tcliew

The Returning (silent dialogue) 《重回记 -沉静的对话》

2010-10-02T09:15:00.003+08:00

The Returning (silent dialogue) by Liew Ting Chuang @ TC Liew

An audience interactive public installation project as part of 1Malaysia Contemporary Art Tourism “Sparkles In Penang”
by Tuanku Fauziah Museum & Gallery (MGTF), Universiti Sains Malaysia.

Medium: white antique chair assemblage with broken woods, ropes and string
Collection: MGTF fine art collection (on loan)

Location: Permatang Pelajar (Student Square) of Universiti Sains Malaysia, Penang.
_____________________________________________

诚意邀请您参观，并与白木椅照相。之后欢迎您上传到面子书页面上。

《重回记 -沉静的对话》

刘挺壮互动艺术装置计划暨

一个大马当代艺术旅游展之 “灿烂槟城”
理大端古花雨夏文物及美术馆办

媒介：古董木椅，碎木，绳及线混合媒体
收藏：端古花雨夏文物及美术馆美术品收藏（暂借）

装置于理大学生广场

Story about White-wooden-chair:

White-wooden-chair dreams to be tree again

A 50 years old wooden chair originally was in black but now it prefer in white colour. It likes to be call as “White-wooden-chair”. It feels lonely in the studio that surrounded by four white panel walls. The White-wooden-chair wishes to return to Mother Nature. It misses the experience being as tree as like in the past decades. Recently White-wooden-chair has grown roots, as the attempt to penetrate cement floor of the studio. It has a strong desire to feel the soil. It chooses to grow root at Permatang Pelajar, Universiti Sains Malaysia. Within a night White-wooden-chair penetrates through red bricks; absorb water and minerals from soil to grow root. Unfortunately White-wooden-chair is still unable to become a tree. With a strong belief and being obsessive, White-wooden-chair manifests its wish in dreamscape. Therefore the shape of tree only sees in shadow form.

Silent dialogue with nature

After few days at Permatang Pelajar, White-wooden-chair is making friends from the nature. They are the Busy-ants, Trendy-mosquitoes, Cheerful-birds, Dry-leaves, Rain-drops, Dry-branches, Reflected-shadow, Growing-trees and Blowing-wind. Even though White-wooden-chair unable to transform and become a tree but it is living like a tree again for the time being. They like to make discussion about the surrounding of campus. Among the topics they discussed is the reaction of USM folk on sustainable development issue, the drivers’ manner in USM campus, student daily activities at Permatang Pelajar and enforcement of the White Coffin campaign. Unfortunately, they are unable to disseminate because lack of the voices from the members of society.

Expanding the friendship

White-wooden-chair wishes to expand his friendship so that it can meet more friends. It wishes to invite all the members from different layers of society to pay a visit. It wishes to make dialogue among the visitors. It is an effort to share the thought from their silent dialogues to the public. The White-wooden-chair hope public listen to the members of nature. The silent voices from them; how are Busy-ants work, why do Trendy-mosquitoes drink bloods, how do Cheerful-birds sing, where are Dry-leaves flow, how fast do the Rain-drops fall, when are Dry-branches fall, when is Reflected-shadow appear, how long do the Growing-trees live and how strong does the Blowing-wind flow. The sharing is proposed to make so that the public will learn more about the White-wooden-chair.
Let’s us listen to the silent dialogue among the members of nature. On the other hand helps the members of nature and White-wooden-chair quest their curiosities. You are invited to join the nature fest.

TC Liew September 2010, USM.

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《白木椅的故事》

想变树的白木椅

黑色，年龄有五十的古董木椅，竟然改变形象把自己换上白色外套。喜欢大家唤白木椅的它，在工作室里感到非常寂寞又忍受四面楚歌般的痛苦。白木椅想回归大自然，回味以往树林生活。最近白木椅生根向地板伸展。它很想念泥土的温暖。白木椅选择在理科大学，学生广场里扎根。一夜之间，它不断攀藤也积极的穿越地砖；但是白木椅还是无法把变成一棵树。唯一的方法就是在梦里变树木所以它的影子都长了叶子。

沉静的对话

几天后，白木椅认识了不少大自然中的朋友。它们是忙碌的蚂蚁、时髦的蚊子、开心的鸟儿、枯萎的叶子、滴落的雨水、反映的影子、茂盛的树木以及流动的凉风。虽然白木椅无法变成树木不过有了大自然的朋友，另它回味树林生活。白木椅与朋友们议论纷纷的探讨大学周遭的时事，如理大持续性发展计划、校园交通态度问题、学生活动、反宝丽龙运动等。它们都无法理解当中的原理因为少了大众为成员。

跨“大自然文化”交流

白木椅决定跨文化地向人类交朋友。它希望邀请大众们前来理大拜访交流。这样大自然与大众就可以一杯聊天地，互相切磋交流想法。大自然代表的心声有如；为什么忙碌的蚂蚁停不下来？为什么时髦的蚊子爱吸血？为什么开心的鸟儿爱唱歌？枯萎的叶子飘向哪儿去？滴落的雨水往哪儿流？倒影何时重现？茂盛的树木何时老？习习凉风往哪儿吹？白木椅希望这次的交流可以保持跨“大自然文化”关系。

那么我们就参与大自然代表的对话，出席白木椅的邀请，同时为它们解答疑问。白木椅荣幸邀请您参与跨“大自然文化”盛会。

刘挺壮二零一零年理科大学启

Conceptual review

The Returning (silent dialogue) is refer to the artist’s returning. That is refer to the place that he is born and the campus that he is trained as an artist. Last 14 months, TC is produced series of installation artworks entitled Meeting the South (2009) in Artist-in-residence programme organised by Iskandar Malaysia Contemporary Art Show (IMCAS) 2009. And his Re-visiting Ah Kong in Memories (2009) is selected as finalist in Singapore Art Show 2009, exhibited at Singapore Art Museum. Both are his reflection of experiences in Southern Peninsular Malaysia and Singapore. TC always sensitive to the environment he is stayed. Therefore manifestation of Meeting the South (2009) depicts his uncomfortable experiences in Johor Bharu where his studio located inside a commercial complex. He is exposed to the centre of commercial activities and materialism world. Re-visiting Ah Kong in Memories (2009) is the reflection of his loneliness in the foreign land.

TC is worked on an antique chair which was originally black in colour. When TC brought it back to Penang, he aggressively turns the chair into white. He believe that white is his rejuvenation treatment for his sickness from engaging modern society in Southern regional. He prefers to stay in friendly environment. The chair is almost 90 – 100% high key value compliment with few 70 – 80% low key marks. Those are made by hatching marks and staining strokes, composed cyclically on the wooden seat. The values reflect artist positive expression. Meanwhile the cyclical composition suggests capillary wave force symbolise the “returning” on the wooden seat. TC expresses his obsessive manner to break the chair leg. Again he made assemblage with the broken leg and found broken woods. The intention depicted the grown of root on particular chair leg. Even though violent and aggressive but TC made it in careful manner.

Chair commonly interpret as symbol of power in western and eastern tradition. TC interprets it with unique thought. The chair is a present from his late grandfather. The interpretation of this chair is more humanised and with the sense of belonging. He has habit of collecting unique junks or artefacts. This showed his fetishism manner because he believes that collecting and retouching process able to rejuvenate his emotional sick. He treats the chair like a living creature, where it has dream, thought and making dialogue. TC treats the chair like him; the returning of wooden chair metaphor TC’s returning to hometown.

In the bigger picture, The Returning (silent dialogue) creates awareness of sustainability development concept. It aligns to the USM transformation manifesto even. TC chose Permatang Pelajar as installation site because he notices that most of the students pass by, especially in the morning, afternoon and evening section. Therefore, the installation is design to engage with the public. Through “Passive interactivity” TC invites the audiences to engage physically with the installation. Passive interactivity potentially creates simulacra that catalysts appreciation of nature. It makes audiences observe the beautifulness of Mother Nature. In directly, The Returning (silent dialogue) encourage the members of USM comprehend sustainable development concept so that we will grow together with the “members of nature”.

About the artist:

Currently Liew Ting Chuang @ TC Liew is persuading his Master of Arts (Visual Art & Design) at School of Arts USM. He is exploring the concept of non-digital interactivity in his art-making. He lectured at School of Art and Design, Southern College for approximately a year; collecting research materials while waiting for the approval for his MA proposal. He won few awards such as IMCAS 2009 Artist-in-residence, finalist in Singapore Art Show 2009, 1st Prize in Penang Young Contemporary Artist Competition 2007, major awards in Tanjong Heritage Art Competition yearly (2006-2008) and finalist in The World Biennial Exhibition of Photography 2007. Several pieces of his artworks are in the USM fine art collections.

Reflection of Life

2010-02-05T10:30:00.004+08:00

(download able CNY desktop wallpaper)

Artist in Aquarium - Meeting The South

2009-08-24T14:12:00.024+08:00

photography documentation by: Chew Win Win

click here to see viewer interpretation. INSPIRING ART

This is the result showcase of TC Liew’s artworks during 3 months IMCAS artist residency program. TC was working in aquarium-like studio, where there had glass partition separate him from the audiences. An audience’s participation art program is designed. TC drew participants’ portraits while they were making marks on pre-printed portraits. After the interaction, participant brought back a copy of drawn-portrait by TC Liew. He was meeting Johorian daily in his provided studio in Danga City Mall. Collected portraits and audiences’ respond sheets considered his collaboration artwork with 43 participants, titled Meeting the South #1. If you observed the interaction through the glass partition, it seems like TC Liew’s performance art. TC performed as an “artist” and participant perform as “Johorian”. Both made dialogue-through-drawings. Meeting the South #1 is considered as documentation of 2 months “performance” in Johor Bahru. And Meeting the South #2 is collection of portrait drawing on paper bags. Throughout this interaction with Johorian, TC was inspired. He decided to “re-look” himself in this foreign land. He is trying to achieve balance “on” his life. (He is still working on it)

TC manages to produce 21 artworks (small artworks) including the installation of this room, titled Artist-in-aquarium. Again, TC’s new series of artworks are cross-media. It includes 6 pieces of drawings, 4 sets of photograph (1 set of collaborative photography work with Johor artist, Chris Wong), 2 sets of installation and 8 pieces of “expanded media” artwork. He installed 7 light-bulbs represent 7 energy points, so called Chakra system. These light sources “enlighten” him in the dark. Every process of the art-making is considered as his self-discovery in this foreign land. The showcase is a mapping of his artworks according to his mind condition. Therefore, he designed specific installation for every piece of his artworks. He believes that, left-brain working intentionally and the right-brain working intuitionally. Basically, conceptual works installed on the left, so emotional works on the right. The artworks contain both elements installed in the middle of the room. With asymmetrical balance as basic composition of the installation, it shows the hierarchy of the 7 Chakra points.

TC Liew responded his experiences being “in-the-making artist” in this popular culture and capitalism spot. All the materials he used are ready-made manufactured goods and some are junks from waste depot. Again his artworks reflects social environ that is surrounded him. (He was working in the shopping mall for last 3 months)

“I always believe that civilization is the catalyst to art production; I keep on imitating, experiencing, comprehending and reinventing.” TC said.

Re-visiting "Ah Kong" in Memories at Singapore Art Show 2009

2009-08-14T21:35:00.004+08:00

何四荣《水波倒影》(27June – 26 July 2009)

2009-06-24T01:39:00.004+08:00

何四荣《水波倒影》(27June – 26 July 2009)

何四荣于1956年出生于马来西亚南端, 柔佛州的小城-永平。从小就接触了典型传统家庭教育, 同时处在小城环境长大。何四荣缺乏接触文化活动气息; 不像大都市如首都吉隆坡,槟城般,艺术教育及展览会蓬勃发展。几乎在艺术史上, 都认同的本土画家之乡。当代客观上, 选择艺术为全职工作是被视为无出息。这直接反映了当时发展中的马来西亚强烈依赖资本主义的操作模式。当代青年都重视经济、商业、会计等,商科系; 美术发展就被冷落了。不过,四荣偏向美术业发扬光大。
何四荣画中的每一笔都细心处理。他投入绘画水波并不是表面现象的记录,而是深入的探讨,与水的互相反映。他对水面的观察,理解水流的形态; 甚至向水波表现的情绪都可以在画布上观赏。虽然何四荣平日都为画廊事业操心,但他都会心平气和处理画面。这段时期内,何四荣更熟悉水波的光效;熟能生巧,笔触与色调反映四荣的精彩生活。《水波倒影》作画过程不再是为视觉美为本,相信这已经是何四荣修养的管道。

倒影人生人生倒影
蓝交叉红红点缀蓝
宁静涵波波涛存宁
让它沧动
让我禅懂

何四荣, 观水巧妙描述人生。水,本质虚;量度厚,捉摸不定。它,可依器渗入也可反之。四荣的画引示大众感应环境,体验生活智慧。大自然本是生态系统之母。人类社会发展都借用自然环境;同时资源更是维持人类的生存。当然生活智慧也该从大自然中领悟。刚柔并重,阴阳无缺;四荣的画豪放同时又精细。这表示了,他生活的调和,交叉强烈以达成和谐。形式上,简化相等元素;强调非一般的自然美。行为上,感性地向画布陈述人生;理性地修饰内心的情感。

“画者,他不断在推翻自己,又一再肯定自己。”摘自《不是一般的荡漾》浩于豪。

参考资料:
1. Reflections: Works by Hoe Say Yong, Artfolio, 2009.
2. 《倒影下的投影》朵拉,南洋商报,画艺风采
3. 《不是一般的荡漾》浩于豪

资料收集: 刘挺壮

4-28 Studio

2009-06-23T09:45:00.003+08:00

tcliew's 3 month temporary, aquarium like studio in Danga City Mall, Johor Bahru, Malaysia. (IMCAS Artist-in-residence 2009)

Meeting the South - an audiences participation art project

2009-04-21T20:40:00.006+08:00

tc liew's studio in Danga City Mall

Meeting the South #1 : collected portrait

Meeting the South #1: Choo Kok Choon - Johor artist friend who is surrealism artist.

Meeting the South #1: Mei Yin: Malaysian Institute of Art fine art student

Meeting the South #2: Tan Hong Liang - 10 years old kid from Jombali Cafe

Meeting the South #2: Win Win Mar - Vietnamese women who is working in Jombali Cafe JB.

With Sharon and Elaine at Jombali Cafe after the interaction.

Foo Chuang Ning with her portrait drawing.

[pot-luck (purdue) tan-jong]

刘挺壮《与”绘”南马》 – Iskandar Malaysia Contemporary Art Show (IMCAS)大众”互动艺术”

即日起至6月14日

《与”绘”南马》(Meeting the South)是IMCAS 大众参与美术活动, 呼吁爱好美术人士免费参与. 参与者可获免费人像素描!

自《Tan-jong:i-tuo:bi-kin》系列(槟城制造)开始,挺壮都不断发表”互动艺术”. 过去大学三年,他已经尝试各种非电子非数据的形式制成互动性的美术品.跟《与”绘”南马》相似的作品有《pot-luck(purdue普渡)tan-jong》, 挺壮大胆的借用(Appropriation)七夕鬼节祭典”普渡”环境污染的槟城反映地球暖化课题.在2007年七夕,挺壮公开焚烧香料和保利龙制成的槟城建筑物,并邀观赏者参与焚烧.他相信”互动艺术”是表演艺术后的发展,无剧台、无剧本、无演员及大众参与的”视觉表演”.

《与”绘”南马》邀大众与”玻璃缸”内的挺壮以绘画”对话”. 对柔佛陌生的他,计划此活动成为他认识柔佛人的平台. 挺壮一直认为，文明是促进艺术生产; 他一直在模仿，体验，理解和重塑生活经验. 生活原本就是艺术; 艺术更需要生活元素来将"她"发酵. 认识柔佛不只限于浏览名胜古迹, 溶入社会更体验当地文化色彩. 交流并非表面的接触. 缺乏诚意就如, 电脑解码人脑数据. 挺壮相信通过绘画不但是直接表现, 它是诚恳的标记或符号记录.这大众”互动艺术”呼吁柔佛人进一步亲近绘画,让色调沾染人生纯洁画布.

《与”绘”南马》分为两项目:

(一)刘挺壮邀大众参观位于新山金海广场4楼(4-28)画室. 参与者将提供原料纸张,在漫不经心的音乐环境下进行涂绘. 这时候,挺壮将把参与者给描绘. 参与者并可以观赏制作中的美术作品,做进一步的了解. 参与者将带回免费人像素描.

(二)约会柔佛人于新山金海广场底楼的Jombali Café, 31号座. 挺壮将在每晚9时至10时晚上等候来赴约的柔佛人,诚心交流. 同时, 挺壮就为您素描人像.当然,隔天早上您也可以在4楼的画室领取免费人像素描.

IMCAS 大众”互动艺术”

《与”绘”南马》(一)

时间: 即日起至6月14日(早上11时至晚上8时)

地点: 新山金海广场4楼(4-28)画室

《与”绘”南马》(二)

时间: 即日起至6月14日(晚上9时至晚上10时)

地点: 新山金海广场底楼Jombali Café, 31号座.

联络: 刘挺壮 tcliew 012-4008023

注:《pot-luck(purdue普渡)tan-jong》网上观赏,请浏览:

http://tcliew.blogspot.com/2007/08/pot-luckpurdue-tan-jong-tan-jong-i-tuo.html

表演艺术非戏剧

“她”, 无剧台、无剧本、无演员及展示大众的”视觉表演”. 动作为基本的视觉语言.一般上,艺术家自己演出,把身躯当作美术品的元素之一. 表演艺术演变自从60年代末,艺术家在大众表演.涵盖音乐、舞蹈、诗、剧场与影像等元素的艺术活动,现场展演的艺术形式.70年代末艺术家们则特别地拒绝表演这名词,因为它充满剧场的含意.电子艺术(Electronic Arts)就在这时候普及化,这也开创新局面好让艺术家有另类的创新.80年代,更多艺术家以本身的根源出发追溯到表演与视觉艺术上.表演艺术先驱有Vito Acconci, Laurie Anderson及Joseph Beuys.

本土的表演艺术是电子艺术的附属.Hasnul J. Saidon是大马第一个留学美国并主修电子艺术的艺术家(MFA in Integrated Electronic Arts, Rensselaer Polytechnic Institute). 目前Hasnul是理科大学Muzium & Galeri Tuanku Fauziah (MGTF)博物馆任职馆长. Hasnul在1993年回国,并1994年在砂劳越大学授教电子艺术课程. Hasnul在美国不但活跃地发表影像艺术,多媒体装饰艺术,音响艺术等电子创作;他还呈现”混合表演艺术”.

如1992年的《Listen to the Land》, 灵感来自在美国出世的长女让他质问国籍问题. 这也强烈的刺激Hasnul体会”土生土长”的感触, 在他的表演中, 他的身躯从地面上钻出混合多媒体装饰,表现回归祖国的精神. 1996年, Hasnul在砂劳越大学发表《Jambori Rimba》, 一场大众参与的音乐会. Hasnul联合美国的Mclean Mix (Barton & Priscilla Mclean)成功发表. 参与者同时可以无限的发挥潜意识里的乐调;无边无际的表现,仿佛一场大自然般的交响乐. 其他作品有1994年《Xpressi Xerimental》、1994年《Bernafas Dalam Lumpur》、1994年《Skin Trilogy》及1995年《Rama & Sita》. Hasnul认为表演动作是一种形式的语言学, 它可以展现想法,情绪甚至理论.

在1990年国际音像艺术节, 黄海昌(Wong Hoy Cheong)发表《Sook Ching》. 黄海昌结合了表演艺术、彩画及影像装饰艺术;以记录模式展示四年八个月日本时代的残局. 海昌强调主观性的历史档案也该重视.这项表演可列为本土”混合表演艺术”先锋之一.

资料整理: 刘挺壮

资料来源:

1. 1. Hasnul J Saidon and Niranjan Rajah, Pameran Seni Electronik pertama (catalogue), Malaysia: National Art Gallery of Malaysia, 1997.

2. 2. Roopesh Sitharan, Relocation – Electronic art of Hasnul Jamal Saidon & Niranjan Rajah (catalogue), Malaysia: Muzium & Galleri Tuanku Fauziah & 12 (Art Space Gallery), 2008.

3. 3. Qian Laizhong, Illustrating Western Contemporary Art, China: Contemporary Art Press, 2003.

4. Wikipedia.com http://en.wikipedia.org/wiki/Performance_art (accessed on 8 May 2009)

[tan-jong i-tou bi-kin] in IMCAS 09: Let's the "Northern" meet "South"

2009-03-21T21:43:00.007+08:00

Collection: Museum & Galeri Tuanku Fauziah, Universiti Sains Malaysia.

distributed flyers

press interview 1: 劉挺壯透過藝術作品‧妙喻檳城308前後社會現象

Revisitng AhKong in memories

2009-02-04T12:27:00.002+08:00

Hasnul J Saidon In between the lines - Solo Exhibition (Drawings 1979 - 2008)

2008-11-30T21:17:00.010+08:00

online art catalogue preview, please click here.

Science Carnival & Exhibition 'YOUTH SCIENTISTS'-Exposition of Science Research Projects

2008-07-08T23:53:00.006+08:00

MGTF Sculpture Garden

MGTF Screening Hall

MGTF Spaceship Stimulator

MGTF Laser Show (20 June 2008)

"Bengkel Portret MGTF", with Sekolah Menengah Selama, Kedah

2008-07-08T23:33:00.003+08:00

40 students from Sekolah Menengah Selama, Kedah Darul Aman.

Musuem & Galeri Tunku Fauziah (MGTF) Portrait Workshop, 12 June 2008

Facilitator: Hardiana Hidayah Binti Azni, Siti Nazurah Hashim & tcliew

looking into [tan-jong i-tou bi-kin] series

2008-05-03T10:13:00.005+08:00

A Surrealism video art that is depicted my dream about how I look into myself and adventure to seek for my late grandfather. The last piece of footage has been manipulated with motion graphics. Through the local hokkien conversation about how my late grandfather taught his daughters in their childhood; reflected Penang native lifestyle in the late 60’s. This experience taught me a lot about myself, identity and root.
I just try to say; please looking into yourself; get your own [tan-jong i-tou bi-kin] (made in Penang) or can interpreted as “looking into your very own hometown and yourself”

Extension from Welcome Home [tan-jong i-tou bi-kin] series: http://tcliew.blogspot.com/2008/02/welcome-home-tribute-to-ah-kong-tan.html

Worldwide Pinhole Photography Day

2008-04-29T21:19:00.005+08:00

"Let's have a cup of iced coffee, after a long walk in Penang heritage town. I used to do so when i do my visual research in Armenian Street! I love [ko-pi-O-bing]"

[the more we get together (当我们同在一起)] [tan-jong i-tuo bi-kin] series, site specific installation (site: Adiwana Gallery, School of Art USM), 2008

2008-04-03T13:02:00.018+08:00

§ Interconnection Puzzle 团结谜§

“The More We Get Together”
The more we get together
Together, together
The more we get together
The happier we’ll be
For your friends are my friends
And my friends are your friends.
The more we get together
The happier we’ll be.
-Katy Pine-

<当我们同在一起>
当我们同在一起
在一起, 在一起;
当我们同在一起
齐快乐无比.

我对着你笑嘻嘻!
你对着我笑哈哈!
当我们同在一起齐快乐无比.

welcome home! (a tribute to ah kong) [tan-jong i-tuo bi-kin] series, interact-able painting

2008-02-06T17:30:00.004+08:00

Dream City Busted Living - [tan-jong i-tuo bi-kin] (made in Penang) series

2007-11-30T14:03:00.001+08:00

link to Avid community

[ma-li pes-sta a-ri a-ri] [tan-jong i-tuo bi-kin] series, interact-able painting

2007-11-04T19:25:00.002+08:00

"we" belong to street don't put "us" in the museum! ?

(1st prize in Penang Young Contemporary Art Exhibition)

under~cover[age], silver print, 12"x16", 2007

2007-10-13T11:35:00.000+08:00

(exhibited in World Biennial of Student Photography, Master Centre, Novi Sad Fair, Serbia)

D'tangga Alternative Screening + Interactive Installation + Artchat, 26 sept 07, Wesnesday 10pm, Dekat tangga WIJAYAMALA, Pusat Pengajian Seni, USM.

2007-09-23T20:19:00.001+08:00

Project supervisor:
TAzhari TAzizan
contact 019 460 6084 for further info.

self-mirroring II, marker on brownpaper, 297mm x 420mm, 2007

2007-09-22T17:49:00.000+08:00

Menifesto of “Dead-centre Complementary” [Destructiveness]

2007-09-11T17:36:00.000+08:00

Manifesto of “Dead-centre complementary”

Against rule of thirds, is to break off norm perspective to provoke new concept that destruct human being thinking. Reconstruction of the philosophy of harmony must interpreted George Field Chromatics, rule of thirds 1845.

“93. Sir Joshua has given it as a rule, that the proportion of warm to cold colour in a picture should be as two to one, although he has frequently deviated therefrom; and Smith, in his “Remarks on Rural Scenery,” would extend a like rule to all the proportions of painting, begging for it the term of the “rule of thirds,” according to which, a landscape, having one third of land, should have two-third of water, and these together, forming about one-third of the picture, the remaining two-thirds to be for air and sky; and he applies the same rule to the crossing and breaking of lines and objects, & c.”

Beside according to rule of third, 4 crossing line form interactive and attractive spots called power point. Placements of subject-matters have advice to locate on or near the power point to enhance the optimum visual impact. Revolution has made, where non-of the primary visual data have place on the power point. Manifesto of “Dead-centre complementary” should shout out, “Dead-centre shouldn’t be avoided but it should implement! “Indirectly synchronisation between varieties of balance principles; gravity force have been created; where the revolved red heart ball is flooding on the airspace between sins and saint dimension. The composition is more than 2 dimensional balance points, understanding of virtual 3-D spatial must discuss. The composition is confrontational where the imagery on the right side stand out strongly and capture viewer breath for couple of second, and force viewers read as much possible visual information at once. Expose violence to viewers directly, but how far we say: this is symmetrical balance, no mirror imagery.

Besides, the composition is not asymmetrical balance, the red revolved heart play a main role as the centre point of the composition. Contrast between sins and saints have well depicted via the placement of elements and colour matching. Briefly, the portion of colour studies is 50%-50% static harmony in between hue and black. It neither complementary harmony nor triad or tetrad harmony of the colour balances. Again exploitation of failure of colour theory, destructiveness has been provoked. The abnormal colour scheme not only attracted viewer eye negatively, beside it psycho viewer mindscape and force pressure of society taboo tales to let viewer fall into long term interpretation of the visual essay.

“Dead-centre” complementary should suggest as solution to reinvent between minimalism and maximalism, where minimalism is the summary of idea and concept or a filtration of information. Besides, maximalism enhance information thought artist self experience in life that it can be transfer into single piece of work.

“... Chinese Maximalism emphasises the spiritual experience of the artist in the process of the artistic creation and their self contemplation outside and beyond...”Sarena Abdullah (2005), Chinese Maximalism: A New Artistic Methology?, sentAp!, Comtemporary Visual Art Magazine, Issue 1 jul-oct 2005.

But how far the manifesto work? And how far the hypothesis can realise and adapted?

Destructiveness

(Poem from Latiff’s [Express]ion+Log, Part 2)

Destructing…

Refering Pago-pago,

Read sentAp! Issue 5,

Attending Dr. Zek’s lecture,

Discussing Malaysian Modernist,

Attending Rahime’s Talk,

Listening to Modernist Chit-chat,

Waiting for apprearing Latiff

In Penang Artist’s Favourite Show!

It really…Destructed

“Pago-pago”ing my mentality,

Confusing my studies,

Blocking my thinking processes,

Awaking myself,

Shocking me, New input,

Rise up my curiosity,

I’m waiting, waiting and waiting…

End up

Disappointing.

& Impredictably…

“…through binary oppositions, like good/evils, day/night, man/woman, culture/nature, being/non-being, and that it is the non-being of its opposite that gives meaning to a term rather than it’s self/identity.” (Osbone, Richard. 2001. Megawords. Allen&Unwin: 45)

“Pago-pago: Bangkok seumpama corak cendawan yang bertumbuh rambang,” (Dr. Zakaria Ali, Malaysian Modern Art lecture, Feb 2007.)

“… pameran kembara yang saya berasa kecewa semenjak melangkah ke dalam Galeri Petronas minggu yang lepas…” (Dr. Zakaria Ali, Malaysian Modern Art lecture, Feb 2007.)

“Latiff, pelukis yang rajin and passionate, sejak Pago-pago, Mindscape, Gelombang, Langkawi dan, kini Voyage.. beliau giat melukis, setiap satu lukisan siap, beliau mendokumentasikan, mula-mula menggunakan slaid, sehingga digital, konsistensi beliau tak pernah lemah… Voyage walaupun ditundah tarikh siap tetapi siri yang beliau banyak struggling… pameran yang berjaya…” (Rahime, Malaysian Art Dialer, Fine Art As Business Seminar, March 2007)

寻~我...

2007-08-31T22:13:00.000+08:00

发觉,
我根本就是我自己,
无论是七年前或现在,
不一样的是处于不同的空间,
感应上天给我的魔练;
环境为导师!
开窍多一空间的门道...

[pot-luck(Purdue普渡) tan-jong] - [tan-jong i-tuo bi-kin] series (Interactive perfomance), 26th August 2007, 8.30pm, Ghara Seni Tanjong Art Gallery

2007-08-22T16:43:00.001+08:00

Synopsis

People said, there are 7 spirits "rasuk" in me, and they said I'm not going to stay for long. And they said again, I going to perform suicide, cause by the spirits. They said, there are big evils inside my body and control my move daily, and slowly I going to perform into devil. I'm going to revolve into different person, like living in hell. Who am I? I'm a devil or a human being? What should I do? ... Please Purdue I ... release me ...

[pot-luck(Purdue普渡) tan-jong] = 1. Penang's Potluck

2. Purdue (pray for) Penang

3. tan-jong = Penang

[tan-jong i-tuo bi-kin] = made in Penang

Project supervisor:

Asso. Prof. Fauzan Omar

Tengku Azhari Tengku Azizan

Performers:

tcliew

Lee Lin Chee
Sia Khai Ley

Cinematographer:

Juwiriah bt Mandor Baru

Tan Chau Tee

Siti Sarah bt Abu Bakar

Photographer:

Cheah Sern Chong

Now U eat, now u throw #2, Acrylic + marker + injet print on fabric, 4' x 3', 2007

2007-08-15T16:22:00.000+08:00

In between, digital imaging, 2007

2007-08-13T11:13:00.000+08:00

Bond[ing], ink on brown paper, 11.6" x 16.5", 2007

2007-08-10T17:29:00.001+08:00

(Ms. Lee Lin Chee's colection)

Gift of honour, digital print on canvas, 2007

2007-08-10T17:24:00.001+08:00

Taring anu: terang anu, 4' x 3', arcylic, 2007

2007-07-21T20:21:00.002+08:00

Detail

(conslolation prize in Citra Terengganu 2007 & permenant collection of Lembaga Muzium Negeri Terengganu)

X-Carnival: Taring Anu Story, stencil on glass, 23" x 28", 2007

2007-06-28T18:41:00.000+08:00

Wondering of the story of taring anu;

later there is a land called tringganu.

Wondering of the animals studies;

from the islamic prespective,

animal habitat loss and stay away from human society.

Wondering of the Kapcai;

new defination have make,

and the aerodynamic pose are practice,

in illegal street race.

Wondering of the cctv and human right;

no-word to say, for the future,

whose is going to predice how it perform in local society?

Think-wise this might be the window to let's us see from the different prepective!

Meditation Framework: mindset building, ink illustration on tracing paper, 2007

2007-06-04T16:43:00.000+08:00

(Tanjong Heritage 2007 - 1st prize in illustration category,

Tanjong public limited company's collection, 2007)

[see]ing, [memori]zing puzzle, interact-able painting, 2007

2007-06-04T16:24:00.003+08:00

(Tanjong Heritage 2007 - 2nd prize in mixed media category,

Tanjong public limited company's collection, 2007)

Darkroom Comeback #1: Sunrise, silver print, 16" x 10"

2007-06-04T16:08:00.000+08:00

Darkroom come-back

2007-06-04T16:03:00.000+08:00

The mother of printing industry: Darkroom

Less people heard about darkroom nowadays, to print a good picture, they are prefer digital printing shop, photostat shop or Xerox, home used injet printer, photo-enhanced injet printer or others digital output devices. Young generation in the rapid developing IT era claim new definition for printer, whereby in 10 years before “printer” always refer to darkroom operator, offset operator or print-maker in town.

“Using black and white film, photographers could control every step of the photographic process.” (Darkroom - Wikipedia, the free encyclopedia), means that in the darkroom, operator still can do amendment, alteration, improvement on the image quality. Darkroom is a unique entity, specific part of the darkroom to gain variety of effect. “The heart of most darkrooms is the enlarger, an optical apparatus similar to a slide projector that projects the image (usually) of a negative down onto a base. On the base, a sheet of photographic paper, typically either Resin-coated or fibre-based paper, is exposed to the (usually) enlarged image from the negative.” (Darkroom - Wikipedia, the free encyclopedia) Beside enlarger; grade filters, developer, stop bath, fixer and etc. are important to print every single picture.

“…software and techniques used in digital photography that replace the darkroom equivalents, such as enlarging, cropping, burning and dodging, as well as processes that don't have a film equivalent.” Traditional darkroom has been catalyst architectural programmer to develop digital image generation software or some practitioner mention as digital darkroom. Refer to the summaries on Wikipedia.com, Photoshop, recent version CS 2, is the famous and the most powerful imaging software, and won a few times best software of the years from several publications. Adobe brilliantly develop simplified version called Photoshop Elements, and bring up camera manufactures interest to buy the copyright and pair together of their products. Some they are prefer Adobe Bridge that is thumbnails of photographs storage and management digitally. Adobe Camera Raw able to convert any RAW format of market digital cameras into useable format such as jpeg, bmp and etc. for digital printers. (Digital Darkroom - Wikipedia, the free encyclopedia) New Photoshop CS 2 featured with self-made contact sheet in the new feature called automate> Contact Sheet II> and just browse to the file destination and CS 2 will automatically product contact sheet according to user defined.

“Paint Shop Pro (or "PSP") is popular image-editing application that competes with Photoshop as a commercial product. The Gimp is an open-source (and hence, free) image-editing application. It's used less commonly because many photographers find it difficult to operate, although newer versions show improvement here. Capture One is a "workflow tool," and considered by many to be the best RAW converter around. This is a commercial product, and among the more expensive. Other RAW conversion tools include: Bibble, QImage, dcraw, software from the camera manufacturers, and many others; almost all of them are commercial.” (Digital Darkroom - Wikipedia, the free encyclopedia)

The invention has made a giant revolution in local photography and printing industry. S&W Digital Photo Sdn Bhd is the first owner of PS 3000 computerized minilab in Penang. (Source: Mr. Song Jin Tek, professional photographer). PS 3000 with a film scanner that able to convert film into digital storage in variety formats, mostly market prefer jpeg, but bmp and tiff can give better resolution and finest pixel. “Common formats for digital camera images are the Joint Photography Experts Group standard (JPEG) and Tagged Image File Format (TIFF)” (Digital Camera - Wikipedia, the free encyclopedia) This bring up a new input to graphic industry, especially in Penang, digital camera is very important and become instant imagery producing tools to help in their ideas generation. “An autonomous device, such as a PictBridge printer, operates without need of a computer. The camera connects to the printer, which then downloads and prints its images. Some DVD recorders and television sets can read memory cards too. Several types of flash card readers also have a TV output capability.” (Digital Camera - Wikipedia, the free encyclopedia)
Darkroom is essential for education purposes, and Computer Generation Imagery (CGI) still the convenient method nowadays. CGI make huge contribution in graphic, film-making, web-design, publication, Fine art and even photography itself. Preserve the mother and care the child. This is brief idea from Mr. Song Jin Tek, professional photographer when in mini photography forum, organized by USM Photo Club on the 17 of March 2007.

Catch it.. fast... or regrad?!

2007-05-29T20:12:00.000+08:00

Time
is and powerful
element in life,

it :
influence;

?! waiting,rushing,revolving....

From seed become tree;
from saint become evil !?

That is life,
should learn!!

(don't lost it!)

Contributions = (x) x sama-sama, stencil & silk screen printing installation, 2007

2007-05-02T14:59:00.000+08:00

"heaven gold" contribute to death one,

burning papers contribute to create pollution;

waste contribute to factories,

recycling contribute to make domestic goods;

printed t-shirts contribute to society,

but used t-shirts contribute to waste depot;

contributing...

. . same-same = (x) contributions

International Pinhole Day 2007

2007-05-01T12:47:00.000+08:00

"no one in the school today, restday + term holiday... but 4 of us still hunging around! 8x10 Ilford MGV Multigrade IV RC De Luxe, 6"x6"x8" DIY pinhole camera, 15 minutes exposed. Printing: f/5.6 13sec. under enlarger Venue: School of Art, Universiti Sains Malaysia, Penang, Malaysia."

Latiff's [Express]ion+Log

2007-04-25T14:10:00.000+08:00

Voyage
It was a studies trip, far, traveled
From the northern to the middle
Of the Peninsular;
What was the hell? Traveling? Damn!
Reached Petronas Gallery
At the time, sun hanged top of my head, hot day!!
The fisrt step in!!
God damn!! Saw the word Voyage!!
Was it a “Voyage” to me?
Cool! Air conditioning! Stepped in, tired feet, lazy mind, sit down
Blue, white, heavy stroke, attracted me
What is the hell? Splashed of paint?
Cleaned, fogged glasses, observed carefully!!
Those are not simple strokes…
Cool, calm, quite, clear, static, but flooding..
No story? Non-statement?
Maybe…
Just a simple documentation, Latiff’s life
Simple, relaxing, enjoyable, elegant,
But lonely.
Latiff Mohidin’s code – expression reading
Read poems, comprehend idealogy, “see” artworks
And feel Latiff’s tune.

“Latiff, after returning from art school in Germany, soon added a local theme to his work resulting in the Pago Pago Series.” (Dr. Jolly Koh, Some Misconceptions in Art Writing In Malaysia*, sentAp! Issue 5 nov 06-jan 07)
“The Expressionist does not look, he sees.” (Kasimir Edschmid, a German writer, 1890-1966.)
“Expressionist art is not an impression from outside but an expression from inside.” (Herewath Walden, the German artist, 1879-1941.)

Destructiveness
Destructing…
Refering Pago-pago,
Read sentAp! Issue 5,
Attending Dr. Zek’s lecture,
Discussing Malaysian Modernist,
Attending Rahime’s Talk,
Listening to Modernist Chit-chat,
Waiting for apprearing Latiff
In Penang Artist’s Favourite Show!
It really…
Destructed
“Pago-pago”ing my mentality,
Confusing my studies,
Blocking my thinking processes,
Awaking myself,
Shocking me, New input,
Rise up my curiosity,
I’m waiting, waiting and waiting…
End up
Disappointing.
&
Impredictably…

“…through binary oppositions, like good/evils, day/night, man/woman, culture/nature, being/non-being, and that it is the non-being of its opposite that gives meaning to a term rather than it’s self/identity.” (Osbone, Richard. 2001. Megawords. Allen&Unwin: 45)
“Pago-pago: Bangkok seumpama corak cendawan yang bertumbuh rambang,” (Dr. Zakaria Ali, Malaysian Modern Art lecture, Feb 2007.)
“… pameran kembara yang saya berasa kecewa semenjak melangkah ke dalam Galeri Petronas minggu yang lepas…” (Dr. Zakaria Ali, Malaysian Modern Art lecture, Feb 2007.)
“Latiff, pelukis yang rajin and passionate, sejak Pago-pago, Mindscape, Gelombang, Langkawi dan, kini Voyage.. beliau giat melukis, setiap satu lukisan siap, beliau mendokumentasikan, mula-mula menggunakan slaid, sehingga digital, konsistensi beliau tak pernah lemah… Voyage walaupun ditundah tarikh siap tetapi siri yang beliau banyak struggling… pameran yang berjaya…” (Rahime, Malaysian Art Dialer, Fine Art As Business Seminar, March 2007)

Offline” Latiff
Online, at Voyage –Kembara opening
Offline, at Artist’s Favourite Showcase
Online for his own teritory
Offline among the modernist
Online of his “Pago-pago”
Offline on his “Voyage”
Online with T K Sabapathy
Offline with Penang State Art Gallery
Online in studio
Offline in public
Online in art history class
Offline in studio class
Latiff only
Online in Penang, Kuala Lumpur, Kuala Tembeling.
Not other.

“…may be of special interest to those who are more familiar with my gesturer works as in my Gelombang and Rimba Series.” (Dr Zakaria Ali Artist’s Favourite: Directory of Penang Artists, Penang State Museum & Art Gallery, 2007)
“In computer technology and telecommunication, on-line and off-line are defined by Federal Standard 1037C. They are states or conditions of a "device or equipment" or of "a functional unit". To be considered on-line, a device must be at least one of:
‘Under the direct control of another device’
‘Under the direct control of the system with which it is associated’
‘Available for immediate use on demand by the system without human intervention’
‘Connected to a system, and is in operation’
‘Functional and ready for service’
while a device that is off-line is not (e.g. it has "its main power source disconnected or turned off’, and is "off-power’).”
(http://en.wikipedia.org/wiki/Offline)

Bibliography
Dr. Jolly Koh, Some Misconceptions in Art Writing In Malaysia*, sentAp! Issue 5 nov 06-jan 07
Dr Zakaria Ali, Artist’s Favourite: Directory of Penang Artists, Penang State Museum & Art Gallery, 2007
Hasnul J Saidon, Ahmad Fuad Osman Dislocated Catalogue, Art Space Gallery, 2007
Qoute, Kasimir Edschmid, a German writer, 1890-1966.
Qoute, Herewath Walden, the German artist, 1879-1941.
Qoute, Osbone, Richard. 2001. Megawords. Allen&Unwin: 45
Qoute, Dr. Zakaria Ali, Malaysian Modern Art lecture, Feb 2007.
Qoute, Rahime, Malaysian Art Dialer, Fine Art As Business Seminar, March 2007
http://en.wikipedia.org/wiki/Offline
http://en.wikipedia.org/wiki/Destructiveness
http://en.wikipedia.org/wiki/Phrenology
http://en.wikipedia.org/wiki/Expressionism
http://www.artnet.com/artist/679971/latiff-mohidin.html
http://www.artsasia.com.my/exhibits/05rare/latiff.html
http://malaysian-arts.blogspot.com/2005/05/art-as-investment.html#comments
http://www.geocities.com/sajak29/moden/latiff/index.htm
http://www.latifm.com/PHP_Nuke/modules.php?name=News&file=article&sid=137
http://mstar.com.my/cms/content.jsp?id=com.tms.cms.article.Article_494cbc3c-c0a85062-9af3ee00-4489748b
http://malaysian-artist.blogspot.com/2005/05/latiff-mohidin.html

Self mirroring, analog photography, 2006

2007-04-03T03:25:00.000+08:00

[.my] life is empty, interact-able painting, 2006

2007-04-03T03:23:00.002+08:00

Dare-to-open, interact-able painting, 22" x 16", 2006

2007-04-03T03:19:00.002+08:00

(Tanjong public limited company's collection, 2006)

Dream city basted living, photography slideshow, 3 minutes, 2006

2007-04-03T03:16:00.000+08:00

To whom it may concern #1, interact-able painting, 22" x 16", 2006 (destroyed on 11 May 2007)

2007-04-03T03:13:00.002+08:00

no one concern, because of the cultural factor, no one read me! only say something rubbish.. so better sent it into waste depot... haha finally have been destroyed!! DESTROYED!!!

Now you eat now you throw, digital print, variety size, 2006

2007-04-03T03:10:00.000+08:00

Truly Prosperity, silver printed photogram with tinted, 36" x 36", 2006

2007-04-03T03:05:00.000+08:00

Prono-civilisation, interact-able painting, variety size, 2006 (destroyed on 11 May 2007)

2007-04-03T03:02:00.002+08:00

Good morning hometown, watercolour, 22 x 32", 2006

2007-04-03T02:54:00.000+08:00

Messenger to heaven, silver print, 8" x 10", 2006

2007-04-03T02:50:00.000+08:00

TheyRHereDoUNotice, photography, 8" x 10", 2006

2007-04-03T02:32:00.000+08:00

Believe, silver print, 8" x 10", 2006

2007-04-03T02:20:00.000+08:00