH E RS #6
2015 - 2016
41cm x 30cm
Collage on a reproduction
photogravure of
Madonna in the Meadow
by Raphael Sanzio
(1483-1520)
60
THE O THE RS #7
2015 - 2016
41cm x 30cm
Collage on a reproduction
photogravure of The Merchant of Georg Giesze by
Hans Holbein the Younger
(1497-1543)
61
TH E O TH E RS #8
2015 - 2016
41.5cm x 30cm
Collage on a reproduction
photogravure of Marchese
Alexander del Borro
by Diego Velazquez
(1599-1660)
62
THE O THE RS #9
2015 - 2016
41cm x 30cm
Collage on a reproduction
photogravure of Albert and
Nicholas Rubens (16261627) by Peter Paul Rubens
(1577-1640)
63
TH E O TH E RS #10
2015 - 2016
41cm x 30cm
Collage on a reproduction
photogravure of
Helena Fourment by Peter
Paul Rubens (1577-1640)
64
UMIBAIZURAH MAHIR @ ISMAIL
Born : April 6, 1975. Muar, Johor, Malaysia
EDUCATION
1999 Diploma in Education (Art Teacher’s), Faculty of Art & Design,
MARA University of Technology, Shah Alam, Selangor, Malaysia.
2000 BA Hons of Art and Design (Ceramics), Faculty of Art & Design,
MARA University of Technology, Shah Alam, Selangor, Malaysia.
2014
SOLO EXHIBITION
2012 Tag, Wei-Ling Contemporary, The Gardens Mall, Kuala Lumpur,
Malaysia.
2009 Hybrid, Wei-Ling Gallery, Brickfields, Kuala Lumpur, Malaysia.
WORKSHOP, RESIDENCY & PROJECT
2015 International Exchange Residency, Doronco Studio,
Kamariyahigashi, Yokohama, Japan.
2014 Art In The Park ‘Public Art’, Perdana Botanical Garden,
Kuala Lumpur, Malaysia.
Route 19, International Exchange Residency, Patisatustudio,
Selangor, Malaysia.
Samsung Masterpieces Digital Art Project by Samsung,
Galeri Petronas, Kuala Lumpur, Malaysia.
2013 Bridge: Dari Utara ke Selatan, Project Installation, Esplanade
Concourse, Esplanade, Singapore.
5 Seasons, International Exchange Residency, Echt,
Amsterdam, The Netherlands.
2012 Century of The East, Silpakorn University International
Workshop, Thailand.
Nami Seom International Ceramics Festival, Korea.
2009 Tanah Timur, International Exchange Residency, Tokoname,
Aichi, Japan.
2004 The International Workshop of Ceramic Art (IWCAT), Tokoname,
Aichi, Japan.
EXHIBITIONS
2016 Taksu Gallery, Art Stage 2016, Marina Bay Sands Expo and
Convention Centre, Singapore.
Chanpuru 3-Man Show, Mominoki Gallery,
Shibuya, Tokyo, Japan.
2015 A Door Ajar, Galeri Chandan Kuala Lumpur, Start Art Fair,
Saatchi Gallery, London.
Champuru, Echigo-Tsumari Niigata, Japan.
Segaris Art Center, Art Expo Malaysia 2015, MATRADE
Exhibition & Convention Centre, Kuala Lumpur, Malaysia.
Art Aid 2015 Charity Show, Segaris Art Center, Kuala Lumpur,
Malaysia.
2013
2012
2011
Kita 3-Man Show, T&S Gallery, Tokyo, Japan.
The Space Between, Wei-Ling Contemporary, Kuala Lumpur,
Malaysia.
Diversity - Malaysian Arts, La Galleria, Pall Mall, London,
United Kingdom.
Art Bazaar Berlin 2014, Messe, Berlin, Germany.
Route 19, International Exchange Exhibition Malaysia
& Holland, Pace Gallery, Selangor. Malaysia.
Artcube Gallery, Art Expo Malaysia 2014, MATRADE Exhibition
& Convention Centre, Kuala Lumpur, Malaysia.
Samsung Masterpieces Malaysia, Galeri Petronas,
Kuala Lumpur, Malaysia.
Koelner Liste Contemporary Art Fair, Cologne, Germany.
Malaysian Eye Project Exhibition and book launch of Prudential
Malaysian Eye: Contemporary Malaysian Art, White Box,
Publika, Kuala Lumpur, Malaysia.
Tomorrow’s Land 3-Man Show, Pace Gallery,
Selangor, Malaysia.
Opening Show, Art Cube Gallery, The Intermark, Kuala Lumpur,
Malaysia.
Kembara Jiwa Fukuoka: Expanded Passion, Galeri Chandan,
Kuala Lumpur, Malaysia at Fukuoka Asian Art Museum, Japan.
Natural Theatre..Annendaelse Hoeve 107, by artists KC61, Echt,
Amsterdam, The Netherlands.
Bridge: Dari Utara ke Selatan, Project Installation, Esplanade
Concourse, Esplanade, Singapore.
5 Seasons, Norbert Dabekaussen Kunst Gallery, Sittard,
The Netherlands.
Century of The East, Silpakorn University, Thailand.
Sekaki, Segaris Art Center, Kuala Lumpur, Malaysia.
Spice 2013, Pace Gallery, Selangor, Malaysia.
Jakarta Contemporary Ceramic Biennale #2, Indonesia Visual
Art & Ceramic Museum and North Art Space Gallery, Indonesia.
Nami Seom International Ceramics Festival, Korea.
Conception in Reconciliation, Kembara Jiwa Project 2012.
Selasar Sunaryo Bandung & Taman Budaya Yogyakarta,
Indonesia.
Transit A4 Exhibition, House of Matahati, Kuala Lumpur,
Malaysia.
Art for Nature, Rimbun Dahan, Selangor, Malaysia.
Suarasa, Segaris Art Centre, Publika, Kuala Lumpur, Malaysia.
Songsang, Galeri Chandan, Kuala Lumpur, Malaysia.
World Travel Market 2011, Exhibition Centre London (ExCel)
London, United Kingdom.
65
Umibaizurah at The Edge Galerie, 2016.
66
2010
2009
2008
Cheongju International Craft Biennale 2011, South Korea.
Refreshingly Different, Taksu Gallery, Bali, Indonesia.
The Malaysian Rice Plates Project, Wei-Ling Gallery and Ministry
of Tourism, Kuala Lumpur Convention Centre, Malaysia.
Manifestasi Merdeka, National Visual Arts Gallery,
Kuala Lumpur, Malaysia.
Here Today Gone Tomorrow, Art For Nature, Rimbun Dahan,
Selangor, Malaysia.
Art Caged / Uncaged, Wei-Ling Contempoary, The Gardens
Mall, Kuala Lumpur, Malaysia.
New Painting and Sculpture, Pace Gallery, Selangor, Malaysia.
Women and Their Landscape, Pace Gallery, Selangor, Malaysia.
Locals Only!, Taksu Gallery, Kuala Lumpur, Malaysia.
Rogue Wave, Fringe Project Art Stage, Taksu Gallery,
Singapore.
The Young Contemporaries ’10, National Art Gallery,
Kuala Lumpur, Malaysia.
2-Man Show, Tiang Seri, Ernst & Young, Singapore.
Survivor, Art For Nature, Rimbun Dahan, Selangor, Malaysia.
Paperworks: Marks and Trails of Artistic Minds,
Galeri Chandan, Kuala Lumpur, Malaysia.
Thou Art Women, 2010 World Expo, Shanghai, China.
Five, Jyugaoka Gallery, Tokyo, Japan.
Boleh!, Taksu Gallery, Singapore.
3-Man Show, Azabujuban Gallery, Tokyo, Japan.
Tanah Timur, International Exchange Residency, Kyoueigama
Gallery, Tokoname, Japan.
The Tiger Show, Wei-Ling Gallery, Kuala Lumpur, Malaysia.
New Space Opening, Taksu Gallery, Singapore.
Locals Only!, Taksu Gallery, Kuala Lumpur, Malaysia
Jakarta Contemporary Ceramic Biennale #1, North Art Space,
Jakarta, Indonesia.
18@8 1Malaysia, Beyond the Canvas, Wei-Ling Gallery,
Kuala Lumpur, Malaysia.
Tanah Timur, International Exchange Residency Malaysia
& Japan, Japan Foundation, Kuala Lumpur, Malaysia.
Contemporary Malaysia Art, Gallery Archana, Kuala Lumpur,
Malaysia. Tanah Air, Rimbun Dahan, Selangor, Malaysia
Malaysia Services Exhibition 2009 (MSE 2009), Dubai,
United Arab Emirates.
The Contemporary Ceramic Asia Ceramic Network 09,
Penang State Art Gallery, Penang.
Asia Ceramics Network 08, Cyber & Catalog Exhibition, Seoul,
South Korea.
Cabinet, Valentine Willie Fine Art, Kuala Lumpur, Malaysia.
18@8 Vice and Versus, Wei-Ling Gallery, Kuala Lumpur,
Malaysia.
Emerging Asia, 2008 Asia Arts Network, KEPCO Gallery, Seoul,
South Korea.
2007
2006
2005
Art Triangle 2008, Sokka Gakkai, Kuala Lumpur, Malaysia.
Wet Seasons, Pace Gallery, Selangor, Malaysia.
Shifting Boundaries, Art For Nature, Rimbun Dahan, Selangor,
Malaysia.
Mind, Body, and Soul, Wei-Ling Gallery, Kuala Lumpur, Malaysia.
Out Of The Mould – The Age Of Statement, Malmo Art Museum,
Sweden.
Mapped, Jendela Arts Space, Esplanade, Singapore.
International Contemporary Ceramic, Asia Ceramics Network &
Selsius, National Art Gallery, Kuala Lumpur, Malaysia.
The Young Contemporaries 2006, National Art Gallery,
Kuala Lumpur, Malaysia.
Out Of The Mould – The Age Of Statement, Galeri Petronas,
Kuala Lumpur, Malaysia.
Jejak, Nasional Galeri Indonesia, Jakarta, Indonesia.
Exhibition, Pace Gallery, Selangor, Malaysia.
Grand Opening – Warning! Tapir Crossing, Two-Man Show with
Ahmad Shukri Mohamed, Patisatusudio, Puncak Alam, Selangor.
Ceramic and Textile, Pelita Hati Gallery, Bangsar,
Kuala Lumpur, Malaysia.
Kunang- Kunang III, Studio-Gallery Kunang-Kunang, Selangor,
Malaysia.
Open House, Kebun Mimpi Gallery, Bangsar, Kuala Lumpur,
Malaysia.
Mekar Citra 2007, Galeri Shah Alam, Selangor, Malaysia.
Virtousity-Women Show, Galeri Seni Johor, Johor, Malaysia.
Fund-Raising Matahati, Sokka Gakkai, Kuala Lumpur, Malaysia.
’00.15 Superstar’, Art For Nature, Rimbun Dahan, Selangor,
Malaysia.
Setahun Bersama, The Weld, Kuala Lumpur, Malaysia.
18@8 Contemporary Artists from Malaysia, Kuala Lumpur –
Karachi, Karachi, Pakistan.
Bank Negara Malaysia Art Invitational 2006, The Money
Museum & Art Centre, Bank Negara Malaysia, Kuala Lumpur,
Malaysia.
Open House, Gema Rimba, Kuala Lumpur, Malaysia.
Sculpture Show, Gema Rimba, Kuala Lumpur, Malaysia.
Feed Me! An Exploration of Appetites, Art For Nature, Rimbun
Dahan, Selangor, Malaysia.
Tabik Salute – A Tribute Exhibition for Jeri Azhari, National Art
Gallery, Kuala Lumpur, Malaysia.
Arts @ Earth, Xoas, Petaling Jaya, Selangor, Malaysia.
Arts @ Earth, KL Performing Art Centre, Kuala Lumpur, Malaysia.
Art Salon Show, Xoas, Petaling Jaya, Selangor, Malaysia.
Toys, 2-Man Show with Ahmad Shukri Mohamed, Wei-Ling
Gallery, Kuala Lumpur, Malaysia.
Pop Culture, Maya Gallery, Bangsar, Kuala Lumpur. Malaysia.
Taman Sari, WWF Art For Nature, Rimbun Dahan, Selangor,
Malaysia.
67
2004
2003
2001
1999
1998
1997
Grand Opening, Wei-Ling Gallery, Kuala Lumpur, Malaysia.
Takung, National Visual Arts Gallery, Kuala Lumpur, Malaysia.
Form-ing Materials and Processes, Two-Man Show with Ahmad
Abu Bakar, Sculpture Square, Singapore.
Fifteen, Darling Muse Gallery, Bangsar, Kuala Lumpur, Malaysia.
Paradise Lost/Paradise Found, Art For Nature, Rimbun Dahan,
Selangor, Malaysia.
Young Contemporary Award 2004, National Art Gallery,
Kuala Lumpur, Malaysia.
The International Workshop of Ceramic Art (IWCAT July-August
’04), Tokoname City Culture Hall, Tokoname, Aichi, Japan.
Inax, Togaku Kobo Gallery, Tokoname, Aichi, Japan.
The World Children’s Painting, Tokoname City Library,
Tokoname, Aichi, Japan.
Clay Design Collaboration with Children, Tokoname City Culture
Hall, Tokoname. Aichi, Japan.
Symposium Brush Calligraphy, Tokoname Higashi Elementary
School, Tokoname, Aichi, Japan.
Yakimono, Tokoname Ceramic Festival, Tokoname, Aichi, Japan.
Immersion, Maya Gallery, Bangsar, Kuala Lumpur, Malaysia.
Wahana, Collaboration of Singapore and Malaysia Exhibition,
National Visual Arts Gallery, Kuala Lumpur, Malaysia.
Games People Play, Rimbun Dahan, Selangor, Malaysia.
Formalisma Tampak Dalam Seni Khat & Seni Tampak Malaysia,
Dewan Bahasa Dan Pustaka, Kuala Lumpur, Malaysia.
Virus, joint exhibition with Ahmad Shukri Mohamed,
Art Season Gallery, Singapore.
Impressions, Shah Alam Gallery, Selangor, Malaysia.
Incubator Series, collaborative work with Ahmad Shukri
Mohamed, Rimbun Dahan, Selangor, Malaysia.
Open Show 2001, National Art Gallery, Kuala Lumpur, Malaysia.
Phillip Morris Malaysian Art Awards ’01, National Art Gallery,
Kuala Lumpur, Malaysia.
Johor Exhibition, Yayasan Warisan Johor, Johor Bahru, Malaysia.
Nokia Arts Awards – Asia Pacific, National Visual Arts Gallery,
Kuala Lumpur, Malaysia.
Philip Morris Malaysian Art Awards ’99, National Art Gallery,
Kuala Lumpur, Malaysia.
The Malaysian Insurance Institute, Mandarin Oriental Hotel,
Kuala Lumpur, Malaysia.
Degree Show, School of Art & Design, MARA University of Technology, Shah Alam, Selangor, Malaysia.
Young Contemporary ’97, National Art Gallery, Kuala Lumpur,
Malaysia.
AWARDS
2010 Top 40 Under 40, Poised For Power 2010, Prestige Malaysia,
Kuala Lumpur, Malaysia.
2007 Top 10 Winners, The Young Contemporaries ’06, National Art
Gallery, Kuala Lumpur, Malaysia.
Consolation, Mekar Citra 2007, Galeri Shah Alam, Selangor,
Malaysia.
2005 National Arts Council Arts Grant, Singapore.
2004 Grant for the International Workshop of Ceramic Art, Japan
workshop awarded by MARA (UiTM), Selangor, Malaysia.
Top Five Winners, Clay Sculpture Collaboration with Children,
Tokoname City Culture Hall, Tokoname, Aichi, Japan.
1998
– 2001 Scholarship Award - Degree Ceramics, Yayasan Pelajaran Johor,
Malaysia.
1999 First Prize, Johor Art Competition ’99, Yayasan Warisan Johor,
Johor Bahru, Johor, Malaysia.
Finalist, Nokia Arts Awards – Asia Pacific, National Art Gallery,
Kuala Lumpur, Malaysia.
Honourable Mention, Philip Morris Malaysian of Art Awards
’99, National Art Gallery, Kuala Lumpur, Malaysia.
1998 Dean’s List (Ceramics), School of Art & Design,
MARA University of Technology, Shah Alam, Selangor, Malaysia.
1995 Consolation Award, National Day’s, Kuala Lumpur, Malaysia.
68
INDEX
Famous 5
22,23
Friendly Haze
44,45
King & Queen
38,39
Kita
46,47
Love “Word of the Day”
24,25
New Kids in Town #1
32,33
New Kids in Town #2
34,35
New Kids in Town #3
36,37
Ocean
48,49
Share Location
40,41
The Giver
26,27
The Lady “Smoky Haze”
20,21
The Orchard
18,19
Unexpected Visitor #1
12
Unexpected Visitor #2
13
Unexpected Visitor #3
14
Unexpected Visitor #4
15
Unexpected Visitor #5
16
Unexpected Visitor #6
17
69
Yes Sir…On Duty
50,51
Yes, Sir!... On Duty
28,29
The Others #1
54
The Others #2
55
The Others #3
56
The Others #4
57
The Others #5
58
The Others #6
59
The Others #7
60
The Others #8
61
The Others #9
62
The Others #10
63
70
ACKNOWLEDGEMENTS
THIRD SOLO SHOW
It has been four years since my last solo show. Between 2012 and now, I have been
active in group exhibitions, attending workshops and residency programmes locally
and internationally.
InshaAllah, with all the knowledge and experience I have acquired over the years,
I am sharing them here, in my third solo exhibition.
Firstly, all thanks and gratitude to the Almighty for giving me the chance to complete
my latest solo exhibition at The Edge Galerie, Kuala Lumpur.
A big thank you to Tony Godfrey and my team at Patisatustudio and Jinjit: Khairul,
Mohd Al-Khuzairie Ali, Roxx, Salimin, Tawiludin, Zabedah and Mohd Zainuri.
A special thanks to my family: Emak, Che', Ahmad Shukri Mohamed, Adam Lais and
Iklil Ali for their kind understanding, encouragement and patience.
To my collectors, media, fellow artists and friends.
And to all who have been involved either directly or indirectly.
Thank you.
With love,
Umibaizurah Mahir @ Ismail, 2016.
71
72
G5-G6, Mont’ Kiara Meridin
19 Jalan Duta Kiara, Mont’ Kiara
50480 Kuala Lumpur
Tel +603 7721 8188 / +603 6419 0102
Email: [email protected]
EXH IBIT IO N PER IO D
21 July - 5 August 2016
DES IG N ED BY
The Edge Communications Sdn Bhd
P H OT O G R A P H Y BY
Kenny Yap
Mohd Izwan Mohd Nazam
PR IN T ED BY
Percetakan Zanders Sdn Bhd
Copyright © 2016 The Edge Communications
All rights reserved. No part of this publication may be reproduced or transmitted or published in any form or by any means,
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information storage and retrieval system, without permission in
writing from the copyright owner.
COV ER
The Giver, 2015 - 2016, 91cm x 91cm x 91cm
Ceramic and mixed media on steel plate and wooden plinth
Supported by
G5-G6, Mont’Kiara Meridin,
19 Jalan Duta Kiara, Mont’Kiara,
50480 Kuala Lumpur
T: +6-03-7721 8188
[email protected]
www.theedgegalerie.com
Supported by