E CATALOG REMARK by ARTCUBE

MOHD AL-KHUZAIRIE ALI . DAUD RAHIM . AZAD DANIEL HARIS . ANNIKETYNI MADIAN . AZRIN MOHD .
DHAVINDER SINGH
R E M A R K
Project Team
Azhar Ahmad
Fuad Salleh
Kamaliah Azhar
Writer
Zena Khan
Ajako Watanabe
Photographer
R E M A R K
REMARK
REMARK is Artcubes rst show exclusively presentng emerging talents on Malaysias
contemporary art scene. Featuring Azad Daniel, Anniketyni Madian, Mohd Al-Khuzairie Ali,
Azrin Mohd, Daud Rahim and Dhavinder Singh, the show projects a snapshot of a new
generaton of talent and the excitng, inventve directons Malaysian art is moving towards.
Globally, contemporary art strives to match intellectualism with immaculate producton.
The mix of innovaton and nesse exhibited by the six young artsts in Remark is delightul
to see. All subscribe faithfully to the formalistc tenants of ne art; yet have quickly found
distnct signatures of their own. Azad Daniel is well known for his highly glossy nishes,
derived from his inventve personal process of priming his unusual surfaces with cement,
then paintng with auto paint, propelling his art onto the next level of painterly works.
Young ceramist Mohd Al-Khuzairie masters the delicately industrial medium of stoneware
ceramics to speak about fragile relatonships between humans and the environment. Azrin
Mohd is quickly emerging as a leading assemblage artst with his ability to craf highly
specic large scale works, intricately detailed so as to tghtly draw his viewers in. Anniketyni
Madian contemporizes traditon with her precisely detailed wooden sculptures that ow in
an organic manner as they narrate heritage to a new generaton. Daud Rahims
philosophical conversatons, crucial to the intellectual developments in increasingly auent
societes, endear themselves to audiences an easy aesthetc that belie the diculty of his
exploratons in working in a reverse technique. Dhavinder Singh, fresh from a well-received
solo exhibit, develops the local minimal art movement with works that strive to present
established concepts in original conguratons.
Artcube demonstrates their commitment to promote and represent high-value,
investment-grade Malaysian contemporary art at an internatonal standard not only
through the representaton of established artsts, but also by supportng emerging talents.
The gallery understands the need to showcase not only paintngs and sculptures but also
artworks such as installatons, assemblage and experimental mixed media due to their
fundamental role in context of the contemporary art movements development.
by Zena Khan
02
Diverse in style and practce, the six artsts Artcube brings together with Remark
nonetheless have unifying threads binding them together. Each of the artsts demonstrates
an awareness of the landscapes surrounding them, be it physical, social or material, and
strives to create discourse in an eort to engage the public in current aairs. Indeed, part of
the fascinaton audiences will nd in the works presented, lies in the topics of
commercialism, fragility of survival, ethics and spirituality, all of which consttute issues a
developing society like Malaysia faces while balancing cultural identty in an increasingly
homogenous world. These artsts command admiraton for their honesty, reectng onto
viewers reality in raw, literal forms comprised of great beauty.
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Daud Rahim is known for both his exemplary technical abilites as well as the deeply philosophical
thread running through his work. Recently, he has been focusing his atentons strongly on the
anxietes the human soul faces when living in a material world. Coming o the strength of his
well-received solo Jiwa in 2013, Dauds intertwined exploratons of both his artstc practce and
spirituality contnue with his latest paintngs, Jiwa, Stallion, New Generaton 2 and Telur.
A spiritual energy infuses Dauds works, emerging not only from his thoughts, feelings and memories
but also his observatons of the physical world. Unsurprisingly, this leads him into realistc depictons of
forms both natural and manufactured. Jiwa, Stallion, New Generaton 2 and Telur provide a
fresh directon within this established theme. The use of mechanical imagery is even stronger and
more obvious than in earlier works such as Gajah, where the industrial elements were almost
camouaged. Despite the harder edge of Jiwa, Stallion, New Generaton 2 and Telur, from the
inclusion of industrial components, skeletons and skulls, content wise these paintngs are distnctly
local via the spiritually radiatng from them. As societes become increasingly consumer driven, a need
for balance and reinstatement of values emerges. Rather than providing answers, Daud utlizes his
platorm as an artst to empathise with this search for balance, demonstratng an understanding of the
dualites that mark contemporary life.
Working in color pencil, which is rare for such expansive and conceptual work, Daud harnesses this
medium beautfully, and with great detail. Over 600 pencils in 200 colors were used in the creaton of
the Jiwa series, the period in which the artst gained mastery over the medium. Acrylic is sparingly
used, primarily in the background, which was primed black as a rst step. Daud has been
experimentng with a reverse technique, as was seen in Jiwa. Initally priming the surface of his canvas
black, he works to bring forth colour and light. This is the polar opposite of the regular method where
shadows are built up on lighter surfaces. Projectng light and shadow to achieve realism when working
in reverse is immensely tricky, made possible only through intense layering. Dauds ability to impress a
seamless easiness on his audience via such a laborious process speaks to his incredible technical
prociency. The value of mark-making is apparent; the artst employs condent, controlled lines. The
respect awarded to the formal aspects of art producton not only provide representatonal importance
but also remark on the delight Daud nds in paintng, marking him out as a true artst.
DAUD RAHIM
06
An analogy of the struggle between the search for
spiritual fulllment and the quest for material
things that describes societes of the twenty-rst
century, Daud harmoniously combines opposing
imageries in a highly current mater.
His message to diligently work at both the internal
and external aspects of life, that is balancing the
search for worldly fulllment with nourishing the
soul, is beautfully communicated via his art.
Dedicaton and discipline endow Dauds movingly
appealing paintngs with an eortless charm that
manages to connect to large audiences.
07
Media : Color pencil & acrylic on canvas
Size : 171cm x 250 cm
Price : RM 18, 000
Year : 2014
JIWA
by DAUD RAHIM
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Price : RM 18, 000
Year : 2014
STALLION
by DAUD RAHIM
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Price : RM 18, 000
Year : 2014
NEW GENERATION 2
by DAUD RAHIM
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Price : RM 7, 000
Year : 2014
TELUR
by DAUD RAHIM
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Assemblage, the three-dimensional counterpart of collage, involves the amalgamaton of found
objects and materials, generally non-art in origin. The beauty of assemblage lies not only in its physical
appearance but also the allowances for an artst to create conversatons that draw heavily from societal
associatons present in an object. Azrin Mohd, a rising contemporary Malaysian artst, regularly
displays his innate understanding of the power of associaton within art, eectvely harnessing it to
capture his audiences atentons with works such as Bila Pandangan Mata Hat Tertutup #1, Bila
Pandangan Mata Hat Tertutup #2, Bila Pandangan Mata Hat Tertutup #3 and Bila Pandangan Mata
Hat Tertutup #4.
Earlier in his career, Azrin followed the traditonal route of creatng
assemblages from found objects. This method certainly allowed for
relatonships to develop between the artwork and its viewers, indeed the
consumpton of found objects speaks to specic truths of both the item itself
and the cyclical natures of art and the physical world. Azrin found himself on
a quest to discover even stronger ways to connect his audience to his art, and
began experimentng with crafing assemblages from artcles entrely
handmade by him. 2013s Duri Dalam Daging is a stunning example of this
endeavor. A wall installaton measuring four feet by eight feet, the main
feature of this turning-point piece was numerous mini resin replicatons of
warriors from the Chinese Terracota Army. Bolstered by this experience,
Azrin contnues on his path of completely self-built works with Bila
Pandangan Mata Hat Tertutup #1, Bila Pandangan Mata Hat Tertutup #2,
Bila Pandangan Mata Hat Tertutup #3 and Bila Pandangan Mata Hat
Tertutup #4.
To understand Azrins need for highly specic assemblage, it is important to recognize the value he
places on the formalistc aspects of ne art. From concept, to studies, to nishing, each work is
metculously planned and possesses an intellectual weight. Contnuing in this approach, Bila
Pandangan Mata Hat Tertutup #1, Bila Pandangan Mata Hat Tertutup #2, Bila Pandangan Mata
Hat Tertutup #3 and Bila Pandangan Mata Hat Tertutup #4 certainly please. The artst focuses on
the theme of greed. Each work is presented in a Perspex box. Within the box are a diorama, a mounted
animal head, textual elements and drawings. Presentng mounted animals as trophies has several
implicatons. The immediate associaton is that of a hunter and his prize, which could be emphasized
by imagining the wallpaper background of the works to signify the interior of a home. Taking the text
in account however changes this. The included quotes, politcise the pieces, and act as a subconscious
thread binding the four together. The audience could now see the trophy as a form of imperialism,
bringing to mind ideas of neo-colonialism, and the wallpaper link to home could be expanded to
include countries within its deniton. An ambiguity of exact deniton actually suits the work, as the
point Azrin raises is the omnipresence of greed in all layers of personal and public life.
AZRIN MOHD
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70
Several contrastng elements come together to present the opposing ideas of adorability and rawness
in one frame. Excitngly, Azrin has added a new tool to his producton arsenal by using
three-dimensional printng to fashion the solid aspects of the work, enabling himself to now recreate
his two-dimensional pre-producton drawings. The narratve quality that acts as Azrins signature
naturally strengthens with his ability to expand his technical range, resultng in intmately detailed
works which delight and atract his audience..

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Media : 3D printing, soft pastel and
digital print on canvas & mixed media
Size : 125 cm x 94 cm x 10 cm
Price : RM 6, 600
Year : 2014
BILA PANDANGAN MATA HATI TERTUTUP #1
by AZRIN MOHD
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by AZRIN MOHD
15
Price : RM 6, 600
Year : 2014
15
by AZRIN MOHD
16
Price : RM 6, 600
Year : 2014
17
by AZRIN MOHD
Price : RM 6, 600
Year : 2014
70
Kumbu Rayong and Berasok are two new 2014 wooden sculptures by emerging young sculptor
Anniketyni Madian. Anniketyni is fast making a name for herself with her decidedly detailed
wood-based works. Drawing inspiraton from the Pua Kumbu textles of her natve Sarawak, the
artst contemporizes traditon to create pieces that, despite their precise linear detailing and inert
medium, ow in an eortlessly organic manner.
A ceremonial coton cloth woven by Dayak women in Sarawak, the colourful paterned Pua Kumbu
textles are considered sacred. Pua Kumbu are involved in several lifecycle rituals and special events,
including the birth of a child, coming of age celebratons, receipt of an important item to a
longhouse and to screen a corpse prior to burial. The act of weaving Pua Kumbu itself represents a
deeply spiritual and socio-religious undertaking. A sacred actvity obligatory for all Iban women, the
act of weaving establishes womanhood and worth, in a society with incredibly specic gender roles,
and where spirituality is intrinsically linked to every aspect of daily life. The weaver thus takes her
place in the spiritual regeneraton of the traditonal values and religious norms of her people. It is
tng that Anniketyni, as a female sculptor, uses Pua Kumbu as her startng point conceptually. The
modernity of her sharp slim lines as they reach out, while imbibed with a strongly Sarawakian avor,
is thoroughly current. The artst, while relatng her heritage with a symbol that is highly traditonal,
visually and conceptually, cleverly makes her aesthetc presentaton in a manner that ts in with the
currency of the developing society she observes surrounding her.
ANNIKETYNI MADIAN
Visually arrestng, Kumbu Rayong and Berasok are the product of an intensely detailed process,
going a long way in explaining Anniketynis ability to create an atmosphere of movement in statc,
wooden sculptures. Drawing inspiraton from kinetc artsts such as Theo Jansen, architects and
engineers, Anniketyni has spent much of her young career working on ways to incorporate the neat
technicality of constructon into her artstc practce. She begins with delightully uid drawings: a
crucial part of her process, as planning is key to the success of each sculpture. These drawings act as
plans from which the two-dimensional Pua Kumbu paterns are translated into three-dimensions,
gaining sides, depth and perspectve in the process. Each slice of wood is minutely detailed, with
several shapes and edges cut in. The cuts need to be perfectly aligned in order to t neatly together for
the nal aesthetc, and create the smooth, seamless ow running through these hardwood sculptures.
Anniketynis insistence on personally fabricatng the entre sculpture provides a rapport between
herself and her sculptures. This bond is evident in the immediate progress she makes technically and
conceptually from piece to piece. Kumbu Rayong and Berasok are part of an early foray into
working in hardwood. The draw of this new wood is clear in the richness of colour she extracts with the
beautfully polished nishes applied to the pieces. Having come o a residency in 2011 with House of
Matahat (HOM), Anniketyni has now been invited to partcipate in the Rimbun Dahan Residency 2014,
a prestgious program in which eminent artsts such as Multhalib Musa, Ahmad Fuad Osman and Haslin
Ismail have all partaken. Given Anniketynis dedicaton to her craf and wonderful ability to narrate
heritage and traditons in the language of a new generaton, she looks set to be an excitng emerging
talent in the genre of sculpture.
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KUMBU RAYONG
by ANNIKETYNI MADIAN
Media : Wall sculpture ( Mix of hard & thick wood )
Size : 152 cm x 213 cm
Price : RM 12, 000
Year : 2014
22
Media : Wall sculpture ( Mix of hard & thick wood )
Price : RM 10, 000
Year : 2014
BERASOK
by ANNIKETYNI MADIAN
One of humanitys earliest art forms is wildlife art. Widely recognized, the
universal desire to pictorially describe animals encompasses all cultures
and contnents. Wildlife art resonates deeply by enriching the
appreciaton of the relatonship between man and nature. In partcular, art
depictng endangered species, be they historical or contemporary, raises
pointed questons about humanitys role in survival versus extncton. It is
precisely this discussion which young ceramist Al-Khuzairie Ali raises with
his new works, Pseudonym I, Pseudonym II, Pseudonym III and
Pseudonym IV.
Originally from Pahang, Al-Khuzairie has spent the beter part of six years
in Puncak Alam, an area once popular with tapirs. Specic to jungle
regions such as those found in Malaysia, sightng this once common black
and white mammal has become increasingly rare, due partly to the
development of forested areas. This observaton triggered his
examinatons into the positve and negatve results of interactons
between human and animals, partcularly those that are endangered. He
looks to studying animals severely threatened in contemporary tmes, in
an atempt to capture the dynamic before visual representaton is the only
record available.
Al-Khuzairie understands the need to strike interest in an urban audience
on wildlife, given the disconnect that might exist due to radically dierent
environments. The artst has worked on a series of mechanical parts that
he then assembles to create impressions of ceramic animal skeletons. An
industrial atmosphere infuses the skeletons, juxtaposed with the organic
uidity aorded by the subject mater and smooth sculptural ceramic.
Interestngly each piece is topped with a human skull, signaling mans
pivotal positon in the extncton process. An ominous tone hangs over
these unyielding hybrid skeletons: is the artst predictng a future of
technologically manufactured wildlife if awareness is not quickly spread?
MOHD AL-KHUZAIRIE ALI
23
Ceramic art is popular in utlitarian trades and industry, marking it as a natural choice for industrial depictons. A great
traditon of ceramic techniques and aesthetcs in the creaton of sculptural contemporary works exists internatonally and
has been increasingly brought into prominence locally by Al-Khuzairies mentor Umibaizurah Mahirismail. Al-Khuzairie
demonstrates his own incredible technical abilites through the accuracy he is able to extract in all areas of his producton
process. He joins the forms together himself, exposing the millimeter precision he employs in his handbuilding technique
and castng process, as well as his experience with including mechanical forms into his art, as previously seen in works
such as Rise of Machine II and Rise of Machine III. Working in stoneware ceramic, the artst began his process with
solid clay models to create moulds, going on to utlize the industrial technique, slip castng, to fashion the nal pieces. Slip
castng, a notoriously lengthy and delicate process, involves ring the ceramic at 900-1200C. The delicacy of Al-Khuzairies
process makes it a tng medium to convey his message of fragility in the natural world.
Al-Khuzairie witnesses and appreciates the rapid developments of his physical environment, understanding that the
current landscape exists in a eetng moment of tme. His endeavors to capture snapshots of his personal interpretatons
of events reveal a deeply philosophical streak, which seems inherent in artsts of Malaysias East Coast. Indeed, presenta-
ton of traditonal concepts in formats encapsulatng contemporary tastes mirrors the physical and cultural landscape,
demonstratng his innate ability to enable his audience to emotonally invest themselves in his beautfully sleek and sculp-
tural pieces.
24
25
artworks
Media : Ceramic & mix media
Price : RM 5, 200
Year : 2014
PSEUDONYM I
by MOHD AL-KHUZAIRIE ALI
26
PSEUDONYM II
Price : RM 4, 500
Year : 2014
27
Price : RM 4, 800
Year : 2014
PSEUDONYM III
28
Price : RM 4, 800
Year : 2014
PSEUDONYM IV
70
I am what I have. This operatve deniton of self, describes how individuals view themselves in todays
consumerism-driven society. Consumerism is a by-product of centuries-long process which gave rise to
mass markets and industrializaton. As incomes raise, so do cultural pressures to spend it all on an
ever-growing output, underlined by an assumpton human desire is innite. The correlaton between
consumerism and materialism is clear, and in the twenty-rst century, special emphasis can be placed
on the prevalence of technological items. Digital media, personal computers and cell phones signify the
consumers status in society, becoming symbols for the users positon within traditons of auence.
Azad Daniel Haris, with the observant skills and dry wit of a new generaton of contemporary artsts,
strikes up a dialogue encasing this phenomenon with his ve new works Laced Skull, Swallows,
Classy Mother Fucker, More Issues Than Vogue and Comic Strips.
Azads new paintngs Laced Skull, Swallows, Classy Mother Fucker, More Issues Than Vogue and
Comic Strips opened with the artsts fundamental insight into iPhone covers. Their transformaton
started when he decided to literally blow them out of proporton, turning them from hand held objects
into orthotropes of six feet by three feet. Each piece began as a cast Perspex shell, depictng a new base
medium for Azad. Castng allows for repetton, unifying the ve works. Additonally, the castng
process allows for neat detailing. Exactly as in an actual iPhone case, the ergonomic spaces for access
to the butons and camera lens are present, strengthening the viewers immediate recogniton of the
object. The artst individualizes the works through the designs applied on each via his highly innovatve
auto paint technique. Two of the works are inscribed with text; the other three have paterns typical of
the choices for iPhone covers. The glossy impression of these graphic works, with their neat, stcker-like
appearance, are achieved through the layering of stencils, from large to small. A highly technical
process, it mirrors the neat exactness involved in creatng technology. It should be noted Azads process
is specic to him, and a result of experimentatons with cement and auto paint in a process mimicking
car restoraton techniques. The cement base, layered auto paint and nal polish aord the works a
perfectly beautful sheen that is unusual in painterly works.
29
AZAD DANIEL HARIS
Laced Skull, Swallows, Classy Mother Fucker, More Issues Than Vogue and Comic Strips
possess both perfect uniformity and sporadic randomness, a feature consumers are exposed to in
Apple stores. Each piece is dierent, providing something for everyone. A buyer could choose to show
a fashion-focused edge with an intricate, graphic black skull, or buy into the dreamier swallows, or
demonstrate a liking for art with a preference for a Ray Lichtenstein-inspired comic book nish case.
The textual works are perhaps stronger statements; Classy Mother Fucker is charmingly confronta-
tonal, ambiguous in its standing as either a compliment or an insult. The double entendre More
Issues Than Vogue showcases Azads quiet, observatonal humor, is he commentng on the plethora of
issues besetng society or a partcular individual? It is also perhaps remarkably tmely given the
debates surrounding American Vogues controversial April 2014 cover featuring Kim Kardashian.
While appearing whimsical, these works make a serious statement about the role of contemporary art
in current society. In their nished states Laced Skull, Swallows, Classy Mother Fucker, More
Issues Than Vogue and Comic Strips visually challenge their viewers on several levels. Their shiny
nishes, each with an appearance whose appeal lies in the tastes and allegiances of the individual are
as seductve as the real objects would be in an Apple store. As such they perfectly utlize art appropria-
ton to address luxury and consumerism. Given the clear parallels between consumerism and technol-
ogy, what would be a beter icon to address the issue than the iPhone, seen as a pinnacle of human
technology?
By recontextualising an iconic object, Azad comments on both its original meaning as well as the
audiences immediate associatons. While tapping into ideas of big business, consumerism, commer-
cialism, and middle class values, the glossy works unwitngly reect instnctvely human atractons
towards design and individualism. The individuality of each nely-made work further propels them
from mass produced consumer reproductons into high-end, one of a kind pieces. Each is unique, and
once its gone you cant possibly get another. The stunning clarity with which Azad uses art appropria-
ton to encapsulate the two sides of material society, pitng the need to be on trend, against the innate
desire to be distnct, underscores the distnctons between popular taste and high art, an essental
discussion in a rapidly developing society.
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31
CLASSY MOTHER FUCKER
by AZAD DANIEL HARIS
Media : Auto paint on perspex
Price : RM 15, 000
Year : 2014
Price : RM 15, 000
Year : 2014
MORE ISSUES THAN VOGUE
32
70
Price : RM 15, 000
Year : 2014
COMIC STRIPS
Price : RM 15, 000
Year : 2014
LACED SKULLS
33
artworks
In principle, installaton art looks to ll specic spaces with
sometmes disparate items in an eort to invoke multple
complex thoughts, emotons and associatons. Linking this
thought to the concept of space-creaton proves, while
seemingly radical, historically it has existed in several
manifestatons in art, beginning with ancient painterly spaces.
Since the twenteth century these ideas veer towards abstract
art, harnessing their power to connect non-representatonal
art to audiences. MO: Seascapes, a trio of wall-installatons
by emerging artst Dhavinder Singh, combines familiar shapes
in a mult-dimensional space to create recognizable
landscapes, successfully demonstratng the power of
connectng cerebral notons in art creaton.
Fresh from his well-received solo, MO: Formal(and)Scapes, Dhavinder contnues a formalistc
approach into the examinatons of the visual and cerebral elements of ne art, using physical
landscapes as the conceptual startng point. MO: Seascapes thematcally progresses from these,
adoptng a more rened, painterly style. Trained as a painter, Dhavinder nds himself constantly
questoning the parameters paintng exists in, ofen working in non-paint mediums. While MO:
Seascapes does include acrylic paint, the artsts contradictory side emerges in its applicaton. Rather
than following a traditonal route of paintng onto canvas, we nd the artst has directly applied colour
onto the wall. The key to understanding the ratonale of this process lies in the denitons of
installatons as site specic, now the wall is encompassed as a major component of the wall
installaton. Now the space is justed, as without it the work would struggle to exist, dening that
exact site as integral to its concepton.
DHAVINDER SINGH
34
70
Elements of humor in MO: Seascapes surprise viewers, in partcular those familiar with Dhavinders
ofen serious and thought provoking statements. A shark n emerges from the calm blue sea, shing rods
point forward three-dimensionally, and in the distance, secluded islands are apparent. Audiences
well-versed in Dhavinders previous works will be delighted at the glimpse of a new facet of the artsts
personality. Yet even this light-hearted charm is infused with staunch adherences to his practces formal
aspects. The lines depictng rods and horizons actually create depth and perspectve, expressing an
interplay of two, three and perhaps even four-dimensions. In this way, all aspects of the objects are
simultaneously presented, invoking the artsts atempt to recreate reality without resortng to mimicry.
Furthermore, as a minimal artst, each line, shape, colour and placement has to be strenuously edited,
since nothing superuous can exist. The ease with which Dhavinder is able to communicate several
thoughts with a carefully curated arsenal of tools, speaks highly of his handling of the mediums and
concepts he chooses to work with.
On rst glance Dhavinders new works seem highly radical: he paints his art onto the wall, placing a
queston mark over its commercial positon. A quick study of art history proves this is not the case, as wall
murals and frescos are historically crucial to the development of ne art, visually and intellectually.
Recalling ancient Roman murals in Pompeii or Leonardo Da Vincis Last Supper for example, atest to the
positon of direct wall paintngs in progressing the tenants of spatal constructon in art, and therefore
the established positon this technique occupies. Merging formalistc approaches with new ideas marks
Dhavinder out as an artst who looks to broaden his audiences horizons in terms of art appreciaton.
35
36
Media : Custom acrylic case, blue pigment,
cement, nylon thread and acrylic paint on wall
Price : RM 10, 000
Year : 2014
MO : SEASCAPES # I
by DHAVINDER SINGH
37
Media : Custom acrylic case, sea sand ,
safron , nylon thread and acrylic paint on wall
Price : RM 9, 000
Year : 2014
MO : SEASCAPES # II
by DHAVINDER SINGH
38
Media : Custom acrylic case , red soil ,
chalk , nylon thread and acrylic paint on wall
Price : RM 8, 000
Year : 2014
MO : SEASCAPES # III
by DHAVINDER SINGH
May 2014 ARTCUBE
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