ABSTRACT
This paper is to study the development of the art of printmaking in the "modern" art discourse in Malaysia, based on recent development in the contemporary arts of Malaysia. Focus will be given to an exhibition titled “GO-BLOCK" and some printed artworks which is believed could give inspiration to expand and develop print vocabulary not bound by the tradition of modern expression. The study aims to examine a new approach in print applied in Malaysia. Another objective is to analyze the thought behind the changing of the prints relate to Malaysian art history, mainly to fill in the gap of knowledge in printmaking by the Malaysian critics. In Malaysia art scene, the artists show their effort to expand the conventional perception of a developed art print disciplinary and bring up new ideas and inspirations to widen the conventional paradigm of prints. Furthermore, there are new trends and competitive pressures in art discourse. Accordingly, in lieu with this new paradigm shift in the printmaking definition, the possibility of a new form can be reclaimed and rejustified, print to co-opt with other art forms to create a new form of art. This exploration is an attempt to accept new possibilities, realignment and expansion of the existing traditional definition towards a new one and move coherently, pointing to a current flow called post-modern art.
Negation or Re-definition in “GO-BLOCK”
What is “GO-BLOCK”? It is a printmaking showcase which presents five Malaysian contemporary artist works together to explore, investigate, analyse a possibilities of medium, ideas and concept which can be referred as printmaking. Through the exhibition, it gives a chance to artists and audiences to evaluate, enlightenment, extend our understanding on print. Several of issues can be raised to open dialogue through printmaking and its relationship with the arts development, particularly in Malaysia.
The print triggers an understanding on relationship between the concept, ideas and form that carried out connotations. Meaning, shape indirectly relate the questions about prints. "Block or matrix" can be defined as a mold or surface that allows the transfer of an impact on other surfaces.Mean, "Matrix or block is one of the components that accompany the entire print production process. Its can’t be dismantle but transform to another form.
According to Montada, (2001), "The concept of the 'matrix' as the womb - its literal Latin meaning - is where another is formed. Through the concept of print,artists take print to another limit an appreciation on matrix terminology. Matrix is not anymore perceived as a physical form as an ordinary approach in traditional process per se.
When we imagine the "block" as a basis medium of tradition print and stretched the concept to all matters relating to the reality of life in space and all physical objects around us, so most of the images that are around us are able to be interpreted as or part of the print. From disciplines in the biological relationships in the human body to manufacture products technology system can be directed to the print conception. As said by Kathryn J. Reeves ,the relationship between reproduction, the womb, art, technology and the body exists not only as an artifact but also as a powerful paradigm of our time.
Work Analysis
Figure 2: Juhari Said, “Untitled II”, Earthwork and Sawdust, Variable Size, 2009. Source: Petronas Gallery
Juhari Said : Artist Statement “ We are often enticed by the form and appearance of a thing, when what we actually value is its excellence and the quality of its execution”
Figure 2: Work title ; “Untitled II”. Is an installation piece, use natural materials, physical space, and the play of light and shadow by Juhari Said reminded of the work Martin Creed, work no,227, The Light Going on and Off.
His work of installation built look like a monument, minarets shaped like "Spiral Minaret of the Great Mosque of Samarra, Iraq". The selection of materials, combination of light and shadow which constructed with care and awareness gave a psychological impact to viewer and a sense of spiritual and intellectual level.
The work produced using pot as a matrix which is repeatedly pressed to produce the same form as the print done on paper. This prove the artist capability in using any other alternative medium to transfer on any kind of surface devoid of the use of any matrix, editions, inks and solely using natural elements like soil, natural light and shadow as prints.
Through this work it is clearly try to define the existence of form or images through the idea of temporality of earthly and material reality which can be seen in the existence of form, light and shadow projected by the act. The idea itself seems to refer to the ideas of Sufism or any Platonic theory of form in dealing with the duality of form and soul. The artist himself is concern of the state of existence in between the Being and the Soul (the visible and the invisible) and he always perceived it as one and inseparable. Juhari Said is also noted of being an artist who shares his ideas with Leo Steinberg in the way of thinking outside the box especially when it comes to the possibility and the potentiality in expanding the idea of printmaking itself and connecting it between the artwork and the audience as one.
Bibliography
1. Coldwell,P,.(2010). “ Printmaking a Contemporary Perspective”, Black Dog Publishing, London.UK
2. Galeri Petronas,. (2009). GO-Block, Petronas, Kuala Lumpur,Malaysia.
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Ruth Pelzer-Montada / Authenticity in Printmaking - A Red Herring? 2nd Impact 2001. http://www.edinburghprintmakers.co.uk/lecture-by-ruth-pelzer-montada
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