You are on page 1of 23

AMT 709

RESEARCH METHODOLOGY

ART CRITICISM
THE PRACTITIONERS & ARTIST REFERENCES

Prepared by
NUR MUHAMMAD AMIN BIN HASHIM AMIR
Matric Numbers
2015383223
Group
AD702
Prepared for
PROF. DR. BAHARUDIN UJANG

TABLE OF CONTENTS

1.0

2.0

ART CRITICISM: THE PRACTITIONERS


1.1
Diam Diam Ubi by Mohd Faizal Md Suhif
1.2
Bah Kuning #1 by Fauzin Mustafa
1.3
The Last Survival #2 by Syahrul Niza Ahmad Zaini
1.4
Between Life & Death by Mohd Yusri Sulaiman
1.5
Hunny & Bunny # Insectoid Series 16 by Zairin Anwar Awaluddin
1.6
Kambing Import (Kambing Hitam) by Jamil Zakaria
1.7
Uncertainty Rhythm by Khairudin Zainudin
1.8
Pembelit by Mohd Fairuz Paisan
1.9
Mr. Chuckler by Mohd Ali Azraie Bebit
1.10
Isi Perut by Ahmad Zuraimi Abdul Rahim
ART CRITICISM: ARTIST REFERENCES
2.1
Equal Rights by Lisa Kokin
2.2
Memory Threads by Emma Parker
2.3
Wrapped Armchair by Christo
2.4
Whistler's Mother by James Abbott McNeill Whistler
2.5
My Father and The Astronaut by Ibrahim Hussein

1
1-2
2-3
3-4
5-6
6-7
7-8
9-10
10-11
11-12
12-13
14
14-15
15-16
16-17
18-19
19-20

1.0

ART CRITICISM: THE PRACTITIONERS

1.1

Diam Diam Ubi by Mohd Faizal Md Suhif

Figure 1.1: Mohd Faizal Md Suhif, Diam - Diam Ubi, Mono Print & Oil on Canvas, 61 cm x 83 cm, 2015-16.
Description
The artwork (refer Figure 1.1) above was produced by Mohd Faizal Md Suhif which entitled Diam Diam
Ubi. The artwork was made around the year 2015-16 by using Mono Print and Oil on Canvas as the medium. It
was scaled at 61 cm x 83 cm in particular. The artwork displays in 2 panel that are equal in size positioned as
portrait-view. Both panel shows an image of a type of a potato which extends from the bottom until the top of
the surface. Though, both image appears to be viewed in different angles existed in the form of flat markings.
The background however shows a light creamy-ish in term of colour.
Analysis
The artwork mainly focuses on the uses of shape, texture and space. The shapes of the subject matter which is
the potato is well-conducted which envision symmetrical balances from right to left and top to bottom. The
illusion of balances also co-existed through viewing both panel at the same time. The shapes enwraps to occupy
the surface and space, thus, the flat white background improves the contrast of the artwork significantly through
the emphasis of the subject itself. The subjects, though only uses shapes, have a very substantial uses of textures
that are not cohesive. The randomness of the textural pattern creates a vivid rhythm that are organised even
though it is not. Overall, the artwork as a whole is very accurately harmonised.
Interpretation
This artwork is a definition of reminiscence of the artists past experiences. It is a display of a reflection towards
himself and his families, in term of cropping and harvesting as source of earnings. The large image of potato
creates an exuberant display of soil-planted vegetables. According to Faizal Suhif, the land he and his father
work on is fertile and lush, but when it is done, it will go back to barren. The statement he noted as a part of our
life cycle, meaning that life is short, because when we are at the top, it could be easily taken anytime if we are
not grateful. Also, this artwork he expressed that we have to be sensitive in nurturing the Mother Nature.

Judgment
Faizal Suhifs artwork has values, personal values, somewhat a meaningful factor for him including the others
as well. How he expresses his work and how viewers see his work, there are intense clarification that we can
relate among each other. The way he uses pattern, shapes, textures and spaces to signify the potato tortuously
displays the hardship of his crop-oriented life with his families. Does this artwork successful? In my opinion,
Diam Diam Ubi, has its own eloquent element that is expressive as well as subjective. It means that the artist
avoids conflict with his viewers through artwork reflecting his oneself, however, there are various hindsight that
viewers should not be taken lightly, and instead correlating the issues he trying to delivers as a life experiences.
Therefore, this artwork is not just a singular point of view through ones eyes but an eyes which everyone can
see-through. Then, the successfulness is without a doubt had been attained open-endedly.

1.2

Bah Kuning #1 by Fauzin Mustafa

Figure 1.2: Fauzin Mustafa, Bah Kuning #1, Mix Media on Canvas & Assemblage, 127 cm x 274 cm, 2015.
Description
The artwork (refer Figure 1.2) made by Fauzin Mustafa, entitled Bah Kuning #1, was completed on 2015 using
Mix Media on Canvas and Assemblage as mediums scaling at 127 cm x 274 cm in the form of triptych of 2
canvas with relief assemblage in the middle. The artwork portrays a landscape visualised through the use of
wooden planks, leaves and wooden sticks. The landscape shown are the events of flood with floating debris of
the aforementioned materials. There is an assemblage of larger driftwood in the middle hanging from two
canvas on its left and right.
Analysis
The artwork signify the uses of texture, space, rhythm and form. Firstly, the work existed in triptych form that is
a combination of flat, relief and assemblage. This form shown deep space in the work as the layering ascend
from top to bottom from flat to assemblage. The most significant emphasis of the work is the middle installation
of driftwood which was carefully placed to conjoint the two canvas as a unity that suggests a flow a rhythm. In
term of colour, no definitive suggestion of hues, just a toning down of raw-earth colour from bottom to top. This

includes the composed driftwood assemblage in the middle which is also raw. The rhythm of the work flow
from light to dark, flat to relief and far to near indicate a properly used elements and principles to achieved that
unison.
Interpretation
The artwork suggests a flood events, particularly the one occurred during late 2014 in the eastern region of
peninsular Malaysia. The artist uses this work to stresses on his concern with the events and metaphorically
induced it as an artworks which he can relate to himself and the victims of the incidents. This concern actually is
a mixture between curiosity and reminder which he carefully organised to shows that insurgency of the event of
the flood as how the victims felt. Thus, this artworks has a lot of emotions that was put into. Fauzin Mustafa
states that, as earth dwellers, we are responsible in balancing on our doings to keep the nature and its innards
protected.
Judgment
Fauzin Mustafas artwork came from his concerns which inspire him to produce this noteworthy piece. What he
saying is that he is aware of it, how he expresses is an oppression through his own vision. The way he uses the
elements and principles of art and design from rhythm to space, and texture to tone has made this artwork
stands-out as a notable piece. The artwork became even more exquisite and valuable due to the materials he
used is actually relatable with the debris outcome from the actual events. Does this tribute compassion piece
successful? In my opinion, it is successful because in term of his understanding with the events, he co-existed
them with the actual materials not just metaphorically but even through the genuine views of the situation. Some
may think this artwork could be sensitive to the victims, but without sensitivity and curiosity, no sympathy and
empathy could be conduct.

1.3

The Last Survival #2 by Syahrul Niza Ahmad Zaini

Figure 1.3: Syahrul Niza Ahmad Zaini, The Last Survival #2, Enamel, Charcoal, Photo Print on Canvas, 141 cm
x 224 cm, 2015.

Description
The artwork (refer Figure 1.3) made by Syahrul Niza Ahmad Zaini, entitled The Last Survival #2, was
completed on 2015 using the medium of Enamel, Charcoal, Photo Print on Canvas. The scale of the work is 141
cm x 224 cm on a single surface. The artwork shows a tiger in the bottom right corner walking outwards the
surface and the background shows a rough spatial effect depicting a landscape. The depiction of the landscape is
somewhat shown to be divided into two by the white background.
Analysis
This artwork has minimal depiction of recognizable subject, namely the tiger. The background landscape is
represented in abstractive manner. The abstraction emphasis on lines, textures and repetition. The brush strokes
of various lines is randomly extends from multiple directions with different thickness. The thickness of the lines
induces a relief textures which roughened the surface of the canvas. The composition of the works also creates
the illusion of deep space, as well as asymmetrical balances in the work. Inclusively, the artist purposely used
the randomness to express the uncertainty results of lines and strokes.
Interpretation
Viewed from the used subject and the particular applied techniques, the work is discussing on destructions and
calamity of nature. The sophisticated elements is to shows the common environmental issues in a large scale.
This could be just a personal responses whilst expressing in personal interpretation. The uses of hard-edged
strokes is to suggest the raging mood of the artist which he symbolises as the human activities that persuaded
the result to be unacceptable and somewhat ignorance. To elucidate the viewers with the issues of deforestation,
the artist has creatively manifest himself with his techniques which reflected the wrong-doings as expressive as
possible.
Judgment
The Last Survival #2 by Syahrul Niza is to be considered as his personal response towards the disaster which
struck our environment and nature as a worldwide issue. How he used just the necessary subject, the tiger which
was positioned in a very catastrophic surface of rigid, rough and relentless elements of lines and textures
signifies that he actually expressing his technique as the reflection to human activities and the white surface is
symbolising the untouched nature. In my opinion, the artwork is successful even though, it is seemingly
unorganised. This is because Syahrul Niza is creative enough to uses technique as an interpretation to disastrous
human activities. Moreover, the way he uses the elements really does improves his messages of concerned in
ways most people can relate to.

1.4

Between Life & Death by Mohd Yusri Sulaiman

Figure 1.4: Mohd Yusri Sulaiman, Between Life & Death, Mix Media on Canvas, 200 cm x 160 cm, 2016.
Description
The image (refer Figure 1.4) shows an artwork made by Mohd Yusri Sulaiman on the year 2016. The artwork
which entitles Between Life and Death is made using Mix Media on Canvas which scaled at precisely 200 cm
x 160 cm. There is a single figure of a person, male in particular standing with both hand behind his back. It has
no depiction of an actual face, but with a sway hair and lined shirt that has a picture of a skull on it. The
background of the image have a depiction of skulls but very blended-in with the background itself.
Analysis
The artwork shown a semi-abstract of a human male figure with enlarged head. The artist emphasis on the
elements of colours, textures, and shapes. The shapes which the artist uses is the combination of geometrical
shape and organic shape. This shapes has been layered on top of one another which invokes the elements of
texture. The most prominent element in this work is the colour. It has the mixture of both warm and cool colour.
However, the mixture is wavered to the bright sight. On the other hand, the composition of the figure and the
repetition of the background ultimately balances the work as well as harmonised it as a great piece of art.
Interpretation
Mohd Yusri Sulaiman has ingeniously portray this artwork as his oneself reflection. This artwork shows his
early personal life through feelings. According to Yusri Sulaiman, manifesting emotions through the symbol of
faceless portraiture is a part of symbolising lost identity. This shows that the layering of the fabric which
includes the intentionally faceless portrait is a way of how he depict his progress in life. From the whole view,
the background shows the burdens in his life which symbolised through repetition of skulls. The very reason of
the faceless portrait is to suggest his unsure self, of what he stands, of what he had done, of what his retribution.
Overall, it is a process, metaphorically, to show his life journey which he has patched or discard as a mean of
good deeds and bad deeds.

Judgment
The artwork Between Life and Death by Yusri Sulaiman is a process of self-introspection in general. How he
uses the elements which he solely understands to delivers his messages through a specific type of materials and
techniques, namely the fabric collage montage. With the self-existing of the ambiguity in this artwork, he
specialised his intention even more as he himself is ambiguous with his past and present. In my opinion, this
artwork is successful, a unique one at that. It is because he not just creatively use material and technique to
symbolised his life journey, but the subject and how it was composed also plays a very significant job in
achieving that intention which he calls lost identity which he tried to manifests.

1.5

Hunny & Bunny # Insectoid Series 16 by Zairin Anwar Awaluddin

Figure 1.5: Zairin Anwar Awaluddin, Hunny & Bunny # Insectoid Series 16, Rubber tube, valve, acrylic & pinhole steel, 154 cm x 122 cm, 2016.
Description
The artwork above (refer Figure 1.5) entitles Hunny and Bunny # Insectoid Series 16 is made by Zairin Anwar
Awaluddin from rubber tube, valve, acrylic and pin-hole steel. It is in 3-dimensional hanging form consisted of
two unit which scaled at 154 cm x 122 cm and was completed on 2016. What can I see here is that both object
shows an image of flattened non-representational animal. The one on the left has two arms and two legs and also
a head. The other one however has ten ligaments, a tail and a head. Both object however, has multiple markings
of love symbols.
Analysis
The artwork has a definitive value on the elements of art used. The ones which are more focused than the others
are textures, forms and shapes. Both subjects shown in organic shape which induced into a relief form. The form
has repeated motion of ups and downs which suggests a dented waves. The uneven dented on the subjects has

surfaced the artworks to be very highly contrasted due to the lights and shadows upon it. Also, the form has
natural leathery texture from the material itself. Both artwork is well-balanced and how it was composed makes
it very harmonised.
Interpretation
The artwork represents the symbol of love and treasures. This is because the artist manifested the relief
sculpture to be very meaningful sentimentally. In term of how he viewed daily objects which in reality, very
closed to him and reassembled it, giving it new priorities which he can show his love towards his daughter. This
sentiment between a fathers sacrifices and loves for families has made this artwork very evocative. The
reorganised object is an interpretation of a doll that are very familiar among female toddlers. According to
Zairin Anwar, the material and the form he used is his interpretation of his labour of love. Thus, resulted in this
very fascinating piece of artwork.
Judgment
Hunny and Bunny # Insectoid Series 16 by Zairin Anwar is an example of work that shows treasures does not
applies to the material quality, but more to the what it represents. As noted, rubber tyres he used signifies his
sacrifices, a banal object which he had to deal with daily to fund his families. The image it represents indicate a
doll that act as a gift for his daughter. This shows that Zairin understand his intention, and the material he used is
so important that he manage to make common subject into treasures. In my opinion, this artwork is very well
interpreted and a successful one at that, it is because the overall usage of elements, principles and the
understanding of the material and contents shows that piece of treasures is part of personal sentiment value more
exclusive than the actual treasure.

1.6

Kambing Import (Kambing Hitam) by Jamil Zakaria

Figure 1.6: Jamil Zakaria, Kambing Import (Kambing Hitam), Steel wire & wood, 148 cm x 120 cm x 125 cm,
2015.
Description

The image above (refer Figure 1.6) shows a sculpture made by Jamil Zakaria entitled Kambing Import
(Kambing Hitam). It was made used the medium of Steel wire and wood which scaled at 148 cm x 120 cm x
125 cm in 2015. The sculpture shows a wired lamb that are fleecy in size. The lamb is squeezed into a smaller
cuboid wooden box. The box had holes from left and right side with the leg of the lamb nudge through it. The
lamb also had curved horn which is red in colour. The box however is shown in bleak white colour.
Analysis
The main focus is definitely the space which the sculpture rooted in. The space which gave out the definition of
360 degree changeable form. However, the artwork also had its elements significantly shown. Firstly, lines
which naturally shown as the overlapping wired mesh had induced texture. The roughened texture suggest
values from light to shade, hence depicting the form. The way the lamb was positioned is proportionately
precise. The organic form of the lamb is combined with the geometric form of the box, immediately breath
balances into the work. Overall, the artist had manage to harmonise several elements from organic and
geometric form, grayscale, lines, textures, balances and form.
Interpretation
Relooking at the title, Kambing Import (Kambing Hitam), it is easily identified that Jamil Zakaria is suggesting
allegory in this work. Black goat means a particular person in which innocent in life has been burden with fault
that is not of his own. The artwork has combined definition that suggests tangkap muat which means thing
goes as it goes. It can be assumed that relation of the term with the black goat proverb is quite similar. Thus, the
artist has referenced proverb into this work with addition of his own understanding. Metaphorically, this artwork
is his cynical interpretation to old Malay proverb which usually used to tease the past Malay culture.
Judgment
According to Jamil Zakaria, this artwork is an exploration of lines which is done spiritually to suggest drawing
but in medium of sculpture. This shows that drawing has been taken into 3-dimensional form to achieve that
noteworthy contents. Besides the intricate uses of elements of art, the artist also manage to create the cynical
mood of the proverb he is representing. In my opinion, the artwork is very unique and that uniqueness has made
the artwork successful both in term of its form and content. Kambing Import (Kambing Hitam) had the
elements, the principles and the contents that are very applicable to the end-result. Thus, the real intention is
without a doubt had been achieved.

1.7

Uncertainty Rhythm by Khairudin Zainudin

Figure 1.7: Khairudin Zainudin, Uncertainty Rhythm, Oil & Acrylic on Canvas, 61 cm x 122 cm, 2016.
Description
The artwork (refer Figure 1.7) which entitles Uncertainty Rhythm was produced by Khairudin Zainudin using
Oil and Acrylic on canvas. It was scaled at 61 cm x 122 cm and was completed on the year 2016. The artwork
indicates black and red lines strokes on a grey background. The strokes shows an outlines of human portrait
overlapping each other. Most of the portrait shown had the person face facing right if was viewed from the front.
Analysis
The artwork focuses on the elements of lines and rhythms. The lines conducted several qualities from the very
thick to the very thin. These lines of strokes has rhythm implemented which emphasis on motion and movement.
The artwork itself is very muddled in general shown in shallow space, however the muddled is actually a
repetition of lines that conclusively induces an asymmetrical balances in the work. The artwork is not fully
grayscale as the artist has depicted several lines in red colour as well. Overall, the artwork is very rhythmic
although it is very much clustered.
Interpretation
The artwork is shown in very abstractive manner. These abstraction is sole indication of motion, time,
movement and uncertainty. Khairudin Zainudin familiarised himself with live events, which he translated into
surface. These surface is interchangeable but the subject is. According to Khairudin Zainudin, the subject is a
veteran street busker which develop a very well song but in sense, the rhythm is quite hectic. This carefully
translated the artwork as disorderly consistent. This artwork is just a captured moment, as hasty as it could, to
avail the intention of that time constraint. Therefore, resulted in very minimal representation. It is because in
reality, one could only live drawn when the time move slows. This is a very good interpretation of his capability
of portrayal within time.

Judgment
Conclusively, Khairudin Zainudin has managed to transfigure live drawing into a much more connotation than
just a mere-redrawing. The elements which he used which is repetition of lines and strokes is very suggestive
towards time constraint of the live drawing itself. In my opinion, this artwork has successful conclude the
problematic scheme of live drawing, in which, realistic can only be achieved through referring captured picture.
How he induces that speed of motion is not just part of capturing moments, but also to capture movements.
Therefore, he knows that hectic lines, and strokes is to suggest captured motion which overlapped in time that
he been there. The time he used to produces the figure and the gesticulation of the figure within the time.

1.8

Pembelit by Mohd Fairuz Paisan

Figure 1.8: Mohd Fairuz Paisan, Pembelit, Discarded Wood Relief Assemblage, 167.5 cm x 198.5 cm, 2016.
Description
The artwork (refer Figure 1.8) is produced through Discarded Wood Relief Assemblage by Mohd Fairuz Paisan.
The artwork is entitled Pembelit which scaled at roughly 167.5 cm x 198.5 cm. It was made in 2016. The
particular artwork portrays the skeletal system of a snake that is curled up with its head facing to the right with
mouth open. It was positioned on top of a varnished wooden background. The skeleton of the snake appeared to
be slight mouldy in term of its colourisation.
Analysis
Firstly, this artwork portrays a single image. The skeletal system of a snake shown is basically a rounded up of
several flat shapes for each and one particular bones. These bones, if carefully seen, is a dispersal of several
curvilinear lines. Besides, shapes and lines, this artwork also have a rigid tonal values indicated through the
overlapped bones. For instances, the ones below the overlapped bones appear slightly darker and the ones above
is slightly brighter. The proportion of the snake is accurate, even though it appears constrict on surface. The
overall image is balanced and the used of dark background make the snake subject become more emphasised.
Interpretation

10

This artwork shows life experiences which act as a remnants of what the artist went through from his own hardwork and struggle. Besides, the material as his own self-expression, the particular subject, which is the snake is
somewhat a metaphorical representation of a living human being. In detail, human being is well-known for their
capability of deviate truth and correcting lies. This is part of our daily adaptation to survive, for the sake of
being. However, Fairuz Paisan was clever enough to portray this avowals in skeletal imagery because one could
only deviate truths, but that deviation is in fact a clear process of our self-decay. Henceforth, whether it is a story
of his struggle or others that he dealing with, as a human being, this interpretation could be related to us in so
many ways.
Judgment
Self-expression through personal experiences. This example was shown in this artwork, not just how he used the
material which he was familiar with but how he interpreted it into image that he can relate to that signify this
artwork should be appreciated. The uses of elements and principles which focus most of assembling lines,
shapes and form had made the process of delivering its story to be more precise than it already is. The execution
of this work is what I can relate to of what Fairuz Paisan means when he mentioned struggle and hard-work.
Through understanding the elements and principles and how he applied it onto the surface using the materials
which in fact, very rigid to deal with is how he reflect his self-experiences. Inclusively, the subject he chose, the
snake in skeletal approach signifies his understanding with the metaphors he is trying to convey.

1.9

Mr. Chuckler by Mohd Ali Azraie Bebit

Figure 1.9: Mohd Ali Azraie Bebit, Mr. Chuckler, Mix Media & Electrical Device, 155 cm x 56 cm x 45 cm,
2015.
Description
The artefact above (refer Figure 1.9) is a sculpture assembled by Mohd Ali Azraie Bebit. The sculpture was
made from Mix Media and Electrical Devices which was scaled at 155 cm x 56 cm x 45 cm and was completed
in 2015. The sculpture resembles a robotic figure which was hanged using line cables that was held by two

11

metal poles. The base and the peak which was the poles connected to are both made out of wood. The hanged
robot is very stiff in motion which both arm repeating the same movement overtime.

Analysis
The sculpture is very geometric as a whole. It is emphasised on motion and movement. The base is very solid
with the shape of square and the peak of the sculpture was made from a form of elongated cube that was hold by
two symmetrically balanced metal poles. The form of the robotic figure is well organised in term of its
proportion compared to each anatomical references. The cables which hold the robot gave out the sense of lines
though it is very thin in appearance. Besides the space the sculpture occupies, the repeating motion with how it
was composed really harmonised the artwork completely.
Interpretation
According to Ali Azraie Bebit, robots are invented to think and act like human. This statements shows that
robotic technology is what inspires him to do such sculpture. This one particular sculpture defines the puppetry
of humanoid robot with the low-tech mechanical technology. What it actually means is that no matter how wellmade a product is, no matter how advanced the technology is, human can only recreate so much but never had
the capability to replicate gods creations. This crude and sophisticated sculpture intended to show that
imperfection of human replication, cynically speaking, low-technology compared to the natural creation which
surrounds us.
Judgment
This sculpture is an example of man-made replica of gods creation. How it was produced so inflexible and stiff
shows human incapability of replicating gods creation. How Ali Azraie Bebit used the material from old scrap
devices as his main components shows the opposition of advanced material. The form used an elaborate
understanding of the elements and principles of art which deemed the sculpture to be very solid while in motion.
In my opinion, this artwork is successful in ways how we can relate with our surroundings nowadays. We strive
for a future we yet to confirmed, just a planning, doing something so methodical-like that somewhat reduces us
to robotic puppet. The relay of our activities is well-conveyed through this robotic sculpture which in return
shows the repetitive action that we are doing daily, a parody one at that.
1.10

Isi Perut by Ahmad Zuraimi Abdul Rahim

12

Figure 1.10: Ahmad Zuraimi Abdul Rahim, Isi Perut, Abrasive Dry Point on Galvanised Zinc, 183 cm x 244 cm,
2016.
Description
The image (refer Figure 1.10) shows an artwork made by Ahmad Zuraimi Abdul Rahim which entitles Isi
Perut. It was made using Abrasive dry point on Galvanised zinc. The artwork is measured at 183 cm x 244 cm
and was completed in 2016. The artwork shows an image of half-bodied figure that can be viewed from the
shoulder to the waist. The figure is shown to be wearing a long sleeved skin-tight buttoned shirt. On the upper
part, a rib cage can be seen but very vague in appearance. Other than that, the overall image is quite corroded
with grayscale in colour.
Analysis
The artwork shown in very abstractive manner but the image could still be identified. The artist used corrosion
to create texture on the surface. These textures is depicted in grayscale to suggest a flow of tonal values. The
artworks itself appears to be darker in the back and lighter in the front, maybe to increase its contrast. The main
focal point in this artwork is the central image of a bodied-figure. Looking from the whole surface, the figure is
carefully divided into two flat surface that ultimately give the nous of symmetrical balance in the work. The
figure appears to be in ambiguous space due to the transparency of the subject. Overall, the figure is
proportionately accurate, and how it was composed, harmonised the work entirely.
Interpretation
The artwork entitles Isi Perut. In general, it means the things we have inside our bodies, whether through
digestion (physical) or feeling (spiritual). This artwork is a narrative of the artists personal journey. According
to Ahmad Zuraimi, his intention is to transform regular everyday objects to symbolise the idea of carpentry tools
once belong to his father. This mean that the artwork is mainly focused on the idea of his father as a builder and
how he can reimagine it into a work that he can reflect to himself. The image shows the innards and the outers
of a body. It could be defined as we are the things that we wear and the things that we eat, it is the thing that
makes us the way we are indeterminately.
Judgment

13

The work is creatively produced through using combinations of materials the artist familiar with. These
materials itself has its own symbolism towards the artist personal life and the narrative he wished to express.
Moreover, how he select a subject and used an on-point composition, improved the artworks even more. Also,
how he used texture, effects, balances, line and values in this work is something to be taken note. In my opinion,
the successful of this work is very much on the image it symbolised that says we are what we wear and we are
what we eat. Suggestively, the technique derived from his father which considered as a builder is not shown as
the image but as the process. Ahmad Zuraimi had its narration widely noted not just from the subject he chose,
or the materials he used, but also through the technique he applied.

2.0 ART CRITICISM: ARTIST REFERENCES


2.1

Equal Rights by Lisa Kokin

Figure 2.1: Lisa Kokin, Equal Rights, Mixed Media book collage, 10.5 inch x 16 inch x 1 inch, 2006.
Description
The artwork (refer Figure 2.1) was made by Lisa Kokin on 2016. It is entitles Equal Rights which was made
our of Mixed media book collage measured at precisely 10.5 inch x 16 inch x 1 inch. The artwork shows an
opened book, shown from its central spine. On the left side, it shows a rough old paper that has another paper
stitches onto it. The paper shows a dotted faded lettering, also, the bottom part displays a grounded dirt and the
upper part shows at least 10 units of pins. On the right side however, it shows a writings that is gradually faded
on top of a background that shows a man wearing a hat standing in front of scenery from a rural house. There is
also a black thread glued on top of the surface.
Analysis
The aforementioned artwork emphasis on the texts, letterings and texture. Firstly, the artist carefully composed
the image into two-sides, each side is equally balanced in term of its used subjects. On the left, the old paper

14

texture gave out breathing space which was assisted by a diagonal dirt collage and a geometrical white paper
stitches onto it. The white paper creates contrast in the work and the repetition of the dotted letterings gave out
the sense of broken straight lines. On the right, the text had its opacity reduced to suggest blended transparency
with the background. There are also black threads of lines from thin to thick. As viewed from top to bottom and
left to right, the artwork has depict a proportionately balanced rhythm overall.
Interpretation
The artwork which seem destructed is actually a very preservative memory. The texts and letterings tells a story
about history of equal rights which circulate around the era of slavery. Knowing that, this artwork is actually a
reassembled of that memories, a faded memories which depicted through fragments that had its own explanation
and priorities. Equal rights is a doctrine established during historical time to solve the slavery issues which
mostly sided with the African-American people during that time. This fragmentation shows exactly just that, but
in ways the artist can relate to, as a book, a definition of notes, records and preservation. In general, this book
collage has more meanings historically rather than just a treated old book.
Judgment
The artwork centres itself to be overall balanced. Not just from its end-composition but as well from its
contents. Basically, the artist chose books to suggest forgotten fragments, destructed while preserving. This is to
entertain the audiences with human typical reaction towards old books. In my opinion, this artwork is successful
because the artist knows actually how to interpret her intention of preserving memories through fragmenting.
Discussing on about fragments, no solid indication is required that is what the artist had achieved in this work.
Limited information shown so validly, that it improved its contents. Considering how she composed he work,
with significant used of elements and principles of art, this artwork had become a harmonised whole, from both
form and content.

2.2

Memory Threads by Emma Parker

Figure 2.2: Emma Parker, Memory Threads, Mixed Media, Variable dimensions, 2012.
Description

15

The artwork (refer Figure 2.2) was made by Emma Parker in one of her series of stitches therapy entitled
Memory Threads. The artwork is a mixed media work using discarded paper, threads, fabric and fibre. The
artworks measured at variable dimensions and was completed on 2012. Firstly, the artwork consists of six
particular folded paper with texts on it. Each folded paper has varied sizes from small to big in descending order
form top to bottom. The six folded paper is shown to be connected using a red threads that are stitched on each
of the papers. There is one particular paper, the fourth from the top is actually glued onto a blue-coloured fabric.
Analysis
The main attraction of the artwork was its dynamic form, shown through small to big geometrical shapes
collages from top to bottom. The surface of the shape consist of overlapping textures and each shapes was
linked by two warm colour threads. The threads itself stresses on the elements of lines, which is very frantic as it
flows to multitude directions. This artwork shown in multiple surface planes, thus, it is suggestive that space
was signified in this work. The space was carefully occupied to shows rhythm of the work, mainly through its
repetition but enlarged as it goes from top to bottom.
Interpretation
The artwork is part of stitches therapy series. This one particular artwork is a therapy for the past memory of the
artist generally. Each unit of the folded discarded paper is a sliver of her memory that are connected with one
another. According to Emma Parker, utilising worn and discarded materials in her work is part of salvaging her
broken self. This means that through stitching each worn and discarded material, which symbolised the hidden
aspects of her abandonment, despair and fear, she could mends and nurtures that negativity by connecting the
pieces in vividly soothing rhythm. This nurtures is what she meant by therapy through stitches, whereas it
actually means that broken self is just a fragments which can be conjoint together to mends oneself mind.
Judgment
The artwork as a whole is very subtle. Emma has managed to uses the elements and principles of art to suggest
that stitching activity as her own therapy. In detail, the technique she uses, as well as the materials, has plays an
important roles in term of succeeding this work in both aspects of form and contents. Formalistically, the work
can be seen as a restored version of very worn-out materials, this is to suggest the connecting pieces of her
negativity which still withstands through stitching. This formal aspects, had made the contents of her works very
successful because she is discussing on therapy to combine broken self through a soothing nurtures, in this case
stitching. Hence, resulting as the Memory Threads; memory is just a memory and should ones memory holding
them down, therapy is part of the remedial mends.

2.3

Wrapped Armchair by Christo

16

Figure 2.3: Christo. Wrapped Armchair, Armchair, fabric, polyethylene, rope and cord, 96.5 cm x 79.3 cm x
81.2 cm, 1964-65

Description
The artefact above (refer Figure 2.3) shows a sculpture made by Christo which entitles Wrapped Armchair.
The sculpture was made from Wrapped Armchair using fabric, polyethylene, rope and cord which roughly
measured at 96.5 cm x 79.3 cm x 81.2 cm. It was completed between the years 1964-65. The artefact shown a
very standard classic armchair that was wrapped in fabric and was tied up using ropes and cords. The rope and
cords are knotted up in various positioned and sling-out to multiple directions. The fabric is very worn-out and
the colour shown as stained white with a hinted of dirt.
Analysis
The artwork by Christo is mainly focuses on form, lines and relief textures. The form is basically materialised
through the armchair itself. The armchair in general, has already emphasis on balance, thus, through enwrapping
it had created a newer form. These new form had evoke relief textures onto the surface of the armchair. Besides
that, the artist also used lines in this work which is shown from knotted ropes and cords. The repetition of the
knots had tighten the form even more, thus, giving out the tonal values that suggested lights and shadows which
is naturally achieved upon the armchair. Furthermore, since it is a sculptural work, it is very clear that space is
very much involved as the subjects prioritisation which made this artwork harmonised.
Interpretation
The artwork is very conceptual in term of how it was made. The wrapping of recognisable objects is actually
derived from one expressive intention. These intention is to create idea from mundane objects in ways it could
breathes new identity upon it. According to Christo, the idea of wrapping objects is actually to give new identity
to the objects. These means that when an object is viewed as it is, anyone could identify it. However, by
wrapping, the conceal objects would reveal only the most basic features and the proportions of the actual item is
nevertheless, altered. The common wrapping materials which are fabric, cloths and textiles is discussing on the
fragility and temporal characteristics of the materials, as well as the form that it enwraps.

17

Judgment
The idea of this sculpture is the main reason that made this sculpture successful. Christo actually a conceptualist
who thinks that form is just as temporary as the material it was made from. How he applies the elements and
principles of art in this work enhances these temporal understanding even more. The fabrication of the already
made object through concealing breathes new identity, even this identity suggesting the temporary, fragile
indication of the form. In my opinion, Christo viewed an object from its basic features which can only be
achieved when he disposed unnecessary elements of that particular objects. Hence, resulted in this much
absolute sculpture which regards most on the idea completely.

2.4

Whistler's Mother by James Abbott McNeill Whistler

Figure 2.4: James Abbott McNeill Whistler. Whistler's Mother, Oil on Canvas, 4 9 x 5 4, 1871
Description
The artwork (refer Figure 2.4) is entitled Whistlers Mother and was painted by James Abbott McNeill
Whistler. The medium he used was Oil painting on canvas and was measured at precisely 4 feet 9 inches x 5 feet
4 inches. It was completed on 1871. The painting showed a figure of an old woman sitting on a chair closely to a
grey wall. The woman appear to be wearing a white veil and a black robe. The woman also sitting in profile
with her hand on her lap. It appears to be a very rigid curtain and two framed painting hanged on the wall
besides her. The floor appears to be made out of varnished wooden tile.
Analysis
The artwork mostly indicated in cool colours with just a pinched of warmth on the bottom part of the surface.
The lighter grey-coloured wall is to emphasis the more dominant subject at the front, namely the figure of the

18

woman which was dressed in darker colour. How the subject was composed has invokes asymmetrical balances
in the work. Due to the emphasis on the figural subject, values has been added to propose shadows on the wall,
simultaneously enhance the form of the subject. The curtain is shown in very erratic markings which prompts
textures on the surface. Overall, the artwork is very much harmonised with the use of colours, light and shade,
contrast and texture which also stimulates breathing space.
Interpretation
This artwork is actually, James Abbott McNeill way of portraying his own mother. There are stories speculate
behind this painting. One of them is that his mother is actually a substitution to an actual model who could not
make to the appointment. However, the event had evokes a much more clairvoyance reminder for the artist. It
reminds him on the values of families. This iconic motherly figure had really affectionate him and from this
painting alone, he had understood the most important figure is actually his own mother. Depicting the one he
love had made him a much more mature and that is what this painting trying to express.

Judgment
This artwork expresses on the unplanned results. James Abbott McNeill is very talented but what he disregard
most is the values of parenthood. He is very talent and just in one particular event, he awakes. That is just a
story behind this painting. Formalistically, it is very well organised, the mood, the colours and the composition
is very soothing and deliberately made this work as one of high aesthetical values. However, in my opinion the
artwork had a deep meaning rather than just an excellent portrait of a woman, it reminds us about our parents,
namely our mother. This artwork probably had a very indirect intention but what is important are not from the
outcome but how the artist reflect himself in the painting. I believed it is successful even though just as a
coincidence.

2.4

My Father and The Astronaut by Ibrahim Hussein

Figure 2.5: Ibrahim Hussein. My Father and The Astronaut, Oil on Canvas, 186 cm x 127 cm, 1970

19

Description
The artwork above (refer Figure 2.5) shows a painting made by Ibrahim Hussein which entitles My Father and
The Astronaut. The artwork was made using Oil on Canvas using the glazing technique which scaled at 186 cm
x 127 cm. It is portrayed in 2-Dimensional. The image depict two figure, one is an old man and another is an
astronaut. Both figure is blurred and painted in realistic manner. The background is very red in colour and there
is also a few letterings in the centre of the canvas.
Analysis
The artwork is composed of two side divided. The left side, stood an old man while the right side is an
astronaut. This placement had given this artwork a sense of symmetrical balance. The texts and letterings is
proportionately reduced in size compared to the two figure to emphasis them even more. The background used a
very warmth and dark colour which includes the figure on the front. It signifies harmony in the work. The figure
offset a cool colour from its edge to prompt contrast. Overall, the painting is very rough in textures but it is also
very coherent.

Interpretation
This painting discussing about two different worlds. The Astronaut symbolised as advanced technology,
carefully shown through the spacesuit, oxygen tank, complex devices, cameras and dollar sign. The old figure
representing Ibrahim Husseins father, shown in very old-fashioned with traditional attire of kain pelekat. The
fatherly figure also had a very temperamental look on his face. This shows outdated tradition and culture which
should had been long-forgotten. The interesting part in this work is that these two different world is actually
derived from the same timeline, thus, shown through the reflection of the astronauts visor. The visor reflected
on the greeneries of countryside landscape with blue sky and green mountains. The artist is reflecting on his
father progress compared to what others had done.
Judgment
This artwork had a very deep meaning into it. It was viewed from the perspective of two collided worlds, from
tradition and culture, two different matters of science and technology against agriculture and old custom. What
matters besides the accurate usage of significant understand of elements of art and design from colour to
balance, and space to expression, is the texts. The texts which the artist uses signifies the now which mean
what is actually occurring during that time. How he differentiate his father progress and the progress of the
outside world. In my opinion, this artwork is successful because the artist does compare, but what matters is in
the era of science and technology, the tradition and culture will always be the one more important.

20

21

You might also like