Friday, June 20, 2014
Wednesday, June 11, 2014
Latif Maulan - An artist on a voyage of self discovery
By Gerry Long
By Gerry Long
Born in 1974 in the state of Pahang, Malaysia, in the quiet village of Lebu, Latif's early childhood was spent with his family in their bamboo house near a small river. Those early years invoked in him a great love of nature, particularly the Jungle and river where he spent so many happy hours with his family and friends.
It was with the help of two of his sisters that he initially commenced to draw, and not surprisingly his first drawings reflected his love of the landscape that surrounded him.
He started Primary school in 1981 studying at Skolah Menengah Kebangsaan, Lebu and then continued his education at Skolah Menengah Kebangsaan, Bentong. Although initially in the Science stream, his keen interest in art soon prompted him to transfer to the Art stream.
He finished high school in 1991, but due to financial constraints, had to forgo further studies at university level. Then followed a somewhat chaotic period as he took a number of different jobs in order to gain funds for both himself and his family, finally settling in a job as a Display Artist Designer at a small shopping complex in Bentong.
At that time, Latif recalls that he had no thoughts of becoming an artist, in fact he had no clear idea of which direction his career should take. It was his friends that eventually persuaded him to explore the possibility of moving to Kuala Lumpur with the greater opportunities that a large city provides. At first he was reluctant to take what was for him a huge step into the unknown. However, as he remarked, "God is kind" and he was fortunate to be offered the post of Resident Artist at one of the galleries in Kuala Lumpur. This was the stepping stone from which he never looked back. From that point on he started to learn, albeit informally, but with a great deal of enthusiasm, about the real work of artists and art forms.
It was during this period whilst Latif was still employed part time at the gallery, that a number of visitors started to show interest in his work and he found that he was able to sell one of his paintings almost every month. In the meantime Latif was learning a great deal about the world of Art and additionally got to know a number of talented and famous Malaysian artists, including Khalil Ibrahim, Ismail Latif and Yusuf Ghani, who gave him encouragement and sound advice.
Yet another artist who created an impression on him was Zaharuddin, whose advise Latif says he will never forget. Zaharuddin told him "If you want to produce good paintings never use black. If you happen to have black paint just throw it away, and mix the red blue green and whatever other colour you think is suitable to produce dark hues". Latif followed this advice and recalls that from that day onwards his paintings looked very much better and he never used black again.
It was this advice and encouragement which gave Latif the strength and confidence to become a fully fledged artist, and progress to the high standard he has achieved.
Anyone who has watched the relatively rapid maturity of his work since his first efforts can only be in awe of the amazing diversity of his subject matter and the accuracy with which detail is given attention.
However, Latif is not a person lacking in inspiration and therefore it will be most interesting to follow his progress as he develops and explores even more techniques and ideas to add to what is an already an impressive portfolio.
1996 Rupa Kata, Pekan Seni Ipoh, Perak, M'sia.
1997 A Question Of Balance, Art Case Gallery, Kuala Lumpur.
1998 Mirror-Mirror On The Wall, Art Case Gallery, Kuala Lumpur.
1999 Miniaturization, Art Case Gallery, Kuala Lumpur.
1999 The Journey Of Malaysian Art, Kuala Lumpur.
2000 Collector Party, Excel Gallery, Columbus Avenue, USA
2001 Inspirational Travel Australia
2002-2003 Inspirational Travel England, France, Italy
2004 Melting Pot Of Culture, Great Eastern Mall and Art Case Gallery, Kuala Lumpur (Demonstration of realism art painting)
2005 Tsunami Fund Art Donation, Malaysian Red Crescent, ART Case Gallery, Kuala Lumpur
2006 PARALLEL UNIVERSE, First Solo Exhibition, Art case Gallery, Kuala Lumpur, Malaysia
2007 Pameran Anak Pahang , National Art Gallery, Kuala Lumpur
2008 SUSUR MASA, National Art Gallery , Kuala Lumpur
2009 Pameran Amal Palestin, National Art Gallery , Kuala Lumpur
2009 Tampannya Budi, National Art Gallery, Kuala Lumpur
2009 MEA award, Finalist. KL
2009 Zinc Opening, Zinc Art Space, Kuala Lumpur
2009 Artistic Journey, RA Fine Art Gallery
2010 Bad Art MapKL, Solaris Dutamas 1, Kuala Lumpur
2011 Manifestasi Merdeka Balai Seni Visual Malaysia, Kuala Lumpur
2011 Pameran Solo: With[out] Voice MapKL, Solaris Dutamas 1, Kuala Lumpur
2012 A Meter Diameter HOM (House Of Matahati) Ampang, Kuala Lumpur
2012 CHARCOAL CRAYON + [water]COLORS, JADA ART, ION Art Space, Singapore
2013 The Young Contempos: Henry Butcher Art Auctioneers, Malaysian ;Southeast Asian Art, Kuala Lumpur
2013 INTRO exhibition; Latif Maulan Open Studio : Art Row Publika: Solaris Dutamas
2014 FREEDOM UNDER CONSTRUCTION - Myanmar Art Exchange Programe - HOM Art Trans - Kuala Lumpur, Malaysia
2014 COLLECTIVE ASIA - Maya Gallery Singapore
- SaatchiArt Collection, Los Angeles, California, USA (You got to love your skull)
- Mead Johnson Art Collection, New York, USA (The Last Trishaw)
- Balai Seni Lukis Negara (Hope, D Mana Sharline, Anak Laut)
- Bank Negara Malaysia (Beware)
- Bank Simpanan Nasional ( The Forgotten Heritage IV)
- Sapura Holdings
- Peremba Construction
- Tankas Hadapan S/B
- Dato' Sri Mohd Najib bin Tun Haji Abdul Razak
- Dato' Mazlin Junid (Australia)
- Dato' Abdullah
- Ministry of Health Malaysia
- Beverlly Hotel, Bintulu Sarawak
- Rennaisance Hotel Kuala Lumpur
- Mrs Patricia M Carbo (Embassy of Spain)
- Nori Abdullah
- Ambassador Dato' N. Parameswaran
- Leong Tek Beng
- Dr. Hussain
- Dr. Sai Shankar Gunasingam
- Sasya Ahmad
- Encik Mazlan (ZAQ Construction)
- Cs Huen (Chan Chun Lan Berhad)
- Encik Wan Khairil & Puan Mastura Yazid ( W & W Architect)
- Encik Redza (Tradewinds Sdn Bhd)
- Encik Kassim (Tangkas Hadapan Sdn Bhd)
- Puan Rahiyah Abdullah (Anjak Holdings Sdn bhd)
- Toh Puan Mahani & Daim
- Datin Yazreen & Datuk Shahril
- Puan Sri Datin Fauzah Abdullah
- Puan Siti haslinda
- Dr. Choo and Angelina
- Mr & Mrs Roch
- Linda Jaggy (USA)
- Zainal Abidin
- Encik Faiz
- Linda & Paul Lauhon
- Mr & Mrs Cheong
- Encik Adib & Puan Azah
- Ida Suzaini
- Wan Khairil
- Mohd Redza Shah
- Suhaimi Abd Rahman
- Puan Nita
- Encik Anowar (TUDM)
- Mr Iaian & Mrs Yvonne Lang (Australia)
- Encik Jespal & Puan Salwa
- Encik Roslan & Puan Nita
- Encik Shukor Karim & Puan Nani
- Puan Ida Suzaini
- Encik Faiz Yeop Ahmad
- Mr & Mrs K T Cheong
- Encik Mokhtar Ghazali
- Mr Paul & Mrs Linda Lawhon
- Encik Zainal Abidin
- Mr & Mrs Roch
- Raja Azhar Idris
- Raja Selina (KL, Malaysia)
- Mr Roger King ( UK )
- Mr Ivan Ho (Country Manager Commenwealth Developement Corporation)
- Kenta Mishima (Itochu Corporation- Japan)
- Tenku Mizan (Kuala lumpur)
- Tengku Zubaidah (Dubai)
- Mr. Scott Orchard (Australia)
- Mr. Richard Gatwick (Kuala Lumpur)
- Mr. Rainer Rothoff (Kuala Lumpur)
- Encik Adib and Puan Azah (Kuala Lumpur)
- Mr. Antonio Marely-President of Atalia Funiture (Italy)
- Mr. Kashem Kareem-Shellod Sdn Bhd Kuala Lumpur (Malaysia)
- Dato Wan Khairul, Kuala Lumpur
- Jacobo Gleiser ( South America )
- Gerry Long
- Peter Kiernan
- Peter Eu
- Valerie Cheah
- Nik Fahmee
- En. Jesmie Nashir
- En Hilmey Zaini Zainal (Scomi Engineering)
And many more to mention : Thanks to all the collectors who keep my paintings alive.
Saturday, May 31, 2014
Artist: Latif Maulan
Title: You Got To love Your Skull II
Medium: Charcoal On Plywood
Medium: Charcoal On Plywood
Size: 121.92 cm x 121.92 cm
Saatchi Art Collection : Los Angeles, California, USA.
Title: The Fogotten Heritage IV
Medium: Oil Painting On Canvas
Size: 182.88 cm x 121.92 cm
Collection Of Bank Simpanan Nasional Malaysia
Friday, May 30, 2014
By Latif Maulan and Gentaj
One might be thinking on and off why they are arranged in a rather static and simple manner? Is the artist taking the easy way out by not presenting something with a more intricate arrangement or is he in a hurry to finish off his presentation and just call it a day? Anyway, let’s not lose one’s marbles over it as the answer will emerge as one reads on, The subjects are done in hyperrealism.
Lighting, colours, shadows, and the exactness should be almost as identical as the referred photo, but the end product lies at he hand of the artist himself whether he needs to manipulate the first three elements above. Why marbles and not something else more challenging to render? This is the main question that flutters behind the viewers’ mind.
The artist is not taking a short cut to a finished product; neither is he taking the easy way out by taking round-shaped object called marbles as the subject matter. He is more than able to produce something more complex in shapes, details, and arrangement that could have easily and universally capture the viewers’ imagination. Round-shaped marbles seem to be a rather mundane subject matter and it could be easily done by the uninitiated or by those who think it can be done so.
The hyperrealists are more concerned about the minute details of the objects. He has to scrutinize the whole surface area to the highest level of his ability for defects such as the needle point chipped off surface that could be found at any part of the marble. The process of coming up with this art piece is not merely the direct and flat applications of paints to the canvas at one’s whims and fancy but had to be meticulously rendered according to the natural light or the use of an arranged set of lights that fall on the objects/subject matter.
Every defect such as a scratch or a needle point chip on the marble surface, and the transparent property of the glass marble has to be observed carefully. Should there be no easy-to-understand explanation as to how the marble gained life-like look on the canvas; the above explained process is enough for viewers to grasp the idea. Still, should there be a quizzical gesture followed by a repetitive question of “Why marbles?” then just close the eyes and walk away rather than standing there gaping at the artwork and losing your marbles in the process.
It occurred to my mind, unlike today, why was it so easy to own marbles during my childhood days? Today, in the ICT era, is the adventure of playing marble considered archaic when we see children are more comfortable playing video games and those on the net? I am just wondering whether there are still people (kids or adults) today playing the traditional game of congkak that uses glass marbles to score and count points.
I could still recall of my childhood days of playing the game with friends in an open but shaded ground around the house where we dug holes in the ground to place those shiny glass marbles. It was sheer fun. When I look at these artworks, the glaring colours and light effects bring back the memory of my childhood days. Marbles are not mere round objects that shine whenever lights fall on them. Embedded in them are nostalgic memories for those who took marble as their favourite game during their childhood days. When playing the game (of marble) children indirectly taught themselves simple arithmetic and mental calculation, they went through the agony of defeat and the sweet taste of victory which are part and parcel in their life to come.
The Game of Marble (foto)
The History and the Origin of Marble
Marble, also known as "kelereng" is a favourite traditional pastime among the Malay children. It is played by boys aged between seven and twelve years old.
They usually play in places where it is shaded and out of the glaring sun. It is played during hot spell since it is easier to dig holes in the hardened and dry ground. Hence damp and wet ground surface are a no, no, as it make things messy with mud all around. In the olden days marbles were made out of chunks of wood lathed spherically the size of a fowl’s egg.
After the First World War marbles the size of toe were made from a mixture of lime and cement. Nowadays marbles are made of glass with a variety of sizes ranging from the size of the small finger to those the size of a toe. The game of marble is played by aiming and throwing a marble and hitting it against another as the target. The number of players should not exceed five. Open and flat ground is most suitable as the playing area and the marbles used are made of glass.. The Playing Area A circle of 1 meter in diameter is drawn on the ground with a depressed area of 10 cm in diameter and 7cm in depth formed in the middle. The depression is made by thumping the ground with the ball of the heel. This depressed area is called the target area or “lubang induk” in Malay.
A long line is drawn at about 3 meters from the circle. This line indicates the legal shooting distant for the players. Before the game starts the players have to mutually agree as to the number of marbles each of them has to place in the target area. A draw is done to determine which player should start first. As a rule a player is required to stand about three steps back from the starting line before aiming and throwing a marble at those in the target area. Any marble/s that is hit and get thrown out of the circle will be his for the keeping. The player with the most marbles to keep is declared as the winner.
Title: The Lie Of Beauty Medium : Oil Painting On Canvas Size: 91 cm x 91 cm