MICROSOPIA faizal suhif
FOREWORD INTRODUCTION ARTWORK BIOGRAPHY ABOUT GALLERY ACKNOWLEGMENT
foreword
Founded in 2013 under the name 69 fine art Gallery, the Vallette Gallery represents a broad range of innovative local and international artists who are active in the fields of painting, sculpture, photography and installation. Based in Kuala Lumpur, our boutique Gallery is a strong advocate for building long lasting and trusting relationships between artists, collectors and art lovers, both locally and internationally. Guided by our passion for artistic excellence, we provide a creative space as a platform where artists meet and share ideas. We are hosting a one-of-a-kind virtual solo exhibition “Microscopia” featuring local artist Faizal Suhif. Based in Kuala Lumpur, Faizal is one of the most talented Printmaking artists of his generation. We believe his commitment, faith, passion and hardwork will continue to create new chapters in his life and career. At Vallette Gallery, this dynamic time presents the opportunity to stay agile and relevant through exploring new ways to adapt to this ever evolving landscape. Now more than ever, we recognise the importance of remaining united and resilient as a community. Through “Microscopia”, we invite you to connect with the artist to stimulate your mind, express yourself and communicate. Patrice Vallette Director & Curator
INTRODUCTION : CONSTATIN BECK
When artists traditionally depict nature, they paint great natural landscapes, producing canvas celebrating nature in its opulence, in its abundant colours, producing beautiful or sublime pictures of seaside, forests, mountains, which, in Western Art History at least, would always resonate with the Biblical theme of the Lost Paradise. Faizal Suhif on the other hand, whose atelier is located in Hulu Langat in the countryside, has a very different approach to nature. He focuses on the very small things, the microscopic elements of nature one usually overlooks, and magnifies them by turning them into big canvas. The seeds, bees, crops, mushrooms, roots and spiders which flourish in his imagination become the center of his Microscopia. In “Hidup Merumbun”, for example, a mushroom originally the size of a finger suddenly morphs into a 2-meters high canvas. It is as if the spectator would look in a microscope and suddenly all the details of its intriguing form appear to us which our bare eye wouldn’t be able to see normally. Faizal is a printmaker, who graduated at the UiTM. The majority of his artworks are prints. Faizal often does what he calls extended printing where he places his canvases on rocks, tree barks, and “prints” nature itself. Like a geologist, he collects visual samples of nature. Often, we can guess the material of the original background depicted on the canvas. Is it a rock, a bark, moos, the soil itself? In a certain way, they all look similar. For someone like Faizal, who lives and works amongst the trees and the farmlands, who is used to helping his father working in the fields, the force and mystery of Nature lies in its smallest elements. A series of diptychs’ showcases a simple seed, in all its modesty, but over-scaled and morphed into a 2-meter diameter orb floating in an almost abstract background. The seed suddenly looks like a transmuting planet, maybe a tiny version of Earth itself. The artists play with scales reminds us of the relativity and the similarity which exists in the different layers of the cosmos. Small seeds planted in a farmland look like planets in the galaxy, atoms in the subatomic realm, cells in an organism, waterdrops in the ocean, stars in the void. As per design, the microscopic reflects the macroscopic – or maybe it is the other way around, and the macroscopic scale is merely a reflection of the microscopic world, where it all begins? The romantic European painters and poets look for God in the mighty manifestations of the natural world. The Wanderer would climb the highest mountains, cross the darkest forests, travel the oceans, witness storms and breath-taking landscapes, reflecting on the human condition in front of the unchained forces of nature. Faizal is no Wanderer, he is the son of a Farmer and as such, he is impregnated with the virtue of those who are used to listen to the calm and steady ways of nature. When he paints a landscape, which often in Faizal’s work are scorched lands and burned down forest, he always depicts little seeds or flowers or plants which are already growing amidst the ashes.
He calls the seed of“Hope” hiding beneath the soil, which one day will bring a bountiful harvest. But to work with nature requires patience, steadiness, sheer commitment. It requires to work within the repetitive cycle of seeding, growing and harvesting while adapting to a rhythm that is very different rhythm than the fast pace of our modern world. Faizal’s artistic work is based on this rhythm. His auto-portrait is entitled “Diam, Diam”, which means something like slowly, steadily, calmly. It depicts the artist laying, maybe sleeping and resting after a long day of labour, amidst a forest. The way the shape of his body is slowly morphing into tree lines reminds the vegetal portraits of Arcimboldo. The graphic movement originates in his mind, on the left side, and the more the drawing progresses to the right, the more emptiness there is on the canvas until leaving a completely void. This dynamic layout suggests a movement, and also a timeline: the artistic process originates in the present and slowly fills the blank future, full of possibilities, one drawing after another, step by step. Because the portrait of the artist is merely a sketch and his face not fully recognizable, there is some room for interpretation and one could see mother nature itself lying there, slowly and steadily morphing the hills and the forests in her dreams, reinforcing this idea that Faizal is imitating Nature in his process. A look at his impressive career, the number of works and exhibitions he already produced show that Faizal is consistently guided by his principles. Faizal is a daydreamer and a poet. He is no conceptual artist, nor is he a demiurge persona who creates a world on his own, ex nihilo. He wanders in natural surroundings, observes the pattern on tree, barks, and rocks. He listens to the fish, and the bee, and watches seeds grow over the seasons. His inspiration comes from his environment. It deeply resonates within him, and his imagination is used to investigate and extend those hidden shapes and forms he witnesses around him. Like an archaeologist, he is searching the soil, the barks, the flowers, seeking their connection to the Universe, highlighting their presence in the Cosmos. His work is also heavily influenced by the words and often contain references to the Al-Qu’ran, Malay poets and traditional proverb, whether it be in the titles or on the canvas itself, as he often discreetly writes down on his prints. The wisdom of those powerful words are added to the gentle and deep images he creates, enhancing even further his visual poetry. Faizal is very clear that his artistic activity is a labor, that it requires hard work, discipline and technical skills he needs to perfect every day, he also indicates that it is a spiritual journey. When asked him why he was fascinated with printmaking, a rather underrated artform especially in Malaysia, he refers to the almost meditative aspect of the processualism required in printmaking. Stacing, penciling and printing. And then doing it all over again. Maybe more so than painting or other major artistic disciplines, it feels like a repetitive work with strong technical requirements, where one has to negotiate with tools, machines, processes, and materials Printmaking is a very humbling activity, says Faizal. One understands quick why he was drawn to this specific medium. Constatin Beck Assistance Curator & Writer
INTRODUCTION : FADLI MOKHTAR
Biasan tampak dari alami seorang seniman Selama berabad-abad, bidang seni rupa telah mengalami kemajuan yang pesat baik dari aspek persembahan, pengisian, teknikaliti sehinggalah kepada inovasi bahan dalam penghasilan karya seni. Dalam konteks praktis seorang seniman, transisi kesenian mereka memperlihatkan fasa kemandirian untuk mencari titik kematangan. Lingkaran ini dilihat sebagai waktu yang ideal bagi seorang seniman menganjakkan praktis kesenian mereka ke arah yang lebih berdaya maju. Dalam mendalami perkara tersebut, biarlah saya menumpukan perbicaraan terhadap perihal seniman muda seperti Faizal Suhif serta potensi yang wujud dalam praktis kesenian beliau dalam kerangka seni kontemporari tanah air. Faizal Suhif merupakan sebilangan seniman muda yang masih cekal mengamalkan praktis seni cetak secara terus-menerus dan konsisten. Kesinambungan ini dapat dilihat menerusi rentetan karya beliau yang cenderung kepada pengkhususan seni cetakan. Menyusuri karya-karya beliau dalam tempoh 10 tahun terakhir, kita boleh menganalisa perkembangan beliau dalam mentakrifkan semula prinsip-prinsip penghasilan karya seni cetakan. Seperti yang saya fahami, kegagalan, kesukaran, potensi dan penemuan baru pada satu-satu subjek kajian adalah satu kelaziman yang akan berlaku dalam saling kait tersebut. Penerokaan ilmu dalam praktis kesenian boleh menjadi lebih progresif berbanding kekal bersifat tetap, formulatif dan statik. Faizal seperti seniman muda yang lain tetap berevolusi selari dengan keadaan semasa. Ini membolehkan beliau memanipulasi kepelbagaian teknik dalam seni cetakan untuk mengembangkan konsep pengkaryaannya yang tersendiri. Dari segi praktisnya, penumpuan Faizal lebih cenderung kepada penerokaan teknik seni cetakan mono. Cetakan mono adalah sejenis cetakan unik, ‘unique print’ yang tidak terikat dengan ketetapan penghasilan cetakan beredisi. Pendekatan beliau pada karya-karya muktahir ini memperlihatkan lanjutan dari beberapa siri percubaan dan eksplorasi yang di mulakan sejak tahun 2011 melalui beberapa program residensi di dalam dan di luar negara. Beliau cuba menganjurkan teknik cetakan mono sebagai strategi dalam memperluaskan praktis seni cetakannya. Kehendak ini dipandu oleh inkuiri yang mendalam untuk meneroka kemungkinan bagaimana teknik cetakan mono boleh dihasilkan di luar dari kaedah konvensionalnya. Kaedah cetakan mono ciptaan Faizal merangkumi teknik seperti terapan, stensil frotage, imprint yang digabungkan bersama kaedah mencatan dan lukisan. Tafsiran dan nilai baru yang cuba diketengahkan ini secara tidak langsung telah memberikan satu takrifan berbeza akan cetakan mono sebagai satu medium yang bersifat fleksibel dan berpotensi. Perkembangan praktis ini mirip dengan konsep “seni cetakan combo” atau “combined printmaking” yang telah lama diamalkan oleh seniman dari Amerika sejak tahun 1960an, antaranya seperti Robert Rauschenberg, Andy Warhol, Roy Lichtenstein dan ramai lagi. Perkembangan ini mendorong para seniman untuk meneroka potensi seni cetakan dengan memperluas definisi ‘cetak’, dan sejak itu batasan yang pernah ditentukan dalam penggunaan seni cetak mula dikaburi. Pendekatan interdisiplin ini secara tidak langsung mencipta semula bentuk simbol baru dalam seni untuk meneroka dan bereksperimentasi dengan pelbagai kemajuan teknikal dan materi.
Aktiviti menanda dan mengenalpasti kualiti permukaan yang diterap adalah sebahagian daripada kemahiran intuisi ahli cetak yang mendalam dan terlatih. Kekayaan kualiti permukaan yang terdapat pada bentukan alam menyajikan pelbagai bahan yang boleh dimanipulasikan menjadi blok atau matrik untuk diterap. Ianya di ibaratkan seperti penerokaan dalam mencetak tanda, jejak, dan corak bertemakan alam sejagat yang mempunyai signifikan dalam menyampaikan pengisian karya beliau. Subjek-subjek yang alami seperti biji benih, tumbuh-tumbuhan dan serangga, objek-objek mikroskopik sehingga ke kesan–kesan rekahan pada permukaan batuan dan tanah sering menjadi dominan dalam karya-karya beliau. Melalui karya yang bertajuk ‘Ikan dan Laut’ (2012), ‘Sebesar Zarah’ (2016), dan ‘Hidup Merumpun’ (2018), subjek ini banyak menyentuh soal pencarian makna dalam kehidupan manusia. Karya beliau secara tidak langsung mencerminkan nilai sejagat di antara manusia dengan alamnya. Manusia sebagai khalifah mempunyai tugas-tugas yang telah diamanahkan dan salah satunya mententeramkan alam sekeliling. Melalui karya yang bertajuk ‘Somewhere down the road’ (2017) dan ‘Buku Hijau: Terbakar Dalam Sepi’ (2017), kita diperlihatkan dengan simbolik kepada penyatuan jiwa dan fikiran. Manusia itu boleh jadi makhluk yang paling akrab dengan alam sekiranya mereka memberi ruang pada diri mereka untuk merenung dan berfikir sejenak tentang nikmat dan hikmah kejadian alam semesta. Ianya menawarkan satu sumber untuk melihat semula diri, supaya diri itu hidup dalam keseimbangan. Bukan sahaja tentang refleksi diri tetapi boleh juga direnung bersama khalayaknya, diambil isinya dan diterjemahkan makna-makna tersirat di sebalik karya tersebut. Dari sudut pandang estetik, karya-karya beliau memiliki unsur keindahan yang ditunjukkan melalui aspek kualiti dan formalistik pada permukaan bercetak. Dalam konteks ini, karya-karya Faizal sarat dengan elemen berunsurkan percubaan. Setiap proses akan menghasikan kesan cetakan yang berbeza dan ianya tidak boleh diulang cetak. Blok yang diterap menggunakan permukaan yang bersifat organik dari alam menyebabkan hasil cetakan tidak konsisten. Proses ini biasanya menghasilkan kesan taktil grafis (tactile) yang pelbagai jejak, tanda dan kesan yang tidak dapat diramal kerana hasil cetakan sering diterap secara rawak. Secara tidak langsung gabungan kesan spontan dari cetakan menyebabkan komposisi karya berimprovisasi sesuai dengan impresi cetakan yang telah diterap. Dalam hal ini, saya melihat beliau tidak cuba untuk mencapai kesempurnaan teknikal pada hasil cetakan, sebaliknya elemen ketidaksempurnaan dalam cetakan dilihat sebagai sentuhan estetik yang diraikan. Hal ini agak berbeza dengan konsep konvensi cetakan asli yang lebih berfokuskan kepada unsur cetak ulang dan kesempurnaan grafis sebagai objektif utama. Beliau menunjukkan potensi bidang seni cetak boleh diterokai dengan cara memperluaskan idea blok dan matriks dengan pelbagai cara kreatif. Pencarian makna lain dalam praktik seni akan menghasilkan pandangan dan idea yang berbeza, baik berpegang pada tradisi atau melampaui praktik biasa. Kepelbagaian gagasan dan sudut pandangan yang berbeza seharusnya diraikan demi memanfaatkan potensi bidang seni cetak sebagai medium seni yang kekal relevan dalam kancah seni rupa kontemporari.
Walaupun terdapat ketetapan tertentu dalam konvensi cetakan asli, kematangan seniman dalam memahami aspek teknikal akan merevolusikan dan meningkatkan perbendaharaan visual tampak dalam praktis pengkaryaan mereka. Pandangan selari ini juga dinyatakan oleh Muliyadi (2003). Dalam konteks perkembangan seni cetakan di Malaysia, kebebasan akan memberi ruang yang luas untuk penerokaan pelbagai bentuk baru persembahan seni cetak. Pembangunan seni cetakan harus berkembang di luar amalan arus perdana tetapi pada masa yang sama, keaslian cetakan tradisional harus dipertahankan dan dipelihara. Karya-karya Faizal membawa ingatan kepada kita bahawasanya banyak aspek manusiawi dalam kehidupan telah dilupakan. Badai globalisasi yang melanda pada abad ini memaksa kita terlalu mengejar kepantasan kehidupan sehingga kadangkala tidak sempat merenung tentang keabsahan diri sebagai khalifah di muka bumi. Begitu juga dengan alam sejagat yang dianggap sebagai premis keilmuan yang maha luas. Setiap ilmu itu pasti berguna pada tempatnya, kerana ilmu itu juga datang bersama tanggungjawab yang besar. Hikmah ini sekiranya dihayati menjadikan seseorang manusia itu sedar akan hakikat diri yang membawa kepada konsep kehambaan dan ketuhanan. Ruang waktu ini haruslah dinikmati seadanya sebagai tanda kesyukuran terhadap segala nikmat yang telah dianugerahkan oleh Ilahi. Faizal ibarat pemerhati senyap yang sedang berkasih sayang dan berdamai dengan kehidupan yang alami, ibarat kata hukama “Seberat apapun kehidupan, orang yang selalu merenungi alam semesta selalu hidup dalam kesyukuran, maka niscaya kamu akan memperoleh ketenangan hati darinya.� Fadli Mokhtar Guest Writer
Piece of land (Diptych), charcoal on canvas, 2,5 x 5 ft, 2014
hope i, Monoprint, oil on canvas, 2,5 x 5 ft, 2014
Hope II, Monoprint, oil, soil pigment on canvas, 3 x 3 cm, 2013
Diam Diam, Charcoal & acrylic on canvas,3 x 5ft, 2010
IKAN DAN LAUT, Cementcut & monoprint, oil on canvas, 4 x 9 ft, 2012
sebesar zarah, Charcoal on canvas, 9 x 9 ft, 2014
falling seeds series, Oil, Monotype, on canvas, 4 x 4 feet, 2013
floating land series ii Monotype, oil, acrylic on canvas, 2014
hidup merumpun, Monoprint & Stencil, 8 x 3 ft, 2018
seharian di ladang, Charcoal on canvas, 5 x 4 ft, 2011
faizal Suhif
B I O G R A P H Y
Faizal Suhif was born in 1984 in Johor, after his Diploma in Fine Art at UiTM in Malacca (2002- 2006), he graduated with a Degree Hons in Fine Art (2008) and a Master of Fine Art and Technology (2013 ) in UiTM Shah Alam. He specialises in charcoal and print making and won various awards such as the Excellent Master Award UiTM, the Honourable Mention, NBC 1st Screen Print Biennale in Japan and the Bronze UOB Painting of the Year 2015. He gets his inspiration through his admiration towards nature. This is how Faizal applies his handprint on all his creating process. “I am fascinated by the interplay of order and randomness that is found where man and nature meet” he said. “I have depicted isolated areas of scene to with the impression of floating, silent, dark and gloomy.” Faizal has been exhibiting in Malaysia and abroad (Indonesia, Singapore, Dakha, Tokyo, Berlin, Istanbul) since 2004. “These pieces resonate the path that leads to inner self. It is inspired from the experience and activities with my father, with whom I travelled and worked, together on parcels of land in the village. My work is an allegory of our human condition through nature. It depicts the lush and fertile land until its return to barren state. These are the images that remind me of my father. He compared our lives to vegetables in their short and brief existence. He believed one should always make its best to do something that would benefit ourself and others, instead of wallowing. Each of my artworks tell the story of a life metaphor to undergo and cared for, like sowing the seeds that will grow into a tree and eventually will be beneficial to everyone. There are images of seeds from different plant types. Their function is to acquire the knowledge of God that gives us sustenance and greatness. When applied to life, there are times when wisdom can grow from just a tiny seed. Just the same way, a thousand seeds can be sown but there won’t be a thousand plants growing, shooting from the earth. Each effort given is also a test to our faith. To me, this also tests the ability of our appreciation towards the earth itself. A fertile land accepts water and is ready to produce vegetation. When rain falls on it, it absorbs the water eagerly, giving rise to all sorts of pleasant vegetation. This is the example of a healthy, pure, and intelligent heart, which embraces knowledge, guided by its intelligent nature, and thus filled with wisdom and faith. It is eager to take knowledge, and ready to bear fruits. It is an unquestionable issue, not only to depict the outcome and fortune derived from our efforts but the intention in learning from the life process and journey.” Faizal Suhif
EDUCATION
RESIDENCY
2011 - 2013 MA Fine Art and Technology, UiTM Shah Alam, Selangor 2006 - 2008 Degree Hons in fine Art, UiTM, Shah Alam Selangor 2002 - 2006 Diploma in Fine Art, UiTM. Malacca
2013 2012
AWARDS 2013 2011 2009 2008 2007
Excellent Master Award UiTm Shah Alam Jurors Awards, UKM, Bangi. Consolation prize, Open Show Johor Finalist MRCB Art Awards. Consolation prize, Nando’s Art Competition. Honorable Mention, NBC 1st screen print biennale Japan. DENTSU Toyota, ‘Blank Canvas Project’ 3rd Prize. Consolation prize IMU International Art Competition. 5th Prize Saloon Meets Art Competition
SOLO EXHIBITION 2017 2016 2014 2013 2012 2011 2002
Visual Poetry, G13 Gallery, Malaysia Hidden: Tresure of a natural world, Vallete Gallery, Malaysia Stories from the Soil, G13 Gallery, Malaysia Fossil, Beranda Langkawi Art Gallery, Malaysia Silent Diary, G13 Gallery, Malaysia A Piece of Land..., Shah Alam Gallery, Malaysia First Show, Sekolah Menengah Air Hitam, Malaysia
2011 2008
Beranda Art Residency, Langkawi G13 Gallery Bali Residency Program, Bali, Indonesia AiR Shah Alam Gallery AiR Art Village, Selangor
SELECTED EXHIBITIONS 2019 SKULL, G13 Gallery, Malaysia Local Only with Taksu Gallery, Malaysia Darah Muda with AP Gallery, Malaysia 2018
Art Expo Malaysia Plus 2018 with G13 Gallery, Malaysia Art Stage Singapore 2018 with G13, Gallery, Singapore Go Block: The Expended Contemporary Printmaking, G13 gallery, Malaysia Di antara itu & ini with Fergana Art, Malaysia Mars 3x3, Hom Art Trans, Malaysia ArtAid18 DIRI, White Box, Malaysia
2017 Bakat Muda Sezaman 2017, National Visual Arts Gallery (BSVN), Kuala Lumpur, Malaysia. 7th anniversary show, G13 Gallery, Selangor Malaysia KL Locals only, group exhibition of hometown talents, Taksu Gallery, Kuala Lumpur, Malaysia Young Guns with HOM Art Trans. Malaysia Art @ the Row with Vallette Gallery, Malaysia Faizal v Haafiz: DAWN of Extended Printmaking, Core Design Gallery, Malaysia Young Contemporary with Curate Henry Butcher, Malaysia Look This Way with Vallette Gallery, Malaysia Much Ado about Drawing with Core Design Gallery, Malaysia BAREHANDs Asian Artist Residency Project Kuala Lumpur 2017, Balai Seni Negara Malaysia. NEGARAKU, National Art Gallery, Malaysia, Kuala Lumpur 2016 Suarasa 5 with Segaris Art Centre, Malaysia Dawn of Extended Printmaking with Core Design Gallery, Malaysia 2015 G13 Anniversary Show with G13 Gallery, Malaysia MERU, Segaris Art Centre, KL, Malaysia Suarasa 4, Segaris Art Centre, Malaysia Abstraction, Core Design Gallery, Malaysia X Canvas Core Design Gallery, Malaysia. Test Print II, HOM, Ampang KL, Malaysia
RESIDENCY 2013 2012 2011 2008
Beranda Art Residency, Langkawi G13 Gallery Bali Residency Program, Bali, Indonesia AiR Shah Alam Gallery AiR Art Village, Selangor
SELECTED EXHIBITIONS 2019 SKULL, G13 Gallery, Malaysia Local Only with Taksu Gallery, Malaysia Darah Muda with AP Gallery, Malaysia 2018
Art Expo Malaysia Plus 2018 with G13 Gallery, Malaysia Art Stage Singapore 2018 with G13, Gallery, Singapore Go Block: The Expended Contemporary Printmaking, G13 gallery, Malaysia Di antara itu & ini with Fergana Art, Malaysia Mars 3x3, Hom Art Trans, Malaysia ArtAid18 DIRI, White Box, Malaysia
2011 A Piece Of Land… Shah Alam Gallery, Selangor. Front Page, Group exhibition, Pink Guy Gallery, KL. 2011 Expression, ASWARA,Fine Art Faculty,Group Show. Figure Drawing Exhibition, Shah Alam Gallery, Selangor. Colour Expression, group show, Pelita Hati, Bangsar, KL. This is it, Core Design Gallery, Subang jaya, Selangor. Rasa Antarabangsa, UKM, Bangi. Selangor. GOHD, Weiling Contemporary,Gardens KL. Rice Plate Project, Art Exhibition, KLCC. Obsession Art Disorder, Core Design Gallery, Subang jaya, Selangor. Expression 2, MaTIC, Art Gallery, KL. Art Expo Malaysia, Matrade Hall, KL. The Way We See.. Dunia Seni Lukis Gallery. Four man show Cirque Du Freak Core Design Gallery, Subang. 2010 Locals Only, Taksu Gallery KL, Malaysia. Printmaking Show, MuziumSeni Asia Universiti Malaya, Malaysia Earth Hour, Zinc Gallery, Malaysia. H20 Group Exhibition, Art Village Bangsar, Malaysia. GR8 New Generation, Wei-Ling Gallery, Malaysia. Mekar Citra Art Exhibition, Shah Alam Gallery, Malaysia. VAA Young Contemporary, Gallery@ Starhill, Malaysia. The Regiment- Alternative Printmaking Exhibtion, USM Penang, Malaysia. MATIC Contemporary Group Exhibition, Malaysia. Figure Drawing Exhibition, MaTiC Art Gallery, Malaysia. Absolute 18@8, Wei-Ling Gallery, Malaysia. Merapi Charity Art Exhibition, HOM, Malaysia.
2009 360 Warna, 2nd WARNA Group Art Exhibition, The Gallery @ Bangsar, Malaysia. Palestine Charity Exhibition, National Visual Art Gallery, Malaysia. Malaysian Resources Corporation Berhad Exhibition, National Visual Art Gallery, Malaysia. Young and New part III, HOM, Malaysia. 1st International Mail Art Exhibition, Shah Alam Gallery, Malaysia. Rasa Alam, UKM Bangi, Malaysia. Merdeka, TMS Art Gallery, Malaysia. Printmaking Exhibition, 360 Gallery, Malaysia. Johor Open Show, GaleriSeni Johor, Malaysia. 2008 Smash, 1st WARNA Group Art Exhibition, NN Gallery, Malaysia. Nando’sPerify Your Art, NN Gallery, Malaysia. Rasa Antarabangsa, UKM Bangi, Malaysia. Open Show, Gallery Shah Alam, Malaysia. 3 Degrees, UiTM Shah Alam, Malaysia. Interiors Malaysia 2008, Putra World Trade Centre, Malaysia. Young and New part II, HOM, Malaysia Pameran Pelukis Semenanjung, Galeri Seni Lukis Sabah, Malaysia. Nature Reflections, Art Village, Malaysia
2007 Exhibition of paintings on flora, Flora Fest “Colors of Harmony” Putrajaya Conference Hall, Putrajaya, KL, Malaysia. Pact Max Art Award Exhibition, Gurney Plaza, Penang Mail Art Exhibition Galeri Shah Alam Selangor Exhibition “Rasa Antarabangsa” Universiti Kebangsaan Malaysia UKM Bangi, Selangor Saloon Meets Art Exhibition at the Elle Six Art Gallery, Daman sara Height Schwarzkopf Professional Malaysia, together with the Goethe-Institute Mekar Citra Galeri Shah Alam Selangor International Medical University IMU Bukit Jalil, History of Medicine, Art Exhibition Group Exhibition “Fresh Faces ’07” Pelita Hati. House of Art Group Exhibition Art Below RM 1000, Art village gallery, Kelana Jaya, Selangor 2006 Diploma Show PERZIM Art Centre, Malacca Open Show Galeri Shah Alam Selangor Open Show “Malaysian Landscapes” Balai Seni Lukis Negara Printmaking Exhibition 03 Fine Art Department Painting and Photography Exhibition, Tasik Kenyir KETENGAh, Terengganu.
2005 Group Exhibition “Media and Technique Exploration” , UiTM Malacca, Malaysia Exhibition and Demo printmaking(lino) “Sehari bersama TYT Melacca” 2004 Fine Art Department Group Exhibition UiTM Malacca 2003 Art Fest, Demo and Art Exhibition UiTM Malacca 2002 First Show, SMKAH Bt 15, Muar, Johor Group Exhibition Seni Warisan at Tanjong Mas Muar Johor Life Drawing, Tanjong Mas, Seni Warisan Muar Johor Art Exhibition S.M.K Air Hitam Bt 15 Muar -hari Q
about the gallery
Vallette Gallery is a modern and contemporary art space based in Kuala Lumpur, representing Malaysian and international artists. We intend to raise awareness of artists working within Malaysia to increase their recognition and to create opportunities. The gallery also wishes to develop. cultural exchanges through exhibitions, artists and curators residency programs, educational events and publishing projects between France, Malaysia and South East Asia. The Gallery would like to thank the artist Faizal Suhif for his time, energy and contribution.
acknowledgement
The artist wishes to acknowledge the assistance of the following individuals in the realization of this project: Director & Curator : Patrice Vallette Assistance Curator & Writer : Constatin Beck Assistance : Clariss Rotrou Guest Writer : Fadli Mokhtar Designer & Coordinator : Arif Hassan Allah SWT, my family, Nurjazmine Syahnaz, Juhari Said, Suzlee Ibrahim, Jamil Zakaria, Bakir Baharom, Ruang 16, MAF14, Art collectors, art lovers, artists friends and students.
This book “MICROSCOPIA” is published by Vallette Gallery. Published by : Vallette Gallery 14, Jalan Langgak Tunku, Taman Tunku 50480 Kuala Lumpur info@vallettegallery.com +60 19 301 2569 Edition of 2020 Publication © Vallette Gallery Text and Images © Vallette Gallery All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise.