BLUES TELUK INTAN - MASTAN GHANI

Rojak Mastan, rutin wajip. Tidak sama dgn rojak mamak yg lazim terdapat di merata Malaysia. Lidah saya dibesarkan dgn rasa rojak ini. 

BLUES TELUK INTAN NAIK TARAF KEDAI KOPI & RUNCIT

Aku jalan kaki dari rumah ke sini utk tunggu bas sekolah. Ini bekas kedai runcit dan kedai minum Pak Yob tempat tonggang air soda dan sarsi botol, sebelum munculnya menatang bernama 'STAR-Bak-semua-duit-hang' dan Kopibin. Ia akan diruntuh utk diganti dgn bangunan batu di lokasi lain. Memori aku kehilangan tanda. 

BLUES TELUK INTAN KEDAI GUNTING RAMBUT MANIAM (sejak 1969)

Papan ni la tempat saya di'naik-taraf'kan agar dpt digunting rambut semasa saya kecil. Tak pernah ditukar. Begitu juga dgn kerusinya. Maniam dulu juga ialah tukang gunting 'Hero' (arwah ayahanda) utk lebih kurang 30+ tahun. Bukan 3 ye, 30+ k.

Maniam, masih tetap hensem. 2015.

Signage tanpa sebarang bidaah rekabentuk. Rekabentuk dalaman tanpa lemak2 hipsters.

 

TELUK INTAN BLUES

ADA APA KAT TELUK INTAN?

Ni bagi aku cerita sikit utk jawab soalan hipster jadian & urbanite prasan yg aku sayangi. Bapak aku ustad. Bapak dia cikgu. Kedua2 mereka mengajar di sekolah yg sama. Dua2 garang giler. Mereka hantar kami ke tadika tepi gereja, cikgunya mcm2 bangsa. Kami menari 'ball dance' sama2. Sekolah rendah bersama dari darjah 1 sampai darjah enam. Tingkatan 1 dia pergi sekolah asrama penuh (sekolah budak2 pandai yg dpt 5A, STAR ipoh). Aku dpt 2A, 2B, 1C tak cukup pandai. Dia pergi luar negara sambung belajar, aku pergi lewat. Dia ambil bidang kejuruteraan, aku seni lukis. Bapak dia guru disiplin, pernah rotan aku. Tapi bapak dia juga bapak angkat aku. Rumah tu rumah kedua aku. Aku main hoki kayu batang ubi di padang tu. Masa kecil, padang tu rasa mcm stadium. Dgn bapak dia, aku belajar melukis, kenal cat minyak, tarpentin, minyak linseed, pelet, berus,...dan rokok dunhill. Bila berada di rumah ini, segala riak angkuh sombong prasan hebat dah jadi pelukis karyawan urban kontemporari rebel dasyat konon, boleh cair hilang dan lupus. Ini tapak asal aku minat melukis, yg telah membuka denai hidup dan karier kerja bermodalkan 'suka melukis'. Rumah dia dekat je dgn rumah aku. Selepas solat Raya, kawan aku ni selalu ada depan rumah dtg beraya. Dia anak sorang. Keluarga aku 8 orang. Dia jadi kontraktor berjaya, aku jadi sejahterawan bahagia ok juga. Anak dia enam orang, aku tiga dah cukup. Sekarang, dpt jumpa 2/3 tahun sekali pun, syukur. Ayat lazim dia tiap kali jumpa, 'balik la oiii'. Itulah antara yg ada di teluk intan. Takda apa2 yg glamor. Tak pelik2, giler2, art2, konsep2. Takda mesej yg deep deep pun.

CIKGU AZIZ

Dia guru seni lukis aku yg pertama. Masa itu aku baru 11-12 tahun. Belajar malas melukis rajin. Dia layan aku mcm anak sendiri. Rumah dia jadi rumah kedua aku. Beraya di rumah dia acara wajib. Anak dia (seorang je) jadi kawan baik aku. Dia layan minat aku melukis. Aku selalu lepak studio dia sambil tengok dia melukis, dan sedut bau tarpentin campur asap rokok benson&hedges dia. 

Dia kenalkan aku pada cat minyak, tarpentin, minyak linseed, kanvas, pelet, berus. Ada masa dia suruh aku si budak darjah 6 touch up lukisan dia. Kalau ada pertandingan seni lukis, dia mesti panggil aku. Setelah aku sambung belajar & kerja, jarang berpeluang utk jumpa. Tak pernah dpt peluang utk balas budi. Cuma dapat sekali hadiahkan potret ini utk dia, selepas tamat pengajian seni halus di uitm 1988. Sekarang cikgu Aziz dah takda, cuma dpt hadiahkan dia Al-Fatihah.

Ilmu lalu lagi osem dari ilmu buku. Di dinding itu lukisan cikgu Aziz. Sekitar 1976/77. Itulah antara rujukan seni yg awal utk aku. Masa tu aku tak tau pun apa bendanya teknik pointilism, impressionism, partitive mixing (warna bercampur dlm minda), mood cahaya, warna sejuk panas dan neutral dan segala ilmu buku. 

Sejauh mana pun belajar, setinggi mana pun ijazah, sehebat apa pun pangkat dan gelaran, anugerah dan hadiah, segala kpi, indeks dan nombor yg dicapai, tidak sama dgn ilmu lalu yg mengajak kita pulang kpd guru2 yg pernah membuka denai awal utk kita. 

GHOST OF THE PAST Q&A (2009)

GHOST OF THE PAST Q&A

The following is a excerpt from a newspaper interview in 2009, printed in conjunction with exhibition.

 

1. You have been practicing for 29 years, how have you progressed as an artist?

Thank you for your interest in interviewing me. I am honored and grateful.

How have I progressed? I hope I have done ok. As an artist, I hope my personal ‘growth’ has also contributed well to others, my family, my friends, the local, regional and international visual art scene, other than to my own self or my personal career.

There are many layers of one’s personal growth or what we normally called ‘progress’ – and most of the outer layers have to do with tangible things – my output perhaps, which is multi-dimensional – drawings, paintings, video art, installations, performances, theatre, music compositions, plus my writings, curatorial work, my teaching and administrative/directing roles.  They are tangible of course, and can be documented in my CV or resume and portfolio. They are diverse and trans-disciplines – which I prefer to call ‘cross-encounters’ or ‘cross-borders’. I guess it has been the theme of my personal growth – hence the title of the exhibition – ‘In Between the Lines’. I have been ‘progressing’ in between many lines or disciplines. I like to summarize my ‘progress’ that way.

But, other than tangible things, there are also intangible dimension to one’s growth - the more important and intrinsic kind of growth or progress, so to speak. I prefer to look at my growth as an artist in three terms – spiritually, mentally and emotionally. My drawings are physical indexes of my spiritual, mental and emotional journey. ‘In between the lines’ may also imply my personal negation between spirit, mind and emotion. It is in such journey that I encounter both the good and bad sides of myself. ‘Meanings’ in one’s life journey may be found in between these intangible ‘lines’, I guess. I think I am now at the stage where I am more interested in my spiritual journey.

2. What keeps you going as an artist for so long?

Passion and love.

3. How different is the KL/Malaysian art scene then (when you first started) and now?

This question requires a long answer. Hope its ok for u. It may be a bit self-indulged.

I entered the local art scene in the late 1980s. Then, the local art scene was centered on abstract, water color paintings and ‘revisiting our cultural roots/heritage’ theme. Big and beautiful paintings were bought by institutions, especially private institutions. Some of us called them ‘lobby art’. I guess it was the peak of Malaysian modernism (or formalism), before it was later deconstructed and made fragmented by younger artists during the 1990s through experimental works that include site-specific installation, video, performances, plus expansion of issues that touch beyond aesthetic and formalism - that include identity and representation, cultural marginalization, local politics, the economy, etc.

The seeds of such fragmentation was already planted in the late 1980s, and emerged during the 1990s. Several UiTM and MIA students were already toying with the idea of big installation, mixed-media and expanded paintings, converging multiple fine art disciplines into one expanded installation, experimenting with computers and videos, inserting performative element, going into conceptual approach (echoing the 70s), doing research-based work, exerting angst and revitalizing expressionism through figurative works and many more.

I was surrounded (and inspired) by fellow friends who were also interested in experimenting beyond the traditional confine of fine art. I had Taufik Abdullah, Fauzin Mustaffa, Mohd Noor Mahmud, Mohd Amin Busu, Rozana Mohamed (who later became my beloved wife) as my sparring in my class; inspired by more experimental and figurative works by our seniors such as Jailani Abu Hassan, Rafie Ghani, Akif Emir, Tengku Sabri, Mastura Rahman, Romli Mahmud, Haron Mokhtar, Ahmad Shukri Elias, Riaz Jamil, Young Jefrey, Mi Pak Lah, Hanafiah Waiman and many more. We were challenged and allowed to experiment (sometimes encouraged, albeit discreetly) by lecturers such as Fauzan Omar, Ismail Zain, Ponirin Amin, Ariffin Ismail and Zakaria Awang, even though there were other lecturers whom I called ‘discipline masters’ who placed emphasis on the fundamentals such as Ruzaika Omar Basaree, Amron Omar, Awang Damit, Joseph Tan, Chong Kam Kaw and Tan Tuck Kan. I was blessed with a good combination of lecturers. Ismail Zain was highly influential, especially in shaping my thinking. I was also touched by Kamarudzaman Mat Isa’s early experimentation with computer to produce art.

Then, there were also these undying spirit and refreshing energy emanating from artists such as Zulkifli Yusoff, Suhaimi Tular, Roskang Jalani, Tan Chin Kuan, Liew Kungyu, Wong Hoy Cheong, Askandar Unglert (based in Penang, who was already a senior artist at that time), Ray Langenbach and Phuah Chin Kok who were already experimenting with various media then. Most of them were not ‘making money’ out of their works. My juniors such as Raja Shahriman, and the Matahati artists were too ‘naïve’ then, even though they later picked up the vibes and became superstars in the 90s. I think these artists were genuinely ‘exciting’ when they initially started, at least for me. They were more interested in researching, testing, challenging, expanding, experimenting, questioning, exploring, other than ‘expressing in a raw and immediate manner’ – traits that I sometimes found lacking nowadays. For me, they were the artists that drove several interesting trajectories during the late 1980s and the 90s.

It was during the late 80s that multi-arts engagements continued to be revitalized by groups such as Centerstage and Five Arts Center. I was also privileged to be involved with individuals from the theater and music scenes – Normah Nordin, Najib Noor, Fauziah Nawi, Iryanda Mulia, Dida, Peggy Tan, Marion D Cruz, Krishen Jit, and singers Eddin Khoo (who was active composing and singing then), Rafique, Hassan and Markizah and Dr. Wan Zawawi. I had my initial trans-disciplines encounters and training at Centerstage – under the tutelage of Normah Nordin and Najib Noor. I also ‘lepak’ with Ladin Nuawi (a poet, now a well-known Malay children’s theater director). We mingled like brothers and sisters.

I think the 90s are one of the most exiting decades in the local visual art scene. Perhaps I am bias. When I came back from USA in 1993, I hope I could inflict similar interest in journeying or experimenting beyond the convention of fine art to my students then – amongst them were Noor Azizan Paiman, Nur Hanim Khairuddin, Rosli Zakaria, Sharmiza Abu Hassan, Faizal Zulkifli, Suhaimi Tohid, Syed Alwi, Hamidi Hadi, Daud Rahim, Farid Zainuddin and many more. I continued to engage with Centerstage and Five Arts Center through several projects. I met several more people in other fields such as Janet Pillai, U-Wei Shaari, Amir Muhammad, Hasnul Rahmat, Isazaly and Naguib Razak. When I was in UNIMAS, I worked with Fauzan Omar and Niranjan Rajah to devise a new curriculum for fine art that is more expanded. Fauzan with his expanded painting, while Niranjan and I with e-art. I acquired several interesting students and lasting friends from various disciplines in UNIMAS such as Hafiz Askiak (composer), Hamzah Tahir (scenographer), Zulkalnain Zainal Abidin (photographer), Anuar Ayob, Safrizal Shahir, Tan Sei Hon, Rachel Ng, Veronica Sham;  later in Cenfad such as Jimmy Choong, Fitriyah Yunus, Sharifah Amira, Sabina Arokiam, and my ‘Sonneratia’ (Youth Art Camp) students/friends – Sooshie Sulaiman, Bibi Chew, Juhari Said, Imri Nasution, Roopesh Sitharan, Tan Hui Koon, Joseph Teo Choon Chin, Kok Yoong, Goh Chiu Kuan, and many more. Most of them have become artists (or work in the art scene) who belongs to the late 1990s and post 2000. Some have been active in expanding the art scene into alternative terrains.

What we have now are mostly echoes of the 1990s, with young artists emerging and working on the basis of what has been expanded and fore-grounded by artists in the 1990s. They have more opportunities, more support, more ‘visibility’, more spaces, more avenues to pursue their passions. More may not be good all the time. In fact, I think Malaysians have been spoilt by ‘more’ rather than ‘less’. In fact, I think some young artists have been too ‘over-rated’. Even the term contemporary and ‘young artists’ might have been over-rated too. I hope there will be more genuine or ‘original’ ventures that reflect the spirit, challenges, trial and tribulations of the post 2000 coming out from the works of our younger artists now, rather than mere echoes and pr exercises. 

4. You have done figurative drawing, paintings, installation and electronic art.  What sort of artworks can we expect from you in the coming future?  Will you be experimenting on new media?

I am currently working on merging video art and painting, focusing on the ‘temporal’ side of ‘colors and images’. Other than that, currently I am more interested in directing trans-disciplinary projects that are more ‘people-oriented’. I will continue to explore the notion of ‘identity/representation’ in relation to ‘new media’ through collaborative online projects. They may not be labeled as my individual ‘work’, but I gain more satisfaction by engaging in these types of projects – I have to work with many people from many different disciplines, I can create a space for opportunities, ideas and possibilities to take place. I may anticipate a result but the result will only be determined by the nature of synergies between various individuals/parties (again the word ‘between’). I am more pre-occupied now with this type of organic working style, rather than working alone like a typical artist. It makes me less selfish.

5. Who/which artists do you think are currently shaping the local art scene?

I think the local art scene is always shaped by many parties, rather than artists alone. Nowadays, even artists are being shaped – through aggressive branding or pr exercise which includes a team of gallery owners/promoters, copy writers, art directors, photographers, art writers/scholars, editors, institutions etc. Media people and people in the publishing industry also play a very important role, not to mention the ‘new media’ – blogs, websites, e-forum, etc.  Then we have the collectors and corporate sponsors – we should not forget that their decision in sponsoring an artist will likely make the selected artist an important and influential artist.

I hope the local art scene is not merely shaped by the ebb and flow of ‘money’, impression, glamour and glitters, but also by substance such as ideas, concepts, views, perceptions, emotions and other intangible vibes that are pertinent to our collective growth as a nation. I refer to this as the inner layers of an artist, not the outer layers. Most of the general idea of an artist being influential in shaping the art scene is based on the outer layers. When you interview artists (or more and more artists), you will notice that their ideas, sentiments, emotions are intricately interconnected to other artists as well (or people outside the art scene). I am more interested in this undercurrent.

My answer is that all of us who are involve in the art scene, no matter how small or how big we think our contribution is, are significant in shaping our art scene. Now is the best time to think this way, rather than leaving it to certain artists, individuals, groups, institutions, policy-makers etc.

6. Is it fulfilling being an artist?

Yes.

7. Do you think art has commercial appeal/value here in KL?

Yes. It may even help to create a commercial appeal and added value to KL, if one wanted to. Other than that, art is more than commercial appeal. It touches our soul. KL needs more ‘soul searching’, not just business as usual only. ‘Business as usual’ sometimes may breed jealousy and envy, which may lead to ‘hatred’ – the ‘real’ enemy that lies within everyone.

8. What advice do you have for young budding artist?

Be sincere and truthful to one’s own soul – then one may discover the real enemy, as well as the real super-hero within oneself.