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Starhill Gallery Watch Award 2009

2009-12-27T00:36:00.002+08:00

HE Ambassador of Spain to Malaysia, Jose Ramon Baranano and wife Anna Garcia with Frank Vila, & Frank Low of LuxuryConcepts

Dato Seri Dr. Ng Yen Yen and Tan Sri (Dr) Francis Yeoh with the award winners

A star-studded affair at Starhill Gallery’s A Journey Through Time III

A grand finale at Starhill Gallery's Watch Award Night 2009
As published in the YTL Community website.
Kuala Lumpur, December 14, 2009

A Journey Through Time III came to a grand close yesterday, after 11-days of spectacular showcases of stunning timepieces and jewellery. Endorsed by the Ministry of Tourism Malaysia for the third consecutive year, A Journey Through Time III welcomed an even more stellar line-up of luxury watch brands and exquisite jewellery.

There was much excitement as boutique owners, watch connoisseurs, watchmakers and principles gathered in merriment to witness the Starhill Gallery Watch of the Year Awards 2009 presentation after the 11-day long showcase.

Addressing guests during the evening Dato’ Seri Dr. Ng Yen Yen thanked YTL and Starhill Gallery for their collaboration with Tourism Malaysia and for helping put Malaysia on the horological world map as the destination for Asia’s largest watch exhibition.

“This journey will put Malaysia not only as a country with beauty and nature but also a place with sophistication and luxury. Today, in our Tourist Arrivals figure, I would like to announce that we have reached 21.5 million arrivals – far exceeding the 19 million target we set in May! This is not only because of Tourism Malaysia’s efforts but it’s because of Tan Sri Francis and Starhill Gallery for helping to make Malaysia a top tourist destination,” said Ng.

Tan Sri (Dr) Francis Yeoh in his speech said, “It is my joy to celebrate this occasion in the company of our very dynamic Minister of Tourism, YB Dato’ Sri Dr Ng Yen Yen. I truly believe that your energy and your passion will take Malaysia to greater heights.”

Yeoh also applauded the watchmakers who had flown in from around the world to grace the event. “I’m touched by your passion and your attention to detail and for giving us such quality timepieces. You are al the Mozart’s and Monet’s, the Picasso’s and Michelangelo’s of the watch world,“ he continued.

Known as Asia’s first horological awards, the gala dinner paid tribute to the best of the best timepieces which were honoured in 7 Categories.

The stunning award trophies for the winners of the six categories were created by Malaysian artist, Abdul Muthalib Musa, in honour of the craftsmanship of the revered global watchmakers.

Among the judges on the panel were Tan Sri (Dr) Francis Yeoh, Dr Bernard Cheong, Dr Massimiliano Landi, Su Jia Xian and Jean-Francois Meyer.

The Starhill Gallery Active Lifestyle Watch Award was the first to be announced and the very deserving Omega was honoured with their Seamaster Ploprof 1200MM, made for a deep-sea environment.

Next, young watch connoisseur Su Jia Xian presented the Starhill Gallery Active Lifestyle Watch Award. This award went to MCT with their Sequential One. The massive complexity in design and creation in the Sequential one has made it a first in watch making history!

The Starhill Gallery Favourite Ladies' Watch Award went to the brand that has been expanding rapidly throughout Asia and has also just opened its nouveau “Art Deco” style concept boutique that is the largest stand-alone boutique in the world at Starhill Gallery.

Bedat & Co. – 384.031.600 was announced as the winner and Tiffany Cartier-Millon, Bedat & Co.’s PR director was on hand to receive the award.

The Fourth award given away during the evening was the Starhill Gallery Favourite Mens’ Watch Award. Dr. Massimiliano Landi presented the award to Guillaume Tetu from Hautlence for the HLS 08, a timepiece that is known for its futuristic and provocative design. The uniqueness of a Hautlence piece can be seen in its jumping-hours and retrograde minutes which are linked by a patented system of connecting-rods movements.

The next award given away was the Starhill Gallery Watch with Complications in Movement Award. The award is based on mechanical complexities and complication in movements which have received critical reviews. Ulysse Nardin - Moonstruck was announced the winner and Dato’ Ralph Schneider was called up to receive the award and share a little bit about his creation.

The Moonstruck, which is an astronomical wristwatch with moon phases, comes in a limited edition of 500 pieces. “This piece is 100% Swiss made, but its aesthetics were done in my home in Bangsar. You could say that this watch is very much Malaysian!” Dato Ralph exclaimed.

Tan Sri (Dr) Francis Yeoh was called upon to deliver the YTL Spirit of Classical Art Award. The award was chosen from the top 10 favourites of the panel of judges and celebrates YTL’s spirit of classical craftsmanship.

The award went to Jaeger Le Coultre for the Master Minute Repeater Venus Botticelli. The hand-enamelled dial on this exquisite timepiece is inspired by paintings of the goddess Venus and is a one of a kind creation.

The final and most celebrated award for the evening – the Tourism Malaysia Most Revered Watch Award was a timepiece that most honoured Tourism Malaysia’s celebration of Horological Art.

Minister of Tourism, Dato’ Seri Dr. Ng Yen Yen presented the award to Franc Vila for the Fva 15 Column Regulator Automatique. This is the first Franc Vila Timepiece which uses meteorite in its dial. The man himself, Franc Vila was on hand to receive the award.

A grand event like A Journey Through Time wouldn’t be complete without world-class entertainment and YTL once again delivered by flying in a Welsh classical singer Katherine Jenkins. The multiple award-winning mezzo-soprano is the most lucrative in the United Kingdom's classical recording history and has performed before the Queen of England a number of times and has even appeared on popular television shows like Strictly Come Dancing, Royal Variety Performance and The X Factor.

Speaking to reporters before the show Jenkins said, “This is my first ever show in Malaysia and I’m very grateful to Francis Yeoh for making it possible for me to be here. I love watches and jewellery so I can’t wait to go check out what they have here!”

Jenkins delivered a powerful repertoire of classical songs and hymns accompanied by the 25-piece Starhill Gallery Sinfonietta, conducted by Anthony Inglis. Guests were wowed by her performance and were awe struck by the beautiful Welsh singer. Jenkins performed songs like Hallelujah, Pie Jesu and Nessun Dorma which was a grand close to a grand evening.

Starhill Gallery Watch Award 2008

2009-01-09T23:43:00.017+08:00

Tan Sri (Dr) Francis Yeoh addressing guests at the Starhill Gallery Watch Award Night 2008

(full text of speech below)

Winners of the Starhill Gallery Watch Award Night 2008 Kuala Lumpur, December 15, 2008

Guillaume Willk-Fabia from Van Cleef & Arpels accepting the award for

Tourism Malaysia Most Revered Watch Award 2008

This year I was again given the honour by Starhill Gallery, Kuala Lumpur, to come up with a limited edition sculpture for their prestigious 2008 Watch Award ceremony.

DETAILS OF THE WORK

TITLE: TIMELESS
MEDIUM: stainless steel
YEAR: completed 2008
DIMENSION: 50x28x14cm (major award) & 43x25x12cm (minor award)

NOTE: 7 limited edition

A grand finale at Starhill Gallery's Watch Award Night 2008

As published in the YTL Community website.

Kuala Lumpur, December 15, 2008

A Journey Through Time II came to a close yesterday in a grandeurs celebration with the Starhill Gallery’s Watch Award Night 2008.

There was much excitement as boutique owners, watch connoisseurs, watchmakers and principles gathered in merriment to witness the awards presentation after the 11-day long exhibition.

The exhibition saw over 150 watch brands exhibiting their high-end watches and jewellery to the public. Principals, ambassadors and watchmakers flew in from all parts of the world to join in this exhibition. Many worlds’ first and Asian premieres were launched during the fair and guests were amazed by the chance to witness such an opportunity right here in Malaysia.

The stunning award trophies for the winners of the six categories were created by Malaysian artist, Abdul Multhalib Musa, in honour of the craftsmanship of the revered global watchmakers.

The judges had an extremely tough time in deciding the winners, as there were many timepieces with amazing movements and technology as well as designs, which were extraordinary.

The Starhill Gallery Favourite Ladies' Watch Award 2008 was the first to be announced and the very deserving Glashütte Original was honoured with their Night Shade: The Star Collection.

Jean-Francois Meyer, the coordinator of the Swiss Museum of Horological Art, presented the Starhill Gallery Favourite Mens’ Watch Award 2008. The award went to Richard Mille with the RM010, a timepiece exceptional for its avant-garde design, to its innovative use of materials and manufacturing processes.

Next to be awarded was the Starhill Gallery Active Lifestyle Watch Award 2008. This award went to Jaeger-LeCoultre with the Master Compressor Diving Pro Geographic. This revolutionary timepiece is recognisable by its 46.3-mm diameter and its characteristic appearance due to the presence of the depth gauge, which houses a new Geographic sports movement.

The award was presented by Dr Massimiliano Landi who is a professor at the School of Economics in Singapore Management University. Dr. Landi is a specialist in ‘Gaming, Voting and Chances in Games’ mathematics and was ‘Voting Rule Advisor’ for the world’s first Asian Geneva Grand Prix Haute Horology held for the first time in outside of Geneva in Singapore recently.

Innovative Design Watch Award 2008 went to DeWitt with the WX-1. The WX-1, both a watch concept and an object d’art, highlights the creativity of the House of DeWitt, which celebrates its 5th anniversary this year. This exceptional creation merges design, futurism, and sophistication in a uniquely constructed body.

Starhill Gallery Watch with Complications in Movement Award 2008 went to the Maurice Lacroix – Memoire 1; a timepiece that made history by being the first mechanical watch with a memory function.

Maurice Lacroix also launched their first boutique in the world, right here at Starhill Gallery during A Journey Through Time II.

Tan Sri (Dr) Francis Yeoh was called upon to deliver the YTL Spirit of Classical Art Award 2008. The award went to Ulysse Nardin with the Imperial St. Petersburg & Egg of the Tsars.

This beautiful timepiece which showcases the legendary symbols of St. Petersburg, is presented in an elaborate multi-layered enamelled Faberge egg crafted by contemporary jeweller Andrei Ananov.

The most coveted award of the night was the Tourism Malaysia Most Revered Watch Award 2008. This award presented by Dato Dr Ong Hong Peng, Secretary General of Ministry of Tourism Malaysia, acknowledged the watch that has made history in being not only the first but also the one and only in Malaysia – The Van Cleef & Arpels Midnight in Kuala Lumpur.

This unique timepiece replicates the map of stars as seen in the Kuala Lumpur sky. Housing a movement of an extreme complexity, it links the idea of Time to that of the Cosmos and is a dazzling homage to a universe both mysterious and fascinating.

“An event like this is only possible because of people who dream with their eyes open. We are now universally recognised as "The Global Fine Watch Retailer" with the largest retail space dedicated to haute horology, featuring some of the world’s rarest stand-alone boutiques.

The world’s first Ulysee Nardin boutique is in Starhill Gallery, as are the world’s first Maurice Lacroix, Bedat & Co, Armand Nicolet and Graham boutiques. The world’s first BLU boutique is designed by Bernhard Lederer himself, while Jerome DeWitt launched his first and only boutique not in France or Switzerland, but right here in Kuala Lumpur.

Likewise, Jaeger-LeCoultre, Audemars Piguet and Richard Mille all have their largest global boutiques here. In Asia, the one and only Mouawad and Yeslam boutiques are in Starhill Gallery; while Omega, Glashűtte and Rado boutiques are the largest in South East Asia along with the region’s flagships of Van Cleef & Arpels and Boucheron," said Tan Sri (Dr) Francis Yeoh in his speech during the awards presentation.

"We are in the midst of a recession but the watches we’ve sold this year is double that of last year. Last year we had 35, 000 visitors, but this year we’ve had 80, 000. Besides that, we had 7 private jets fly in for the event last year, but this year we’ve had 17 private jets!" exclaimed Yeoh, whose passion and determination made an event like A Journey Through Time possible.

"You can be assured that bespoke watch pieces can only be found at Starhill Gallery. They are authentic and not fake and the nett price for watches here is the cheapest on this earth. This is truly a historical moment and it is proof that dreams can come true. God has blessed this event and I’m sure He’ll bless us through the New Year," said Yeoh wrapping up a truly monumental night.

It was a perfect end to a perfect evening as flautist Andrea Griminelli took to the stage for the final time, delivering an outstanding performance with soprano Cynthia Lawrence and tenor Saimir Pirgu. Performing with them was the Starhill Gallery Sinfonietta. The trio performed an incredible repertoire together with songs like The Prayer, Mattinata and Brindisi, which brought the whole house to its feet in a standing ovation.

Speech by Tan Sri Dato’ (Dr) Francis Yeoh CBE

Starhill Gallery Watch Awards 2008
14 December 2008, Starhill Gallery

His Excellencies, Ambassadors to Malaysia.
Esteemed Watch & Jewellery Principals.
Respectable judges of the Starhill Gallery Watch Awards.

Members of the media. Distinguished guests. Ladies and gentlemen.

In the wisdom of Ecclesiastes, it is said that “Every man should enjoy the good of all his labour for it is a gift of God”.

Tonight, I wish to applaud all the participants and 50 nominated watches which are indeed divine gifts of labour, representing the finest in technology, design innovation, craftsmanship and beauty at Starhill Gallery.

When we first started Starhill Gallery, our personal response was to address the tedium of mass shopping, mindless acquisitions and consumerism with personalised encounters to refine the shopping experience.

Today, we thank God that we must have done something right as Starhill Gallery has attracted some of the world’s biggest names into its halls of rich experiences, and has been listed by Forbes traveler.com as one of Asia’s most beautiful shopping malls.

In just 3 years, Adorn Floor is recognised as “The Global Fine Watch Retailer” with the largest retail space dedicated to haute horology, featuring some of the world’s rarest stand alone boutiques.

The world’s first Ulysee Nardin boutique is in Starhill Gallery, as are the world’s first Maurice Lacroix, Bedat & Co, Armand Nicolet and Graham boutiques.

The world’s first BLU boutique is designed by Bernhard Lederer himself, while Jerome DeWitt launched his first and only boutique not in France or Switzerland, but right here in Kuala Lumpur. Likewise, Jaeger-LeCoultre, Audemars Piguet and Richard Mille all have their largest global boutiques here.

In Asia, the one and only Mouawad and Yeslam boutiques are in Starhill Gallery; while Omega, Glashűtte and Rado boutiques are the largest in South East Asia along with the region’s flagships of Van Cleef & Arpels and Boucheron.

With so many world class Icons in Starhill Gallery, it is my joy that we can host A Journey Through Time right here – where we all are and not some convention hall or exhibition centre. So in a gallery of rich experiences, we can celebrate the world’s most fabulous timepieces, complete with fine dining and world class entertainment.

For this year, one of Malaysia’s foremost sculptors Abdul Multhalib Musa has been commissioned to design the Starhill Gallery Awards as a tribute to these masterpieces of nonpareil craftsmanship and beauty.

Flautist Andrea Griminelli performing with soprano Cynthia Lawrence and tenor Saimir Pirgu They are all winners in their own right, and they have made our task as judges extremely challenging. Especially now as I see it in this Golden Age of watchmaking when the appreciation and demand for fine timepieces are burgeoning, particularly across Asia.

With the quality of participation and support of the Ministry, the Starhill Gallery Watch Awards is indeed the first and only of its kind in Asia that is endorsed by a Nation. And I sincerely hope that in time, it will also be recognised as among the most coveted in the world.

As Dr Bernard Cheong noted last year, Malaysians have made it happen! And with Kuala Lumpur’s duty-free status, there is no doubt that today Starhill Gallery is where the world can shop for the most fabulous timepieces that are instantly 30 to 40 per cent more affordable.

Last year, A Journey Through Time was recorded as the largest revenue earner in a single exhibition. And this year, we have doubled the sales with double the number of guests. And I am sure many of Asia’s billionaires, royalties from the region and connoisseurs will bring home with them the joy of masterpieces, revealed for the first time in Asia.

“Time is what Life is made of” says an 18th century proverb. So by celebrating A Journey Through Time, we are indeed celebrating Life and the abundance of God’s blessings.

So it is my fervent prayer that we will all meet again – same time next year in December, and for many years to come. For with the Ministry’s continued support, A Journey Through Time will indeed stand the test of time.

Thank you, and may God bless all of you!

Starhill Gallery Watch Award 2007

2008-11-01T02:08:00.000+08:00

Tan Sri (Dr.) Francis Yeoh with the award winners

I was invited by Starhill Gallery, Kuala Lumpur to come up with a limited edition sculpture for their prestigious 2007 Watch Award ceremony.

DETAILS OF THE WORK

TITLE: TIME
MEDIUM: stainless steel
YEAR: completed 2007
DIMENSION: 40x15x15cm
NOTE: 6 limited edition

A Royal finale at Starhill Gallery’s Watch Award 2007

As published in the YTL Community website.
Kuala Lumpur, December 13, 2007

Time marks a page in history, and Time, was what we celebrated at A Journey Through Time, Asia’s largest watch and jewellery fair held in Starhill Gallery.

The fair, which started majestically on the 3rd of December, was inaugurated by His Royal Highness, Raja Perlis, Tuanku Syed Sirajuddin Ibni Al-Marhum Tuanku Syed Putra Jamalullail and Her Royal Highness, Raja Perempuan Perlis, Tuanku Fauziah binti Al-Marhum Tengku Abdul Rashid.

The exhibition saw over 100 watch brands exhibiting their high-end watches and jewellery to the public. Principles, ambassadors and watchmakers flew in from all parts of the world to join in this exhibition. Many worlds’ first and Asian premieres were launched during the fair and guests were amazed by the chance to witness such an opportunity right here in Malaysia.

History was made when the fair came to an end with the first ever Starhill Gallery Watch Award 2007, held yesterday. The awards were created by Abdul Multhalib Musa, in honour of the craftsmanship of the reverend global watchmakers. There was much excitement as boutique owners, watch connoisseurs, watch makers and principles gathered in merriment, while anticipating the winners of the Top 5 categories.

The judges had an extremely tough time in deciding the winners, as there were many timepieces with amazing movements and technology as well as designs, which were extraordinary.

The Starhill Gallery Active Lifestyle Watch Award 2007, was presented by Dr. Bernard Cheong. Internationally recognized by Tatler, Harper’s Bazaar, Chronos Japan, The International Herald Tribune and WatchTime USA, as among the most influential collectors in the world, Dr Bernard Cheong MD, has widely been acknowledged as instrumental in defining the new era of watchmakers as artists versus artisans through his championing of the independent watchmakers.

The award went to Villemont for their Arctic Explorer Limited Edition Lewis Pugh timepiece. The watch was named after Lewis Pugh, the man who swam in the Arctic to demonstrate the effects of Global Warming. Pugh wore this limited edition timepiece during his swim and it withstood rough and extreme conditions.

The Starhill Gallery Watch with Complications in Movement Award 2007 went to a timepiece which has won a countless number of awards. The Jaeger LeCoultre Reverso Grande Complications á triptyque is a creative and extremely unique piece with aesthetic and technical appeal. This timepiece surpassed expectations as it displays three time dimensions - civil, sidereal and perpetual - on three faces. The legendary reversible case houses a manually wound mechanical movement offering remarkable horological complications.

Starhill Gallery Favourite Ladies' Watch Award 2007 went to Jaquet Droz Tiger Eye Petite Heure Minute, a beautiful mechanical timepiece with double barrel 22-carat gold oscillating Weight and an 18-Carat white gold dial with silvered sub-dial.

Next to receive a prize was the Audemars Piguet Royal Oak Offshore “Jalan Bukit Bintang” Chronograph, who won the Starhill Gallery Favourite Men’s Watch Award 2007. This piece was especially dedicated to the “Jalan Bukit Bintang” AP Boutique and was made in a Limited Edition of 100 Pieces of which all are sold out!

Starhill Gallery Innovative Design Watch Award 2007 went to Richard Mille for his RM012 Tourbillon. This Hand-wound tourbillon is an architectural marvel and has tubular construction base plates and bridge construction.

Starhill Gallery also presented a unique award called the YTL Spirit of Classical Art Award 2007 to honour the art of timepieces. This award went to Van Cleef & Arpels for their Lady Arpels Centenary. The award was presented by Tan Sri (Dr.) Francis Yeoh, to Guillaume Willk-Fabia, General Manager of Van Clef & Arpels who received a beautiful, artistically handcrafted Daum vase.

The final award of the night was the Tourism Malaysia Most Revered Watch Award 2007. This award presented by Yang Berhormat Datuk Victor Wee, Secretary General of Ministry of Tourism, Malaysia acknowledge the brand which had unveiled something unique that the world has not seen and which made a statement in its design and movement.

The award went to Mr. Bernhard Lederer for his Blu Majesty T3, a beautifully constructed timepiece, which awed everyone who laid eyes on it. It was a befitting award for the tall but extremely humble man who attributes his success to his beautiful wife Ewa Lederer.

It was indeed a Majestic evening here at the Starhill Gallery Watch Award 2007 as Starhill Gallery was graced by a Royal visit from DYTM Tuanku Syed Faizuddin Putra, Raja Muda Perlis and DYTM Tuanku Hajjah Lailatul Shahreen Akashah Khalil, Raja Puan Muda Perlis.

Time was a luxury everyone enjoyed at the Starhill Gallery Watch Award 2007 and it was an evening that ended just as majestically as it begun.
"Dost thou love life? Then do not squander time, for that is the stuff life is made of." - Benjamin Franklin

~

Speech by Tan Sri (Dr) Francis Yeoh

Starhill Gallery Awards Night – December 12 2007

A very good evening to our Guest of Honour, Yang Berhormat Datuk Victor Wee, Secretary General of Ministry of Tourism, Malaysia.
Tan Sri Yeoh Tiong Lay, Your Excellencies Ambassadors, my fellow esteemed judges, global Watch Principals, Ladies and Gentlemen.
“The best prize that Life offers is the chance to work hard at work worth doing” said Theodore Roosevelt whose words aptly describe the 50 nominated watches which are all winners in their own right for their worth in breakthrough technology, innovative design, resilience, pertinence and aesthetic appeal.
Hence, I wish to congratulate each and every one of these 50 nominees for making our task as judges so challenging – as all of them are of impeccable pedigrees, time-tested and honoured by the world’s most reputable watch makers.
It is a joy to see so many successful watch brands and principals here in this festival showcasing so many expressions of their passion, excellence and craftsmanship that are worth investing.
The excitement is overwhelming with millions worth of watches sold, a record for Kuala Lumpur in a single exhibition. I am thrilled that all the 100 special pieces of Audemars Piquet “Jalan Bukit Bintang” Edition have already been sold. Now the Audemars Piquet “Jalan Bukit Bintang” walks tall into the pages of history with their peers in Audemars Piquet “Faubourg St-Honore” and Audemars Piquet “Ginza”
Asia’s billionaires, royalties from the region, the Middle East and our own beloved royalties and our discerning Malaysian watch collectors were also fascinated to be among the firsts to collect some rare master pieces, and bespoke collectibles revealed for the first time in Asia, through Starhill Gallery’s ‘Journey Through Time’.
Such an enthusiastic response in this first year is good news for all of us, especially for Malaysia aiming for high-yield tourism. Watch retailers and global watch principals; as well as connoisseurs, billionaires and royalties of the region applauded this important watch connoisseurs’ festival.
Tonight’s Starhill Gallery Watch Awards is a fitting grand finale to this momentous event. I pray with the continued commitment of the Ministry and the global principal watch makers, these awards will be recognised as one of the most coveted in the region. We hope that Kuala Lumpur will be the ultimate destination in Asia for the world’s most fabulous time pieces.
We have therefore commissioned one of Malaysia’s foremost sculptors, Abdul Multhalib Musa, to create these Awards to honour the craftsmanship of our reverend global watch makers. Our world renowned watch critic and avid watch expert and collector, Dr Bernard Cheong said of these fine works of art, “Today, we do not buy a watch just to tell the time anymore as you can tell time easily from your mobile phones. When you collect a piece of limited edition watch today, you are actually buying a rare piece of live art, handcrafted by the most creative and passionate watch makers all housed in a tiny valley in Switzerland. This masterpiece is armed with the most efficient engine in the world although it has more parts than a Ferrari. Like all rare collectibles, the price will only go up exponentially through time.”
Ladies and gentlemen, thank you for joining us in this 10-day journey through time in celebration of Life, and I hope to see you again, so schedule your calendars to be in Kuala Lumpur same time next year. Remember time is the ultimate luxury, so spent it well.
Once again thank you, and may God bless all of you!

THE TRUE BEIJING HERO

2008-09-30T01:46:00.008+08:00

THE TRUE BEIJING HERO

KLIA Times magazine: interview 2008 by T. Vignesh

Published in KLIA Times, September 2008 issue, pp 3.

Abdul Multhalib Musa finishes in the top 100 in the sculpture competition in Beijing, held concurrently with the recent summer Olympics.

IF anyone had thought that national badminton player Lee ChongWei was the only Olympic hero in winning a silver medal for the badminton singles event, then they should give it a second thought.

Abdul Multhalib Musa, 32, one of Malaysia’s contemporary sculptors received recognition to be the first Malaysian to be chosen to contribute for his artwork, which is now displayed at the Beijing Olympic Park City.

His sculpture in Beijing is called ‘Two Sides’ and it was selected from among 2,700 other participants from around the world to join 99 other selected sculptors in the park.

“I was commissioned by the Beijing Government after entering an international sculpture competition in 2005,” he said.

“There were over 2,000 participants competing in the first round of the competition and from there, 1,000 were selected to enter the next round. Last year, I was informed that my art piece was selected together with another 99 sculptors throughout the world for the final round, and that is a great achievement for me.”

Multhalib, who studied architecture in UiTM, has now added this achievement to the number of International Awards and Residencies he has previously won.

His latest effort was the, ‘Twist’, which was recently displayed at the Wei-Ling gallery in Kuala Lumpur. It took him about two to three years to complete the work on the ‘Twist’.

“To complete a sculpture will take a lot of time, because when you do it the first time, it will not come out perfectly or come out the way it is supposed to. So when this happens, you throw it away and do it again. It also involves a laborious process defined by trial and error,” he added.

His art pieces can been seen in many places such as in Mid Valley, Hilton Hotel Kuala Lumpur, Wisma Selangor Dredging and even in several bungalow houses in Bangsar.

“Sculptors now are in demand among many rich people, because a sculpture is not only to beautify a place but it also brings out an image of the place or a person”.

Multhalib began drawing at the age of three as he used to draw on walls using crayons and colour pencils, and at the age of six, he had already won his first gold medal for an art piece that he produced in a kindergarten drawing competition.

“I guess that was the turning point in my life, where I knew that art is something I wanted to do in life,” said the artist.

“I am the only person in the family who is in this field. My father is a retired civil servant while my mother is a retired school teacher and my sister works with Mimos,”

“Although art does not interest them, they have been very supportive. My parents used to send me for art classes and encouraged me to be more creative.

“Ever since I was small up until now, the things that will make me happy is drawing, painting and making things. Now, this is my career, and I take it so seriously that even if I am not doing anything physically, I will be mentally planning my next sculptures.

“I will look at something and get inspired which will immediately trigger a lot of ideas. It can be anything. It can be from talking to people, looking at them or political issues. I have some pieces inspired by political issues”.

“I have future plans. I want to enter as many competitions as possible and see what happens then, because you can’t really plan anything as an artist,” added Multhalib.

enlarge his notion of art

2008-09-20T09:16:00.007+08:00

Article published for REVUE1, Dept of Architecture and Planning UITM, 2002.
Written in 2001 mid-way through the year long Rimbun Dahan Artist Residency Program, Kuang, Selangor, Malaysia

enlarge his notion of art

The opportunity to study overseas prior to continuing my professional architectural degree at UiTM (1999-2000) has taught me to appreciate some of the difficulties that local designers have to go through in order to convey their ideas as well as for it to be accepted. Therefore, a chance to be able to meet a well-known and established architect is always an encounter that is filled with anxiety and enthusiasm after having studied some of their works over the past few years. Incidentally, for a recent graduate architect to be able to live within the compound of one of Malaysia’s distinguished designer such as Hijjas Kasturi, is a whole different story. The home of renowned architect Hijjas Kasturi and Angela Hijjas is the place where I will be spending my whole year of 2001, as an artist under the Rimbun Dahan Artist-in-Residence Program.

Evidently, architecture and art are difficult to separate even though both may be different. From another perspective, both are indeed similar and could even be one in the same. In a nutshell, architecture is more or less about doing something for someone else, and the process is structured towards achieving a hermeneutically sound understanding in conceiving a balance between the various factors that makes up built environment. In this respect, I somehow feel the architectural course that I have been committed to these past few years have slowly detached myself from the more conventional artistic expression that I have been accustomed to.

The decision to apply for the residency came about during my final year at UiTM. Like most of the students in my class, the potential to graduate without any ‘glitch’ was deemed as rather slim for some obscure reason. Loosely speaking, the intention for the application was to safeguard against the threatening possibility of failure to complete the course at UiTM. Thus, a year to ‘recuperate’ at a place like Rimbun Dahan seems more appealing instead of repeating the course without a break or worse still, going off for part-time work.

At the time, morale among members of the group was low and having been called back to Malaysia after completing our ‘part-one’ overseas did not make things easier. Adjusting to a different learning system is a difficult process. The architectural course was like running a marathon without a clue as to how long the distance was supposed to be covered. In the end however, I managed to pull myself together in the nick of time and was one of the few lucky ones to have made it through alive. At about the same time, my application for the residency was accepted and my professional architectural career upon graduation was about to take a slight detour, at least for a while.

I feel there has always been a need to redefine the artistic collaboration in architecture, and vice-versa. Needless to say, studying architecture has fostered a way of thinking in establishing an approach to designing and form-making, that is perhaps different than if one was to pursue a course in fine arts for example. After having had to ‘put a hold’ on art for the past few years to concentrate on the architectural process, it was about time that I get back to creating what I want to create, even though I could do it for only a year. Rimbun Dahan, I feel is one of the few venues in Malaysia that allows me to accomplish what ever subconscious issues that needs to be dealt with as an artist, without ‘outside’ interference.

So far, Rimbun Dahan has indeed been a very pleasant and interesting experience. Despite is virtually remote location, the place regularly receive visits from the general public and various organizations, and this in turn is in keeping with one of its objectives which is to promote art and make it accessible to the masses. Project wise, the works that I have set out to do is yet to see the daylight despite having been here for almost half a year. Believe it or not, doing artwork is much more difficult than designing a high rise building. There’s no one around to report to or check up on your progress, or deadlines to meet apart from the year-end exhibition. Perhaps the difficulty lies in the highly personal nature of the project and therefore is more difficult to realize. Perhaps I am still adjusting to a totally different environment and the unaccustomed physics of acquiring and transmitting knowledge.

In retrospect, I have come to understand what it takes to become an architect in Malaysia, at least as a graduate architect who was partially shaped by UiTM. Unfortunately, I was a failure in many other respects, especially pertaining to the development of knowledge in general, and specifically my life-long interest in art. The course has indeed taken its toll on me personally as well as mentally and the past two years has been emotionally draining. Perhaps due to lack of personal time management and proper planning, the workload had left little room for other self-indulgent pursuits such as ‘non-architectural reading materials’ and the struggle to do art which for me, is an endeavor that requires a peace of mind an abundance of free-time in hand.

Fortunately, the Rimbun Dahan Residency Program is a timely attempt to further develop an interest that could possibly result in my work being a medium that bridges the highly technical aspect prevalent in architectural works, and the seemingly abstract representation of form more commonly associated to art. We live in a beautiful world but its obscurity is sinking the very soul of our benevolent intentions, and when ‘giving in’ becomes the only resistance we have to keep whatever aspirations afloat, then perhaps ‘something is wrong somewhere’…

For now, here I am, contained in my own world where time is at large, devoid of any contextual orientation, and ignorant of any wrongdoing. We must love and care for our work, simply because no one else will.

((()))

2008-09-06T18:16:00.004+08:00

Text written for Rimbun Dahan Resident Artist exhibition catalog 2002

introduction
It is my intention to highlight in my work issues related to space and temporality, the integration of technology and inspiration, truth and illusion affecting everything that we perceive as tangible and implied, in an attempt to establish a complex relationship between art and architecture. When considering my work, it is necessary to be aware that current thinking suggests that each domain may be addressed in isolation from one another, and that academically there are perceptible similarities and differences between art and architecture. However, for me any distinctions are becoming more difficult to distinguish from what was preconceived. It is at this initially conceptual level that an intangible idea (re)shuffles between what can be classified as art and architecture, and thus is materialized into the final body of work.

conception
Most of my work is derived from a sort of spontaneous, non-linear, seemingly non-sequential contemplation between what could be and what exists, what is meant to be experienced and what is actually felt. It is from our surrounding natural and built environment, and consequently the interactions or lack of them, that we acquire knowledge and inform our thinking, and it is from others that we learn about the self and how to nurture any talent that God has given us. At this stage, I have come to perceive the self as a composite that is often contradictory and internally incomplete. Perhaps this is one way to relate to my work, in a sense that it is conceptualised and manifested in fragments and aggregates that reveal a certain personal characteristic, which challenges the reader to engage with the work at various levels of interpretation.

conflict
I have always felt that the need to resolve and comprehend a seemingly simplistic two dimensional drawing in order for it to be properly developed into a three dimensional form is a daunting task. Hence, it has been a struggle for me to envisage a three-dimensional and non-planar composition such as a non-Euclidean design for a sculpture, which needs to be drawn on the two-dimensional plane in the form of sections, plans and elevations. Even more difficult perhaps, is the need to acquire a sort of paradigm shift from thinking in terms of large-scale projects such as buildings, to a more subtle language that is better suited for a sculptural undertaking, much smaller in scale by comparison. Hence, the problem with physical models is that you can only do so many and while computer-aided designs are better for the diversified repetitive tasks, the form is only virtual and lacks the inherent property of the finished material that could create a sense of scale and proportion. These concerns have been an ongoing personal conflict and the result, whether successful or not, is apparent in the work. My undergraduate studies in architecture have undoubtedly molded a certain way of thinking in conceptualizing the physical body of the work.

process
As a result of this particular mode of thinking, the process of realizing an idea can be scrutinized as rather architectural in its approach, yet does not have the constraint architects normally face. It is said that one way of differentiating art and architecture is their different responses to objective requirements. Hence, if art is seen as speculative thinking, then what I am doing must be art by default since everything I do is conjectural, non-functional, and self-directed - though I am not implying that architecture is already art, or vice-versa. Consequently, I do not design the final works themselves, but more oriented towards conceiving the possible relationship between solids and voids, positive and negative space, or the obvious and the hidden. I prefer to consider this process as parallel to generating an organized system in order for the tectonic idea to be workable. This would result in the actual fabrication to be more feasible and practical in a sense that wastage of material is minimized, ease of construction and assembly is achieved, while still maintaining the desired result that was originally conceived.

do-undo-redo
All of the possible generative sources are given adequate consideration during inception and this develops into a wide spectrum of architectural and artistic interpretation. Although difficult to describe, the work often begins from this infinite and productive intuition, which is challenged and tested both physically and mentally. It then matures from the intangible realm of thought, propelled by its own internal energy, in an effort to consciously make something out of nothing. This is an iterative methodology of working and reworking an idea at various stages of the design development, and perhaps a feasible justification on the continuity of form that is apparent from one work to another. In a way, the coherence is a result of the consistent use of this repetitive method, which evidently is carried throughout the physical aspect of the work itself.

tectonic
The works themselves are certainly ‘end products’ in their own respect. Basically, the final built objects are finite, well defined, and are more or less free from the imperfections of the production process. Nevertheless, I still consider the ‘finished works’ to be incomplete, schematic, trapped in the midst of their production, with potential to be further developed. Seen from this perspective, the work is left as if merely to engage other students and professionals within the field of art and architecture. However, as built and finished works they also have the opportunity to engage the public for whom they were meant and any subsequent unanticipated public. Therefore, the work is indeed offered with the intention of being read while addressing the reader with a multitude of interpretations, and to personally sustain the design process to be intellectually animated.

Multhalib Musa

2008-08-05T23:52:00.001+08:00

by Yvonne Tan, published in Asian Art Newspaper, Issue: 0404, April 2004.

{{{ }}} (2002), 88x100x19cm, laser cut mild steel

Breaking Up (2002) 150 x 84 x 12cm, laser cut stainless steel and mild steel

A Tale of Two Boundaries (2002), 3.5 x 0.6 x 2.8 m, laser cut stainless steel

At the sixth Asian Sculpture Exhibition 2001 Open Competition in Oita, Japan, Multhalib Musa's entry from Malaysia took second place. An architect by training, Multhalib's work in stainless steel, A Tale of Opposing Boundaries, was dominated by two facades with many different planes. A curved line was included to break the flow of movement and serve as a boundary. In his work Multhalib suggests that contemporary problems in Asian societies today need to be addressed. Asian value systems, he seems to say, are increasingly blurred with the onset of globalisation and need defining. His sculptural work, which defies definition, is a reflection of the state of modern art in Malaysia. Yvonne Tan reports.

Asian Art Newspaper: With the encroachment of globalisation, are you worried that people in Malaysia are in danger of losing some of their values?
Multhalib Musa: Occasionally I sense that some Malaysian values, pertaining to culture and tradition, are no longer evident in our society. I do not know about this in regard to sculpture since I have no idea about the historical account of Malaysia's sculpture. Maybe this is an indication of losing some of our values. Perhaps I can highlight a common awareness which is that our art is now being developed for commercial purposes to 'promote' our traditional cultures and values. This, rather than the original functions for which they were intended, when they were created by our ancestors. For instance the motifs on a piece of batik may be a mode of passing on a family story through the generations. But this mode is no longer applicable.

AAN: Do you see your work as Malaysian sculpture?
MM: My work is not in any way 'Malaysian'. The method itself is nothing traditional, using lasers and imported Japanese stainless steel. By default I am a Malaysian doing sculptural works which I find pleasure doing. Its form has no association to a certain place of origin. I can be from Honduras and my sculptures would probably fit into their contemporary galleries. The demands of globalisation has formalised my work. It lacks identity - but only because it is developed extensively through technology. And technology is universal.

AAN: How has your training as an architect influenced your approach to sculpture?
MM: My training as an architect has allowed me to approach the sculptural process slightly differently than probably that of a conventional sculptor. I give priority to how I construct my work to shape its final form. Ease of construction is important from an architectural point of view since this means better use of materials, minimisation of waste, structural soundness, faster construction period. Nothing is more fulfiling than to have a work that comes out as you planned. So planning is the key to my work.

AAN:Where do you get your ideas?
MM: Perhaps it is similar to how any architect would conceive their building or design. In conventional and contemporary terms, no architect or designer would actually go out and build their design with their own bare hands. Not the actual work anyway. My approach is different from that of a conventional sculptor, who would toil and put his blood and sweat into building the actual sculpture. I design and plan my work in advance and assume the role of supervisor. I provide instructions to my team of builders and have ongoing consultations with engineers to come up with proper and practical solutions to various design/construction problems. This is particularly important when it comes to big outdoor works. But the conception of the work is mine, and because of my approach and training, the work comes out exactly as it is conceived. At least most of the time.

AAN: Your work you say, derives from a 'spontaneous and nonlinear contemplation between what could be and what exists, what is meant to be experienced and what is actually felt'. Can you explain this statement?
MM: How do we come up with ideas for what we do? How are my works derived? Is it from a fixed rule of a step by step guide to coming up with a good design - if there is such a thing? A divine intervention? My work - or anybody else's for that matter - evolves, inspires, develops, mutates, unfolds on its own, both consciously and subconsciously. Its design comes seemingly out of nowhere, but I have to work to get it - to sketch and then to build. In other words, I do not know where my work is derived. Everywhere and nowhere. Everything and nothing. Any thoughts, emotions, memories that we have had, all of these are bases that can trigger an idea, or a certain form in particular.

AAN: Is the conflict between a simplistic two-dimensional drawing and its development into a three-dimensional form something you wish to resolve?
MM: The conflict will always be there. The two-dimensional world is completely different from the three-dimensional world, just like a fourth dimensional world, which can be understood only through the unfolding of space and time. In architectural theory there is a school of thought that suggests that the mode or methodology in which a design is conceived can have a direct influence on its final outcome. Consider this. You see a certain form or shape in your mind that is unique. Not a memory of something you saw but an 'idea' of a form that has yet to exist. It is not even 'resolved' so it lacks physical attributes. At this stage there is no way any expert or even yourself can build it. No matter how well you write about it, or explain it verbally. From this intangible stage of inception, how will you actually follow through to realise this idea in its final physical state? You need to make sense of it somehow. This formalistic idea can be dealt with by way of the traditional pen and paper, to sketch the idea … as a medium, to have a two-way dialogue between the intangible and the physical world. But the conversation is only two-dimensional, because you are using paper. The image on paper can only be seen in a three-dimensional perspective and represents a three-dimensional form (which it is not). Likewise the idea can be developed physically with clay that does have a three-dimensional quality. To resolve something you have to understand it. You need to identify and acknowledge that there is a conflict, however, that does not necessarily provide a solution.

AAN: How do you perceive your own 'finished' work?
MM: It is never finished at a personal level. All final designs - when presented publicly - have something that can always be changed somewhere, to make them better. Sometimes an exhibited work does not please its audience. But for some compelling reason I see it as a 'good' work, so it is 'finished' as it is. Maybe it serves a greater function in its current state or it conveys an idea more appropriately.

AAN: Are you a sculptor who is an architect or an architect who is a sculptor?
MM: As a sculptor, if there ever was a generally accepted definition of a sculptor, I don't think I qualify simply because my hands do not physically change the actual work. At least not yet. I shall consider myself as an unemployed visionary doing sculptural work in an architectural manner.

Big Art and Little People

2008-07-21T00:38:00.003+08:00

Big Art and Little People
kakiseni article by Rachel Jenagaratnam, 17. 07. 2008

Some confessions ought to start this piece off nicely:

First, when asked to review Multhalib Musa’s recent exhibition at Wei-Ling Gallery, I had absolutely no idea who the artist was. The exhibition’s Chubby Checkeresque title, Twist, suggested milkshakes and black-and-white linoleum flooring, but these American dreams came to a halt when I googled the artist’s name.The second confession is that I actually found nothing on the search engine. I later discovered that I had misspelled Multhalib’s name.

For this, I am sorry -- self-diagnosed dyslexia really doesn’t make for very professional criticism, nor does the admission that it was Facebook that came to my rescue. Still, it was there that I first saw the Rimbun Dahan alumni’s work and learnt that I was not going to see any kitsch from the fifties, but rather, a formidable body of contemporary sculptural works made from metal -- works whose form induce a sense of the organic and contrast starkly against the harsh, cold material in which they are produced.

‘A Tale of Two Boundaries’, Multhalib’s winning submission for the 6th Oita Asian Sculpture Exhibition (2001) is a good example of this. It features a series of minimalist spade-like forms assembled together in ascending, and then descending sizes, to form the overall piece. If my description falls short of adequate, I urge readers to picture a fish without a tail or fins. And, if the picture fails to form, help is only a mouse-click away.

Altogether, viewing Multhalib’s works online first was -- to be perfectly honest -- a little intimidating. Sculpture, especially those entrenched in contemporary gestures, remain amongst the most difficult to comprehend, analyse, or appreciate. The minimalist works by Donald Judd or Eva Hesse, for example, are great culprits for this and it certainly doesn’t help when accompanying literature on the subject is written in academic jargon that confuses more than it clarifies. It may be easier poking fun at Michelangelo’s David, but -- and, as a recent exchange of words right here on Kakiseni has shown -- this forms the crux of the great debate between high art and populist art. Is one any better than the other? And, where does Multhalib’s work stand in relation to this dichotomy?

In Twist, sculptures -- both standing (the ‘twist’ series) and wall-mounted (‘linear twist’) -- bear the artist’s signatory approach of deriving each piece, or expanding it, from a central idea or form. Here, the overriding principle is the gesture of twisting, and the form du jour, the fin (or, an elongated S-shape). Each piece is a subtle variation of these combined elements.

These metal works are, as noted by Gina Fairley in the exhibition catalogue, an extension of Multhalib’s formal training as an architect. References to Frank Gehry’s architectural marvels abound, but how exactly does the language of architecture translate into that of art, or more precisely, sculpture? For one, it’s apparent in the process of creation, which Multhalib has documented with great diligence and detail. The blueprints of his work (available online) are evidence of the shared technical vocabulary between the two fields, and, the actual physical quality of both is similar. Like buildings, Multhalib’s works -- more evident in the standing sculptures than the ‘linear twist’ pieces -- necessitate an all-encompassing viewing experience; you are required to work your way around the sculpture, appreciating it from all angles and the small changes each approach affords. At the exhibition, the ‘twist’ series were exhibited on plinths, so it is a great shame that I am so short; from photographic reproductions, I understand it is quite a view from the top -- the variations between the one, two, and three fin sculptures are more notable.

So, is Multhalib’s work high art and inaccessible? The context of the exhibition (a private commercial gallery) notwithstanding, I wouldn’t argue so. Seeing the works in-person and some words with the artist himself enlightens me that Multhalib himself veers towards the classification of public art -- works that, in the right environment, engage viewers and enhance the landscape in which it is situated. The ‘twist’ series may be a little too small for public spaces, but there’s no denying the engagement it prompts in viewers. I, for one, imagine Lilliputian characters running up and down the most precarious of spiral staircases -- a hypothesis that lacks intellectualism, but highlights the possibilities with works that don’t prescribe or dictate any preformed notions upon its viewers. In short, it’s perfectly fine to remove the shackles of academia.

The ‘linear twist’ family, on the other hand, may find its way into a corporate space, but still, the works withhold the capacity to actively engage viewers through its evolving temporal and physical qualities. The metal used for these works will rust and ‘linear twist 1’ (2,3,4, and 5) will visibly age over time -- just like us. It’s arguable that paintings and other artworks age too, but conservators -- like the great plastic surgeons of our day -- conduct exhaustive efforts to reverse this very process. Multhalib’s works won’t be going under the surgeon’s knife, but instead, will be allowed to transform naturally.

Interestingly, these points recall the work of Carl Andre (an American minimalist sculptor working in the second-half of the twentieth-century), whose infamous floor-pieces were made with grids and mathematical efficiency in mind. Andre’s works, made from metal sheets or bricks, were placed directly on gallery floors and viewers were allowed (encouraged, even) to step and walk over them. This example hints at a more symbiotic spectatorship. Michelangelo’s David, on the other hand, isn’t quite as welcoming, or rather, the guards protecting his manhood aren’t and you are forced to take in his virile marble body from a distance.

In 1967, Artforum published art critic, Michael Fried’s, seminal essay, ‘Art and Objecthood’. And, like the other great advocate of Modernism, Clement Greenberg, Fried abhorred Minimalism, arguing against its lack of distinction from mere objects and its overt reliance, or loan, on theatre. In short, he felt these works had no function as art objects without the presence of a spectator who was needed to complete it. Indeed, like the works of Minimalist artists, Multhalib’s also require a degree of theatricality: they demand our time, space, and physicality, but so what? I think we all need a little drama in our lives.

~

Read another view of the same exhibition by Eva McGovern here.

Rachel Jenagaratnam is a free-lance writer.

Abdul Multhalib Musa: Travelling with Moving

2008-07-17T04:30:00.007+08:00

Abdul Multhalib Musa: Travelling with Moving
kakiseni article by Eva McGovern, 08. 07. 2008

Stillness. Stasis. Movement. Action. Sitting in traffic on the way to Wei Ling Gallery to see Abdul Multhalib Musa’s recent solo show Twist, I didn’t have a book, newspaper, I-pod or other useful strategy to pass the time en route. I glanced at my taxi driver who was reading an article on the aphrodisiac qualities of watermelon, which sadly, were of no interest to me.

Therefore lost in thought, I contemplated the notion of travelling without moving which is what immediately struck me when first confronted with Multhalib Musa’s work. Somehow the stillness of the cars trapped on the road, the frustration of motorists impatient to arrive at their destinations, the stop-start motions of the cars in contrast to the seamless buzzing of traffic on the other side of the road all lent themselves appropriately as the starting point to the exhibition. With the geometry of the city all around, I was anticipating precision, chaos, architectural lines and organic punctuations.

I entered Wei Ling Gallery and climbed the stairs to the exhibition space. The very nature of the gallery with its labyrinthine internal architecture, lends itself to an interesting dialogue with the work of Abdul Multhalib Musa, a well established Malaysian abstract sculptor who is also a trained architect. His architectural background resonates strongly in his practice, which explores the possibilities of seemingly rigid metals, in this case, steel and how it can be manipulated to be both precise -- in his use of technique and repetition of form -- whilst simultaneously fluid and rhythmic.

The exhibition displays two different motifs; a wall based series of steel panels entitled Linear Twist and free standing spiralling sculptures: the Twist series that both take up the entire gallery space. This represents a new body of work for Multhalib Musa (that has evolved from an earlier series) in response to paintings by Yusof Ghani entitled "Biring" exhibited in 2007 at the Gallery. The action and movement from Yusof's painting's subject matter, the cock fight, inspired Multhalib Musa to create a series that echos the blurring pace of bodies in motion.

There is a clear and precise delivery of the work, realised by computer design and laser cutting. The Twist sculptures display a mathematic sensibility which is made up of multi-layered blades similar in shape to those found in food blenders or airplane propellers consisting of either two, three of four fins. Stacked to form an undulating screw like totemic structure, the striations from the cut steel etched into the edges of each blade display metallic greys, blues and golds reflecting a myriad of colour which heightens the movement of the sculpture. The Twist series follows on from the artist's earlier mobiles work and although made of steel and dense in form, there is a certain lightness to these structures. It is easy to imagine them turning in the wind like their lighter spiral mobile counterparts found hanging from household porches. In addition there is a delicacy in design that shows a consciousness of organic forms such as the spiral of a sea shell.

The juxtaposition of motion and stasis is clear, the Twist sculptures display each frame of movement of the whirring blades, methodically measured, the spinning firecracker in slow motion as if in water. Industrial Duchampian figures both ascending and descending the staircases in the gallery. However, unlike the drama of the cockfight from Ghani’s paintings, there never seems to be a moment when this capturing of movement gets out of control, the blades are dull, deliberated corroded to a specific point by the artist and then preserved to become an untouched relic. Reminiscent of Deconstructivist concerns of unpredictability and controlled chaos as seen in the works of architects like Daniel Libeskind, Rem Koolhaas and Zaha Hadid, the work never turns into architectural meglomania. The monumentality lies in the silence of these relatively small sculptures.

The wall based work possess a different quality, one that is deliberately more organic, more lyrical and sentimental. Each steel panel has had multiple half circles cut into them which is then lifted out of the surface to create patterns similar to sunbursts or fallen leaves. Where as the Twist sculptures have an implied industrial quality the Linear Twist series is meditative, with an iconic natural/spiritual factor that give the work a more implicit meaning, limiting the possibility of multiple interpretation. The real strength of this body of work lies in the free standing sculptures where the artist's preoccupation with the relationship between art and architecture is much more apparent.

Ultimately it was the dialogue between the gallery space and Multhalib Musa’s work that create a tightly woven and effective total installation. The zig zagging of the gallery’s staircases, hexagonal flooring, exposed brickwork and remnants of the original internal structure create movement within movement. With each floor visually accessible to one another the viewer's gaze is able to travel both upwards and downwards, as it does when taking in the upward and downward spiralling motion of the sculpture or form bursting from the panels. Coupled with views of the city outside where the eye constantly takes in the motions of a living metropolis, highways, sky scrapers, the organic forms of trees and grass, industrial cranes building one structure after another all echo what was happening inside the gallery. Even the whirring blades of the floor fans on each level seems to become part of the show complimenting the artists inspiration from the built environment.

Reference to Yusof Ghani’s work is strangely absent in the exhibition except for a few lines in the press release which questions the importance of this starting point to the work. This context does not seem to be a crucial inclusion in the construction of the exhibition. The use of painting as a subject to respond to would have been interesting to explore especially with such tectonic work but in this case it seems to disappear from consciousness completely as the sculptures and gallery architecture overwhelm any such concerns.

Abdul Multhalib Musa’s career is going from strength to strength. A former Rimbun Dahan artist, he has exhibited consistently in group and solo shows since 2000 and has been commissioned to create a public sculpture for this year’s upcoming Beijing Olympics. As I left the gallery, anticipation to see how this artist’s practice develops filled my thoughts as I waited to be held in traffic once again in the growing city, like Multhalib Musa’s practice: travelling without moving.

~
Eva McGovern is an independent curator based in Kuala Lumpur. She has recently relocated to Malaysia from London after working in a major contemporary art institution where she organised exhibitions and public programmes. Eva's primary research interest is contemporary South East Asian art and performance art.

dimensi seni abdul multhalib musa

2008-07-13T01:21:00.000+08:00

Dimensi Seni Abdul Multhalib Musa
gua.com.my artikel oleh Syaliza Shapiansuri, 13 Julai 2008

Dimensi Seni Abdul Multhalib Musa

Berapa ramai antara kita begitu menghargai seni sehingga sanggup menjadikannya sumber utama mata pencarian? Mungkin ada yang memperlekeh, tetapi hakikatnya, seni ini memberi peluang lumayan kepada pengamalnya.

Itulah yang dilalui Abdul Multhalib Musa, seorang penggiat seni arca logam. Melihat kepada arca yang dihasilkannya, segala usahanya nyata amat berbaloi dengan pulangan yang diterima.

Tahap kesabaran yang tinggi, itulah yang diperlukan untuk menghasilkan satu kerja seni yang cukup eksklusif. Tidak ramai penggiat seni arca logam seperti Multhalib, barangkali seni arca memerlukan komitmen dan penelitian terperinci, jadi apabila muncul dengan hasil seninya, peminat teruja melihatnya.

“Sabar adalah aspek penting untuk menghasilkan arca logam. Selain itu, saya mengaplikasi apa yang dipelajari ketika di universiti ke dalam setiap rekaan,” katanya.

Meminati seni semenjak di bangku sekolah, Multhalib tidak hanya ‘suka-suka’ ketika menghasilkan kerja seni. Waktu itu minatnya lebih kepada seni halus (lukisan) dan sering memasuki pertandingan serta pernah memenangi anugerah di peringkat kebangsaan.

Antara pertandingan yang pernah dimasukinya ialah Minggu Cegah Kebakaran Kebangsaan (1991, juara), Galeri Shah Alam; Pameran dan Pertandingan Warna Air (1993, naib juara), Balai Seni Lukis Negara dan ‘World-Wide Millennium’ (1999, anugerah khas), Kuala Lumpur.

Lulusan Senibina

Minat yang bercambah dalam bidang seni arca logam membuatkan dia nekad menceburi bidang ini walaupun berkelulusan Ijazah Sarjana Muda Kajian Rekabentuk di Universiti Adelaide, Australia dan menyambung pengajian Ijazah Sarjana Senibina (Kepujian) di UiTM.

Selama setahun menimba ilmu seni dan bereksperimen sebagai artis residen Rimbun Dahan, Multhalib berpuas hati dengan apa yang boleh dihasilkannya kini. Setakat ini bukan sahaja Balai Seni Lukis Negara tetapi pelbagai lagi pameran yang pernah memperlihatkan karya arca logam ciptaannya.

Terbaru, Multhalib menghasilkan arca logam bertajuk Twist. Melalui Twist, Multhalib bereksperimen dengan logam dan menghasilkan satu item yang cukup menarik. Tiada sebarang maksud tertentu dalam karya Twist, sebaliknya lebih memperlihatkan ekspresi kreativitinya.

Multhalib sebenarnya sangat dikenali di kalangan penggiat seni tempatan dan namanya gah sehingga karyanya banyak menghiasi lobi hotel dan ruang pejabat. Bukan sahaja di Malaysia, karyanya turut mendapat perhatian di China, Indonesia, Jepun dan Sweden.

“Twist mengambil masa dua ke tiga tahun untuk mendapatkan idea sebelum final touch yang mengambil masa hanya seminggu sahaja. Keseluruhan arca logam yang dihasilkan untuk koleksi Twist adalah sebanyak 13,” katanya yang pernah menghasilkan koleksi arca Swirl ketika mengadakan pameran solo di Australian High Commision, Kuala Lumpur pada May 2005.

The New Straits Times Article: Carving his mark on Beijing Olympics

2008-07-12T14:43:00.009+08:00

Carving his mark on Beijing Olympics

by Malini Jeya Palan, The New Straits Times: Streets, Wednesday, 9 July, 2008, pp 8.

Sculptor Abdul Multhalib Musa has won many international awards.

Multhalib with one of his pieces at the Wei Ling gallery in Kuala Lumpur.

KUALA LUMPUR: Penang- born Abdul Multhalib Musa is one of Malaysia's leading contemporary sculptors. Multhalib, who studied architecture in Australia, has won many international awards and residencies through his work. He has been commissioned by the Chinese government, following his participation in an international competition, to create an outdoor sculpture for the 2008 Beijing Olympics. "All my exhibitions have been different, but mostly architectural oriented designs," he said. Multhalib received the Australian High Commission Residency in 2004 and was selected for the Rimbun Dahan Residency in 2001. Multhalib expressed confidence he would make his mark as a sculptor on the international front. He is currently having an exhibition entitled "Twist" at the Wei Ling gallery from June 26 to July 10. The pieces on display are unique and contemporary.

Q: When did you develop a love for art?
A: My parents told me that I began drawing at the age of three. I drew on their walls using crayons and pencils. I also remember winning a gold medal for art when I was just six years old. I was encouraged by that and have pursued art ever since.

Q: Were your parents supportive of your career?
A: They always have been supportive. My mum was a teacher and my dad a civil servant. They used to send me for art classes and encouraged me to be creative. They also bought me art stationery. My sister on the other hand is a computer whiz and is not into art.

Q: Where did you grow up?
A: I was born in Penang in 1976 and went to primary school in Bukit Mertajam before my family moved to Kuala Lumpur.

Q: Have you always like art and designs?
A: I have always wanted to be an artist. If I can just paint or draw and make things, I will be very happy. I love my work so much that even if I'm not physically doing anything I'll be mentally planning my next sculptures. I'll look at something and get inspired and that immediately triggers lots of ideas. It can be from just looking at people or talking to them or even through political issues. I have some pieces inspired by political issues.

Q: What do you do in your free time?
A: Like anyone my age, I like hanging out with friends at the mamak shop and catching up on things. Maybe catch a game of football. The people I hang out with are usually my school friends. Sometimes I hang out at the gallery.

Q: What do you enjoy most about life?
A: Being able to do what I want to do when I want to without having to follow a timetable. Basically not to have any pressure except the one that you put on yourself.

Q: Have you done anything recently that you are proud of?
A: Yes. One of my sculptures which was commissioned by the Beijing government for the Olympics has been placed in the Beijing Olympic Park City. Actually, I was commissioned after entering an international sculpture competition in 2005 and through that I was selected along with a group of artists for the project.

Q: What are your future career plans?
A: I don't have any concrete plans. I'll just see where my work takes me. If opportunities present itself then I'll take it. You can't really plan anything when you're doing art work.

Utusan Malaysia: Estetika dan Kebebasan seni dalam Twist

2008-07-07T14:14:00.001+08:00

Utusan Malaysia: Mega, Isnin, 7 Julai, 2008, ms 24.

ABDUL Muthalib Musa di samping karyanya pada pameran solo Twist

di Galeri Wei-Ling, Kuala Lumpur hingga 10 Julai ini.

SENI tampak adalah sebuah gerakan yang melibatkan proses pembuatan yang memberikan kepuasan, kenyataan estetika dan nilai-nilai filosofi yang merangkumi ungkapan ekspresi dan gubahan fungsional.
Perkembangan seni tampak daripada tradisional ke moden dalam semua genre memperlihatkan sebuah anjakan yang drastik - perubahan asas seni yang didominasi oleh pemikiran Eropah Barat, Amerika kepada era globalisasi yang ditentukan oleh aliran-aliran kekuatan seni negara-negara maju.
Fenomena globalisasi inilah yang mewarnai sebahagian besar seni tampak moden dunia termasuk Malaysia hari ini, meskipun usaha mempertahankan nilai-nilai tradisi dan kebudayaan setempat masih menebal.
Bagaimanapun kekuatan kapitalisme dan budaya multinasional dalam era globalisasi, mengakibatkan banyak kegiatan seni tampak dunia mahu atau tidak terpaksa mengikut rentak semasa yang lebih rencam.
Di sisi lain, persoalan ini memberi impak positif tersendiri. Karya-karya tidak lagi terlalu terikat kepada tradisionalisme. Sebaliknya, ia mendorong kepada kebebasan seni yang lebih luas dan matang.
Keterbukaan ekonomi misalnya secara tidak langsung menumbuhkan seni instalasi, grafik, digital dan karya-karya arca yang mengarah kepada fenomena globalisasi atau keperluan semasa.
Globalisasi juga memberi impak besar pada genre seni fungsional — busana, hiasan dalaman dan barangan sehari-hari yang akhirnya turut mempengaruhi seni halus, arca, seni digital dan sebagainya.
Abad moden, menurut ahli sejarah seni lukis, H.W. Janson, ditandai dengan meletusnya Revolusi Perancis, Revolusi Industri di England dan perkembangan demokrasi di Amerika Syarikat. Ketiga-tiga peristiwa besar itu sangat mempengaruhi terbentuknya seni tampak moden dunia terutama di awal abad ke-19.
Salah satu ciri pembentukan seni tampak moden itu ialah kemunculan seni grafik yang menandai semangat industri dan kebebasan dalam berkarya yang sedikit sebanyak mula mengikis nilai-nilai estetika yang menjadi keutamaan dalam seni tradisional.
Pada tahun 1841, arkitek British, Welby Pugin untuk pertama kalinya menafikan estetika dalam seni tampak. Dia menulis; “Keindahan tidak diperlukan lagi untuk keselesaan, perilaku dan moral,
Pada 1908, pereka Austria, Adolf Loos menyatakan kekagumannya terhadap kemampuan mesin dalam menghasilkan produk seni dalam rencananya, Ornament and Crime; — “produk mesin indah selama tidak disertai dengan hiasan,”.
Dalam erti kata lain, Loos berpendapat, estetika seni harus mengikut peredaran zaman dan produk seni yang dihasilkan menggunakan mesin atau jentera juga tetap memiliki nilai-nilai seni.
Persoalannya adakah pendapat tersebut tepat atau hanya sebuah teori ketika masyarakat pasca Revolusi Industri di Barat sedang ghairah mengembangkan penggunaan teknologi termasuk dalam pembuatan produk seni?
Jika diteliti dalam perkembangan seni tampak moden di Timur termasuk Malaysia, teknologi tidak pernah mengabaikan estetika walaupun ia menyediakan ruang kebebasan yang cukup luas untuk berkarya.
Interpretasi
Intepretasi kebebasan inilah yang ditemukan dalam pameran solo Twist oleh Abdul Multhalib Musa yang berlangsung di Galeri Wei-ling, Kuala Lumpur hingga 10 Julai ini.
Ia menampilkan sebuah kebebasan eksperimen menggunakan kepingan-kepingan besi padu membentuk arca yang unik, menarik tetapi pada masa yang sama cuba membina estetika seni melalui proses grafik yang rumit.
Kepingan-kepingan besi melalui teknik pemotongan laser disusun dan dicantum membentuk sebuah ritma dan alunan emosi yang cukup memukau.
Emosi dan kebebasan dalam eksperimen diluahkan secara bebas melalui susunan kepingan yang membentuk putaran tertentu tetapi dalam pada masa menelusuri luahan emosi dan ruang melankolik batinnya.
Tanpa disedari, karya-karya Abdul Muthalib mengutarakan sebuah kenyataan kesimbangan emosi, antara ketenangan dan kegusaran, kegembiran dan kesedihan atau apa sahaja antara dua elemen yang saling kontra.
“Setiap karya saya tidak mempunyai tema dan tujuan khusus ia dihasilkan. Sebaliknya ia sebuah kenyataan saya tentang kebebasan membina struktur serta putaran grafik melalui kepingan-kepingan besi itu,” katanya.
Mungkin pandangan pereka sosialis British, William Morris cukup untuk menilai karya-karya Abdul Muthalib tersebut. Dia melihat estetika seni tetap hidup selagi produk seseorang mampu memberikan kebahagiaan pada pembuat dan khalayak.
“Seni bukan hanya untuk masyarakat, tapi juga dibuat oleh masyarakat. Apa sahaja yang boleh memberi ketenteraman dan keselesaan kepada pembuat dan `penggunanya’ tetap sebuah karya yang baik,” tulisnya.
Oleh itu, ditangan Abdul Muthalib, seni tidak lagi La belle arti del disegno (sebuah karya seni yang indah). Ia justeru sebuah eksperimen dan percubaan mencari bentuk produk seni dalam wacana modenisme.
Karya-karyanya Twist 3.3, Twist 3.2 dan Twist 4.2 misalnya membuktikan bahawa seni tampak moden mempunyai perkembangan tetap mengutamakan ekspresi seni walaupun dinyatakan dengan pendekatan yang berbeza berbanding seni tradisional.

Sunday Star Article: Olympic fame

2008-07-06T13:41:00.000+08:00

Olympic fame
by Rachel Jenagaratnam, The Star: Starmag, Sunday, 6 July, 2008, pp 14.

Abdul Multhalib's Two Sides sits proudly in Olympic Park City in Beijing, the sole Malaysian representative among park's 100 sculptures. - Photo courtesy of Beijing Olympic Council Committee

Abdul Multhalib Musa feels there’s a demand for sculpture in Malaysia that is not being met by supply. – VICTOR K.K. NG / The Star

Twist 3.2 has a distinct architectural look to it, a testament to the artist’s training in that field. – Wei-Ling Gallery

We need more sculptors! One local artist who has won international fame shares his thoughts about this burgeoning area of the arts.

OUR athletes haven’t left the country yet but we’ve already won recognition in Beijing, city of the Summer Olympics: a Malaysian was chosen to contribute a work of art that is on display at the Beijing Olympic Park City.

Abdul Multhalib Musa’s sculpture, Two Sides, was selected from among a pool of 2,700 entries from across the globe to join the works of 99 other sculptors in the park.

As he’s only 32, some may feel this honour is a little premature, but he is, in fact – as many have described – one of Malaysia’s leading contemporary sculptors. His works are housed in private and public collections, including the Australian High Commission in Kuala Lumpur, and the KL Hilton. He has also participated in a noteworthy selection of group exhibitions both at home and abroad.

His latest series, Twist, is currently on display at Wei-Ling Gallery in Kuala Lumpur.

The artist focuses on one aspect of design for each series, says artist, and for this one, the reigning concept is the physical act of twisting, especially evident in his standing mild-steel sculptures that display minute variations in the arrangements of central fins (think of an intricate spiralling staircase).

The works in Twist were conceived as long as two to three years ago; it takes that long to make his art, Abdul Multhalib explains, because it involves a laborious process defined by trial and error – “They don’t just come out perfect; sometimes, it doesn’t work and you throw it away.”

While Abdul Multhalib confesses to having a rather creative childhood, it is his training in architecture that exerts the strongest influence on his sculptures: “I could not have done this if I had studied fine art,” he says, listing the products of his education that help him create his works.

These include mastery of computer-aided design, or CAD, which is often used in tandem with computer-aided manufacturing (CAD-CAM) in precision manufacturing.

What’s also come in handy is the skill of working with suppliers to coordinate work, something on which his architectural practice was “very much dependent”. It seems it isn’t simply a matter of sending out a design and waiting for it to come back fully formed; negotiation and persuasion are the order of the day. Manufacturers have to be persuaded to explore and convinced that it’s financially viable.

“Malaysia has all the technology, but they (manufacturers) don’t want to take on small scale and creative works. So it takes time to develop all these relationships.”

He points out the granite bases that hold the standing sculptures in Twist: “Even those took time to source.”

Ultimately, Abdul Multhalib feels his sculptural practice is no different to the practice of architecture, except the former isn’t restrained by a client’s requirements: “I am the client, unless it’s a commission, where I deal with briefs, proposals, and budgets.”

This freedom is a bonus for the creative process. Unmarred by the limitations of a client breathing down his neck, Abdul Multhalib, as he rightly puts, has the “option of being more critical”.

Malaysia’s sculptural dilemma lies in the lack of numbers; there is only a handful sculptors actively producing works today: “When I meet collectors and ask why they don’t buy other sculptures, they say there aren’t that many around.”

It appears it all boils down to the basic economic principle of demand and supply; but what are his suggestions to overcome this?

A step in the right direction, says Abdul Multhalib, would be to “keep up with the times”. He muses on the universities in Australia and Beijing that he has visited that feature well-equipped IT departments for fine art schools, advanced enough to rival the best of their architectural counterparts.

Also, it is a growing field, says Abdul Multhalib, so more arts students should be encouraged to get into it: “There’s a lot of demand, especially for public works, and corporate clients have high demand for sculptures outside their buildings. The situation needs to be sustainable, so corporations continue to be patrons, and on the supply-side, artists are able to work too.”

But does the general public have a taste for sculpture? Is it difficult to appreciate?

Not so, says the artist, pointing out that, “In Malaysia, there’s already a history of craft products. It’s always been there, inherent in our culture.”

Abdul Multhalib cites the example of relief works present in temple facades: “These are more difficult to understand, more complex.”

He feels the most important quality a sculptor needs is sensitivity to the surrounding environment. And it is this sensitivity that defines Abdul Multhalib’s works: they possess an acute sensibility for form and spatial qualities, much like the curvaceous folds of a building designed by Frank Gehry, the renowned Canadian architect frequently quoted in relation to Abdul Multhalib’s work.

The artist says he is informed by the school of International Abstraction, which means that his sculptures – like Gehry’s buildings – possess a vernacular that could easily be appreciated by anyone. In short, none of his sculptures contain any one dominant national identity.

Abdul Multhalib’s public sculpture in Beijing, Two Sides, is a fine example of this, and evidence that art can, indeed, overcome cultural barriers and the divisions wrought by language.

The Summer Olympics may not have commenced, but it’s safe to say we already have a winner right here.

more about TWO SIDES here.

TWIST: solo exhibition at weiling gallery, malaysia 25/6 - 10/7/2008

2008-06-22T01:33:00.012+08:00

my fifteen minutes of people wanting me to autograph stuff

opening night pictures on 25th june, 2008 (photography by bobpop)

linear twist, wall series, corten steel 4x4 feet

linear twist series (detail)

twist, free standing series, mild steel 2x1x1 feet

published in the exhibition catalogue for Multhalib Musa’s second solo exhibition after three years, ‘Twist’ features at Wei-Ling Gallery, 8 Jalan Scott, Brickfields, Kuala Lumpur, 50470, Malaysia from 23rd June -10th July 2008.

TWIST

catalogue text by Gina Fairley

Long have Abdul Multhalib Musa’s sculptures been described as having a correlation with contemporary architecture: Frank Gehry’s sculptural buildings, Santiago Calatrava’s aperture technology or deconstructivist designs of Zaha Hadid, for example, are separated only by their scale not form. Similarly, Musa’s work fits within a lineage of sculptors who pursue that point between balance and flight, where the precise distribution of weight spatially activates a sculpture. One only has to picture the elegant needle works of American George Rickey and Richard Serra’s standing steel curtains to understand that a mathematical equation can articulate a form and imbue it with an energy that is undeniably felt by its audience. While this list of luminaries sits as good company for Musa’s work it does little, however, in describing his cohesive evolution of forms that arrives at his latest body of work titled “Twist”.

Constructed from flat propeller-like units made up of 2, 3 and 4 fins, Musa’s “Twist” sculptures stand totem-like up to 600mm tall animating the gallery space. The relationship of the individual elements is deeply gestural; each set slightly ajar and stacked along a vertical axis in a random rotary action. What has increasing emerged is a sense of hand in the sculptures of Multhalib Musa, that is, evidence of the artistic process moving beyond the machine-cut and computer specifications.

While the physicality of these sculptures is not complicated, it is deeply considered. They are acutely aware of international abstraction, the phenomenology of geometry, computer design pedagogy and mathematical equations found within nature, such as a shell’s spiral or physics of a wave. The resulting “Twist” sculptures are a composite of differing frames of thought – scientific, ethereal, organic - moving from an analytical investigation to one that calls upon artistic intervention.

Overcoming the steel’s density, the viewer doesn’t feel weighted by their scale of “Twist”, allowing a greater connection with the work. It is an intimate spatial engagement, a human response that perhaps connects with the aforementioned semangat (spirit) that Musa describes as “existing between imagination and reality”. One could argue this has always existed at the core of his work simply through process - lifting a computer-designed form into 3-dimensional or real space. It is best illustrated in his “Involute” series (2005) where a laser-cut pattern is scored into sheet metal and, when lifted out of its 2-dimensional plane, pops into suspended animation. With “Twist” it is more intuitive.

Apart from this inherent ‘action’, what links Musa’s “Involutes” and “Twist” sculptures is the same drawn line. The “Involutes” are held together by a spinal axis, an s-shaped line locked within their circular form. It reoccurs as the double-sided fin, first used in a group of works titled “Biring” (2007) in a joint exhibition with Yusof Ghani. While both series use the foundation of a linear axis, the “Involutes” maintain a clean, continuous edge to define its exterior form. A “Twist” acts in the reverse. Its edge is jagged as a toothed-saw or sea urchin, at once compelling in its beauty yet toned with danger. It is this dichotomy - Yin Yang - that creates their tension and their strength. The simple flat fin suddenly becomes charged on repetition and, like Ghani’s paintings, its gesture is evocative.

It is another move away from the computer, which anchored the past work, towards compositional improvisation. This spontaneous placement of the “Twist” units could be said to parallel the arrangements of minimalist composers Philip Glass and Steve Reich where repetition is used to create a hypnotic or transcendental state. Similarly, the avant-guard compositions of John Cage, who came to the idea of ‘chance-controlled music’ in the 1950s, uses the I Ching, an ancient text on change, as the standard tool for cutting up and rearranging recordings. Musa’s new twisted derivatives use the same construct of the re/assembled standard unit, imbuing a non-precious metal with lyrical energy.

Several works in this exhibition push this dynamic to its extreme, encroaching unbalance. By locating the axis asymmetrically, Musa forces the fins to find a new equilibrium within the form. They become resolved within their own space and motion. This control is visually traced along the sculpture through its welds, emphasising its corkscrew musicality as an aesthetic element. The play, or lightness of the “Twist” is captured in their convex and concave rhythms, scooping up and refracting the light along the length of the form. One wants to move around these sculptures. They are solid without being bulky, bursting with flight spiraling vertically, countering gravity and entering the metaphysical.

While Multhalib Musa’s “Twist” sculptures may use the perfection of machine-fabrication and sameness, he liberates the object with the vibrancy of weathered patinas and organic placement. Their finished compilations mine new depths in Musa’s oeuvre and push his intervention with the sculptural form into an exciting future.

‘Twist’ by Multhalib Musa, features new pieces which are an extension of a series he created in response to a suite of paintings by Yusof Ghani entitled, ‘Biring’. Just as Yusof Ghani has drawn reference to the swirl of energy, drama and dynamism present during a cockfight, Multhalib’s ‘Twist’ works similarly echo this mood.

read some reviews in the Malaysian media:

NST

the star

Beijing Olympic Park City, China.

2008-06-09T03:10:00.004+08:00

the bird's nest main olympic stadium in the rear. July 2008. Photography by Gracely Luyan, Beijing Olympic Council Committee.
the aquatic center a.k.a. bubble building in the rear. July 2008. Photography by Gracely Luyan, Beijing Olympic Council Committee.
the bird's nest main olympic stadium in the rear. July 2008. Photography by Gracely Luyan, Beijing Olympic Council Committee.

newly installed, may 2008. Photography by Michael Suh, Beijing Olympic Council Committee.

newly installed on site, may 2008. Photography by Michael Suh, Beijing Olympic Council Committee.

Fabrication done at Yi Dong Yuan Sculpture Manufacture Center, Beijing, China in 2007

Fabrication done at Yi Dong Yuan Sculpture Manufacture Center, Beijing, China in 2007 - sculpture progress inspection

Fabrication done at Yi Dong Yuan Sculpture Manufacture Center, Beijing, China in 2007 - paintjob complete

process in making the maquette 2005

finished maquette 2005 - set-up for photography submission

finished maquette 2005 - set-up for photography submission - lighting study

finished maquette 2005 - set-up for photography submission - top view

maquette exhibition 2006, over 200 maquettes being judged to be selected for full scale reproduction

standing nervously next to my maquette in the exhibition 2006, over 200 maquettes from all over the world being judged to be selected for full scale reproduction. in the back, american artist Bernard Hosey.

in a public art conference in Beijing, 2006.

2007 second trip to supervise sculpture fabrication and discuss location of the sculpture in the interpretation center next to the bird nest stadium.

“Technology is bringing the world closer together, and yet our understanding and acceptance towards each other are far greater than ever before. We need to diminish these invisible barriers, in order to assimilate two opposing views, and bring unity to the world.”

- artist statement for Two Sides, 2005 -

Project Summary
Title: TWO SIDES
Year: 2005 - 2008
Medium: Painted Corten Steel
Dimension: 1.8 (w) x 2.5 (h) x 5 (l) meters
Location: Beijing Olympic Park City, Beijing, China

This sculpture was constructed in Beijing for the upcoming Beijing 2008 Olympic. The sculpture entitled ‘Two Sides’ illustrates the need for everyone to break barriers, in order to unite our opposing views. The first round of selection was open to the international public which started in the end of 2005, where the competition received over 2700 valid entries from 41 countries and regions. 700 sculptures were later selected to go through the second round of selection in 2006.

The maquette (above) was selected through to the second round, and one of a hundred or so sculptures selected for full scale reproduction to be placed around the new Beijing Olympic City. At this stage, the sculpture was awarded the ‘Merit Award’ by the China Beijing Olympic Park City Sculpture Design Competition & Exhibition Organizing Committee for the Games of the XXIX Olympiad. Fabrication was done at Yi Dong Yuan Sculpture Manufacture Center, Beijing, China in 2007. Upon completion in early November 2007, the final built sculptures will be in the final round to be judged. The sculpture was fully installed on-site in May 2008.

This international competition was organized by The China and International Olympic committee, to select and install sculptures throughout the 2008 Beijing Olympic Park. As the selection was on an individual basis and not on a quota basis according to countries, nor has it been filtered or recommended by any governing local bodies, I feel even more honoured to be selected for such a prestigious event.

The following are details about my participation in the Olympic sculpture contest:

Beijing Olympic Art Dream - 2008 Beijing International City Sculpture Exhibition is a comprehensive art activity sponsored by Beijing Municipal Government. It aims at promoting the development of public art in accordance with the idea of “Green Olympics, Technology-empowered Olympics and Culture-enriched Olympics” and the 2008 Olympic theme of “One World, One Dream”. The major events include Beijing International Sculpture Invitation Exhibition, Beijing City Space Sculpture Exhibition, and Seminar on “Beijing Olympic Art Dream.”

_____________________

related links in the Sunday Star newspaper.

world sculpture news magazine interview by gina fairley, 2005

2008-06-08T16:01:00.011+08:00

Published in World Sculpture News (Hong Kong), Vol. 11, Number 3 – Summer Issue, September 2005, pp. 34-37.

ARCHITECTURE DEFINING SCULPTURE

In a culture that turns away from an identification with the object, Malaysian sculptor Abdul Multhalib Musa draws on architectural models, Islamic decoration and international abstraction, in defining a personal style that oscillates between an eastern and western aesthetic.
By Gina Fairley

Large-scale contemporary sculpture, by its nature, is universal. Its fabrication, materiality, relationship to human scale, and physicality in the environment, place it more within the vernacular of architecture. Malaysia presents an interesting case for discussion. An Islamic state, it is almost entirely void of public sculpture, or a history, by ‘western understanding’, of sculpture within its culture. The city today is a skyline of cement and glass cathedrals to the wonders of architecture. One could propose architecture equals contemporary Malaysian sculpture.

It is not unusual then that Malaysia’s most interesting young sculptor trained as an architect. Abdul Multhalib Musa (b. 1976) emerges from this complex cultural environment with a visual language that speaks to the international abstraction of George Rickey, Naum Gabo and Harry Bertoia, and pays homage to the sculptural forms of Frank Gehry, Santiago Calatrava and the deconstructivist designs of Zaha Hadid. Yet it is also acutely aware of Islamic geometry, calligraphic form and the mathematical equations of nature. The slick forms of Musa’s sculptures - from analytical, to skeletal, to centrifugal - celebrate the precision of geometry and technology.

Metal, a material synonymous with industrial development and ‘the new world’, is used by sculptors everywhere and allows contemporary expression through new techniques such as laser, plasma and water cutting. Musa finds in metal the precision of architectural design and a direct transition from his computer to the 3-dimensional object. Yet, his metal sculptures also embrace the randomness of an organic form; the chance play of surface and the anomalies that arise in fabrication – like clay thrown on a potters wheel – the random is accountable physics. What has developed is a personal style that is a classic marriage of Art + Architecture. The two cannot be divided in Musa’s work.

Architecture + Art

Studying architecture in Australia in the mid 1990s, Musa returned to Kuala Lumpur in 1998, a city rapidly shaped during the 1980s and 1990s by a tsunami of development and the fervour for nationalism. (1.) His is a deeply conscious oscillation between these two places; an aesthetic emerging from a zone benign of borders.

Architecture writer, Sabiha Foster comments, “Architecture addresses our metaphysical, philosophical and cultural identities within a material context ... An evaluation of architecture must essentially be an evaluation of ourselves. And an evaluation of ourselves demands that we situate ourselves within the evolving meanings of our histories and traditions.” (2.)

Musa has taken the self-referential verbiage that is the tenant of contemporary architecture and translated it into a sculptural dialogue. His sculptural forms give a physical presence to the phenomenology of geometry, neutralising cultural associations and placing them somewhere between eastern and western art and architecture. He has taken design pedagogy and instilled back into it a sense of the hand - the artistic process - converging Musa the architect and Muse the sculptor. The resulting sculptures take on the vernacular of international abstraction.

International Abstraction Parallels Islamic Geometry

This brings me to the conundrum that is the contemporary sculpture of Abdul Multhalib Musa. Technology has allowed us to embrace a ‘global’ style. Yet considerations such as feng shui in Asian culture; religious constraints in the Islamic world; the eroding nature of consumerism in the developing world, and a retro-modernism sweeping across contemporary design, are mindful cultural markers that an artist must overlay - an extra set of parameters that define the work. Musa is astutely aware of such cultural codes living in the tri-cultural nation Malaysia, where ‘protocols’ are so entrenched in the fabric of thought that a non-offensive neutrality permeates everything.

“The demands of globalisation have formalised my work. It lacks identity, but only because it is developed extensively through technology … and technology is universal.” (3.) “… For me ideas, especially ideas that have no direct reference to culture or history, are universal and lack a sense of place.” (4.)

Musa challenges these ideas in his sculptures, attempting to draw a parallel equation of International = Modern = Islamic = Asian, rendering them neutral - existing in none, and each, simultaneously. If we look at Musa’s sculptures from 2001 through 2003, and his commission for the Westin Hotel “The Better Half”, 2003, he presents a bold confrontation of these cultural protocols through their sharp linear points and open skeletal forms. In a society where the practice of feng shui is a keen player in the commercial gallery arena it was a decisive move by a young artist. Sadly, the Westin piece was eventually removed for ‘feng shui reasons’, and Musa’s recent series “Swirls” leaves little room for such irreverent considerations. However, I must say these early works have a definition to them that is exciting.

The early forms are constructed through the repetition of ‘fabricated’ individual lines. Each line permitted to float in space; the shadows binary to completing the work. “Faltered Wings”, 2003, is a delightful piece that captures Musa’s sensitivities to form, caught between something organic, skeletal, machine fabricated, sci-fi, or even living – its shadows breathing life into the work as you move around it. His ability to animate technology, to transform a static weighty material such as steel into an object full of light and movement demonstrates an intuitive understanding of the material and his adroit skills as a designer and artist. Just as a child is overwhelmed by imposing dinosaur skeletons in the natural history museum, Musa’s metal sculptures have a presence that invites us to unleash fantasy.

Similarly, animation can be approached from a spiritual consideration. A correlation can be drawn between Islamic teachings, geometry expressed as decoration, and simple mathematical equations that explain natural forms. Musa’s work moves coherently across both vernaculars, on a sub-conscious and conscious level, as he explains, “… a simple formula is able to explain the orbit of planets, the arrangement of sunflower seeds, the formation of seashells, the ordering of colors in the rainbow … all of these events can be considered as random, but there is an ordering, a system that gives an explanation how they came about, and how they can be ‘reproduced’. In a way I am looking into a ‘formula’ to produce a certain type of work.” (5.)

Take Musa’s series, “Khat Islamic Calligraphy”, 2003, as a case in point. How dissimilar really are these works to his “Swirls” and “Faltered Wings”, 2003? Calligraphy replaced by line? Each line in Islamic calligraphy is a careful mathematic calculation, just as the centrifugal spiral of Musa’s “Swirls” follow a formula. These sculptures have many layers informing them, and it is this depth that gives them an inherent presence, a ‘sublime’ quality.

Bridget Riley was quoted as saying, in reference to her ‘optical’ paintings, that she draws from nature in her work … that nature is not landscape, but the dynamism of natural forces. (6.) There is a connection between Musa’s sculptures and Riley’s dizzying pictures. The vibration or shimmer in such works, just as the rarking in Australian Aboriginal barks, points to a spirituality or a closeness to the fundamentals of our biology. Riley refers to it as the forces of nature or the ‘sublime’. Now, what happens when the realistic representation of nature is replaced by an abstraction that embraces natural forces – in Riley’s case shimmer and in Musa’s repetition and the purity of formula? Does this allow art to transcend the abstract to embody a deeper sublime force? Could then international abstraction parallel Islamic decoration at this level? Are the two so different?

And for the atheists amongst us, maybe the consideration remains. Could not the shimmer in Musa’s optical sculptures be a celebration of technology at its apparent pinnacle? The computer allows infinite repetition, drawn lines, and laser-cut elements that create visual aberrations through perfection. Disorder through order?

Organic Order: Technological Entropy?

Musa positions entropy within the work: “While computer aided designs [are] good for repetition … the form is only virtual and lacks the inherent property of the finished material to create a spatial-temporal relationship between viewer and the work … I see them as a schematic trapped in the midst of their production”. (7.)

Identity enters back into the sculpture through the hand. Musa’s most recent series, “Swirls”, 2005, embraces a marriage of controlled fabrication and spontaneity in the finishing process. These works resonate with the polish and weight of technology. Their concentric compositions embody the perfection of a machine aesthetic. Yet the seemingly random placement of the layers and variegated rusting surfaces, have the vibrancy of an organic object. They are random. They are ordered. Viewing them, one is sent eddying off in an unbalanced spiral. Is Musa trying to animate physics or expose, through variation and repetition, a mathematical process?

Musa explains, “It’s a controlled animation of the intellectual process that appears random due to the infinite variants … like the formation of clouds. Some computers today can anticipate cloud forms … this intrigues me how someone can program this sort of complex algorithm … and ‘recreate’ such a seemingly random event. Perhaps I want my work, like nature, to look random but you can almost tell that there is a certain ordering to it.” (8.)

In the end it is intuition and nature that has the upper hand in determining the final work. A spiral may be repositioned, a hard curve softened, a line sharpened, or a work left an extra day to oxidise. It is the spontaneous that is controlled, the accidental that is harnessed and the mistakes that bring life and lead the work in new directions.

Musa’s “Involute” series is a direct result how chance has increasingly shaped order within his sculptures. Developed from the centrifugal series, Musa picked up a freshly cut marquette to move it and the form split, sending it in to an animated dance within space. Order becomes disorder and a new direction is taken.

The computer is a 2-dimensional tool, like drawing on paper, it can ‘appear’ 3-dimensional, but remains in flat space. In the “Involute” series, Musa animates the formula by twisting it: the 2-dimensional moves into the 3-dimensional spatial realm. Using his understanding of architectural construction properties, Musa is able to visualize the suspended sculptures from the flat formula. The “Involute” pieces, in fabrication, become alive through their suspended movement. The works take on a random spatial dialogue.

Palpability and Spatial dialogue

Musa’s sculptures activate the neutral space of the gallery. Their sharp spines, such as those of “Faltered Wings”, 2003, intrude aggressively into the viewer’s space, yet remain resolved within their own form, in their own space. Similarly, Musa’s wall pieces from the “Entwined” series, 2004, engage the environment by using the voids of the sculpture to speak with the gallery wall – the physical palpability of their shadows as weighty as the steel structures themselves.

“Intertwined”, 2004, playfully engages the viewer. As you move along the piece and across the pregnant swell of its belly, the positive and negative lines create a rhythmic play of light. There is a kind of metronomic insistence to move back and forward along the piece in a tempo of engagement, curiosity and visual stimulation. The repetitious steel lines are aggregates that, like notes on a sheet of music, are a careful calculation of balance, rhythm, light, movement. This same form - a kind of tectonic swell that causes this steel armature to rise up and out of the gallery wall - Musa has constructed as large-scale public works in Oita, Japan, 2002 and at ‘Sculpture by the Sea’, Sydney, Australia, 2003. Interestingly, as this form comes off the wall and into the environment, the voids work in a different way; the wind moving through them and along the piece create a spontaneous sound element.

Just as sound is considered, but random, so too is the way Musa addresses surface in his sculptures. It is not the primary consideration for him, which is surprising given their tactile quality. Material and surface are intrinsically linked. Musa feels, “…for me the finishing is just superficial – it doesn’t effect the form of the work … there’s a lot room for me to tolerate if the surface is altered, whether it’s affected by the weather and surrounding atmosphere … for me the form is more important … the strength is in the actual design … It’s like whether you paint a building you’ve designed blue or yellow - it is just a paint job – it is not the actual building …” (9.)

These elements – rhythm, spatial engagement and surface – are sculptural considerations. They illustrate the move in Musa’s work from design to the object.

Return of the Object: A Balanced Equation

So in the end the architect returns to the object. His sculptures are domestic scaled architectural modules. “The primary consideration in the work is design, form and composition. The other considerations are its scale, proportion, structural stability, relationship to the viewer, especially for works that have an optical illusion, and opportunity for shadow effect.” (10.)

Is this the voice of an architect or a sculptor? Musa’s working process is one of an architect. His creative process, and the resulting work, is one emerging from a sculptural consideration. These works are from the studio of a sensitive and intuitive artist. They are more than just considered calculations or architectural folly.

When asked whether he saw his sculptures sitting within a language of architecture or within contemporary Malaysian art, Musa answered with a laugh: “I shall consider myself as an unemployed visionary doing sculptural work in an architectural manner,” but on a more serious note, “It is my intention to highlight in my work some of the issues related to space and temporality, the integration of technology and inspiration, truth and illusion affecting everything that we perceive as tangible or implied, in a complex relationship between art and architecture.” (11.)

Abdul Multhalib Musa’s work successfully moves between design, art, complex cultural environments and international style. His work has been exhibited in Japan, Sweden, Singapore, Spain, Indonesia, China and Australia. It exists within an international framework. This framework allows his sculptures to float without being tethered to rigid ‘definitions’. The sculptures become a balanced equation. As Musa concludes, “… sometimes the mathematical is too accurate”. (12.)

Notes:
1. Abdul Multhalib Musa was awarded a Bachelor Degree in Design Studies, University of Adelaide, Australia (1996-1998) and a Bachelor of Architecture (Honours), MARA University of Technology, Shah Alam, Malaysia (1999-2000)
2. Sabiha Foster; “Multiplicity in Unity”, in Islam + Architecture Issue of Architectural Design, Vol. 74 No. 6, (London), Nov/Dec 2004, pg 5.
3. Interview with Yvonne Tan, Asian Art Newspaper, Issue: 0404, 2004
4. Interview with Gina Fairley and Tony Twigg recorded at Rimbun Dahan, Malaysia, 13 June 2005. Multhalib’s exhibition “Swirls” was on show at the Australian High Commission, Kuala Lumpur, at the time of recording.
5. ibid.
6. Bridget Riley quoted in Art Monthly Australia, # 178, April 2005 from “Working with Nature”, Robert Kudielka’s (ed.), published 1973, “The Mind’s Mind: Bridget Riley, Collected Writing 1965 – 1999”, pg 116.
7. Interview with Gina Fairley recorded at Rimbun Dahan, Malaysia, 13 June 2005.
8. ibid.
9. ibid.
10. ibid.
11. Abdul Multahlib Musa; exhibition catalogue, Rimbun Dahan, Kuala Lumpur, (Malaysia), March 2002
12. Interview with Gina Fairley recorded at Rimbun Dahan, Malaysia, 13 June 2005.

swirls

2008-06-06T23:23:00.015+08:00

about swirls

Published in the ‘swirls’ exhibition pamphlet, held at the Australian High Commission in Kuala Lumpur, Malaysia. May 2005.

This series of works entitled 'swirls' underscores the basic notion of geometry by generating complex configuration and spatial derivations from the mere circle. Furthermore, the tenets of Euclidean geometry are examined by looking at the relationship of plane (two-dimensional) and solid (three-dimensional) geometry. This fundamental geometrical shape, which exists both in the natural and built environment, is highlighted and the more complex geometrical hierarchy originating from circles such as curves, spirals and spheres are brought to the viewer's attention.

Although intuition was a fundamental approach at the inception stage, the outcome of the finished work evokes a certain abstinence from the spontaneous expression more commonly associated with conventional artistic works. Perhaps this series of work have a clearer correlation to creating unusual visual effects, and its intrusion to the normal physiology and psychology of human sight.

Nevertheless, the overall creative process was based on an amalgamation of intuitive and scientific related stratagems, whereby a systematic approach of how certain shapes and forms can be further developed from an existing body of work. This is parallel to conventional mathematical principle whereby for something to be true it must be possible to prove it from other known existing or accepted truths. As a result, chains of geometric theorems or proofs were constructed, beginning with a few assumptions, hypothesis and/or axioms. This methodology is apparent where mathematics is an integral component in areas such as physics, economics, biology, and to a certain extent, art. Hence, the idea of developing an artwork, from an existing body of work, is analogous to this creative process.

Another aspect of formalizing the current body of work is to incorporate the manner in which these works are described. As evident, each field of knowledge has a certain language which is structured to cater towards conveying specific subject-matter. This is in order to be better understood and thus forming a certain kind of standard framework.

Hence, it is intriguing to develop a personal structural language to describe these works in mathematical terms. The paradox of the implied spiral that is presented in this series can be narrated in the following problem posed: what is the path of an object starting off from any point on a circle when it is dragged along by a string of shortened length being pulled in a constant velocity? This mathematical paradox conveys the work in a certain 'language', informing the shape for which they dictate. Therefore, it is another medium of how a work can be conceived and thus created.

In retrospect, it is crucial to relate the creative process to a certain mathematical doctrine because the works are scientifically oriented. Such a need was even more compelling after the end result was produced, when the composition gave rise to some obscure geometrical form. It is this illusionary quality that eventually became the driving force, pushing these works beyond the seemingly limited nature of the circles.

In conclusion, Octavio Paz's comment on Duchamp's work will reflect on the salient aspect of this exhibition: Since a three-dimensional object casts a two-dimensional shadow, we should be able to imagine the unknown four-dimensional object whose shadow we are. I for my part am fascinated by the search for a one-dimensional object that casts no shadow at all.

SUBTEXT 1, with images of 2D wall sculpture - centrifugal series (above)

This series of work denotes the physical limitation of a single plane mode of thinking in creating a three-dimensional spatial quality. Hence, the third dimension only exists as an intangible form, while the physical construct was accomplished on a two-dimensional, single plane geometry. In reality, the works are all comprised of exactly the same concentric circles or rings with varying radius. The only single determining factor that resulted in the three-dimensional optical illusion was how these ‘rings’ were arranged.

SUBTEXT 2, with images of 3D mobile sculptures - involute series (above)

Mathematical theorems, building upon an established and accepted ‘assumptions’ reflect how these series of works were conceived. As a result, physical intervention on the plane geometry has a direct effect on the solid geometry, or multi-plane geometry. Thus, another spatial quality is formed as it is being literally pushed into the third dimension and hence, the formation of a swirling effect. These works are also comprised of the same circles or rings, but the determining factor here is the axis of rotation.

SUBTEXT 3, refer 3D computer rendering images - involute study series (above)

It is intriguing to note that this series of virtual studies for the involute series of works were only able to be developed after studying how the physical sculpture is constructed. Without the physical model, it is almost impossible for the mind to envisage this spatial configuration even with the aid of a 3D computer program. Therefore, the involute series must first exist in the real world before the mind can comprehend, and thus re-interpret its composition or coordinates in the virtual space. The virtual realm provides another fascinating counterpoint in that this space functions on a system of three-dimensional axis, and yet its output is commonly represented in a two-dimensional space (monitors, screen and prints).

cosmic

2008-06-01T04:18:00.000+08:00

from the off the edge magazine: 2005
art: review: cosmic
by ADELINE OOI

Vortexes of steel whirl in and out of square frames; reminders of the hurricane, shell formations, tunnels, striped doughnuts, gently reverberating ripples, yin-yang forms.
Draw closer, and you realise that all the above are as flat as the square frames within which they dwell (each no more than 10cm thick), and that the deceptive spirals are shaped from thin sheets of steel, precisely cut and layered one on top of the other. These sculptures, placed at floor level along the walls and columns of the Australian High Commission’s gallery, form part of Abdul Multhalib Musa’s solo exhibition, Swirls, which is in turn part of his centrifugal series.

Multhalib was the recipient of the Australian High Commission Visual Arts Resident Award last year, and Swirls, which considers the geometrical and spatial configuration of the circle from both an artistic and architectural viewpoint, was developed during the artist’s four-month residency at Gunnery Studios in Sydney.

Best known for his fine finishing and sleek forms in laser-cut steel, Multhalib’s architectural training informs his synthesis of art and science. It begins with an idea, an instinctive urge, which is then distilled using logic and calculation. In person, Multhalib will tell you that he is not a conventional sculptor, in that he does not “toil and sweat blood over his sculpture”. His works are designed on computer, and their construction is done with a team of builders.

“I assume the role of the supervisor, give them instructions with ongoing consultation from engineers,” he tells us. Planning the construction of each form is key. The artist, again: “The planning process is important in the realisation of an idea as practical approaches are required. Just like in architecture which stresses the importance of ease of construction, and that means using the right materials, minimal wastage and using the right tools for the job.”
While the treatment of the visible surface has been repeated in previous bodies of work, the contrast between that rusty weathered look and fresh sheets of steel in this instance, as dark versus light, enhances the illusion of depth in the centrifugal series. This optical tricksy recalls Bridget Riley’s work while the attention to geometrical progression points in the general direction of Sol Le Witt.

Inevitably, the sleek finishing, the silence, the abstinence from expression and emotion in Multhalib’s work will conjure references of Sixties Minimalism. But it should also be allowed to stand on it’s own. Multhalib admits that his work lacks any sense of identity, the result of the artist’s reliance on technology in developing his work – the same technology employed around the world.
But while technology can flatten a sense of identity, the associative access in Swirls that is normally withheld in Minimalist vocabulary transports us to wherever the eye and mind dictate. Symbolically, the circle represents fertility, eternity and harmony. Cherished as the cosmic shape of perfection during the Renaissance, it is perhaps the most natural and common geometric form in the universe. It is the shape of the earth we inhabit, our sun and moon. Just as we see them so imaginatively manifested in nature (on ammonites and shells, as water ripples and droplets, and microscopic units of life), these images all come to life as we look at Multhalib’s spirals.

A series of mobiles, Involute, made out of concentric bands of steel are particularly engaging to the eye. The ribbons of steel spin out from their individual axes at different angles; they appear so light, seemingly suspended in mid-air, belying their actual weight. The work moves as the eye moves, producing new associations at every turn. You could be looking at a shell-like form at first, then a scientific illustration of sorts, next, describing the flow of magnetic waves perhaps, or the earth’s orbit.
Those acquainted with Multhalib’s earlier works may think Swirls lacks the intensity or dramatic impact of his earlier works from his Rimbun Dahan debut, or first solo at Gallerie Taksu, but this show nonetheless set out to fulfil its aim. As Multhalib’s artist statement goes: “[It] is this illusionary [sic] quality that eventually became the driving force, pushing these works beyond the seemingly limited nature of the circles.” The reward is in the looking, and allowing different images to linger and take you places.

Menacing Forms

2008-06-01T03:58:00.004+08:00

kakiseni interview by Adeline Ooi
26.05.2004

Walking into the side entrance of the new Westin Hotel down at Jalan Bukit Bintang, you will find yourself intimidated – and attracted – by what appears to be a large and ancient torture device perched onto the wall. Black, mettalic, and organic, with a centre that spreads out in slinky waves and mutant millipede legs ready to embrace you in your death throes, it is likely to make you confess to everything in no time. Such is the product of Abdul Multhalib Musa’s imagination.

For an artist who has been practising professionally for only three years, Abdul Multhalib Musa’s track record is impressive if a little incredible. Notwithstanding a flourishing career that has been swiftly burgeoning since his debut at Rimbun Dahan Resident Artist Exhibition in 2002, Multhalib stands as one of Malaysia’s most promising young artists.

Besides Kuala Lumpur, Multhalib has also been invited to international shows in Australia, Japan, Singapore, Spain and Sweden among others. The 28-year-old artist had received the 2nd Prize Award of Excellence at '6th Oita Asian Sculpture Exhibition & Open Competition in Japan. Then, in 2002, our own National Art Gallery presented him with the Juror’s Award at the Young Contemporaries Awards Exhibition. And come the middle of June this year, Abdul Multhalib Musa will be traveling to Sydney – the Australian High Commission Residency Award 2004 has selected him as Resident Artist at Gunnery Studios, Sydney.

What sets this architect-turned-sculptor apart from other sculptors is his predilection for precision, contrasts and technological advances. His works reveal the artist’s combined architectural training, innate artistic sensibilities and style. The physical qualities of his choice materials – usually steel and wood – are stretched and challenged through unusual finishing, sleek laser-cut shapes, impeccable joints and striking designs synthesised from nature (for instance palm fronds, anatomical structures and cells) and conceptual drawings. Besides The Westin, you can also see his sculpture at the Putrajaya Convention Centre; both were commissioned works.

While his works are dramatic, sophisticated and at times, menacing, the sculptor himself is in person one of the most introverted (yet endearing) artists I’ve come across – he confesses to have problems “articulating my thoughts verbally and coherently” although the interview below will reveal the contrary. Only after many persuasive rounds of emails, begging and phone calls, did I manage to convince our “bashful” and extremely busy artist – currently engaged with a solo exhibition preview in Taksu Singapore and preparations for Sydney – to come out for a quick chat. This is what he had to say:

Have you always wanted to be an artist?
Yes, I’ve been drawing since I was in kindergarten – that’s when I took part in my first art competition in Penang. Still have the winning work actually…

How has your architectural training informed your practice as a sculptor and tell us more about your process?
Most of the time I would say I am an idea-driven person – rarely medium driven; more for process…

My training in architecture has allowed me to approach the sculptural process slightly differently than that of a conventional sculptor who would toil and put his/her blood and sweat into building the actual sculpture. I give priority to how I construct my work in shaping its final form. Ease of construction is important from an architectural point of view since this means better use of materials, minimisation of waste, structural soundness, faster construction period.

In that sense, it is important to keep up with technology – something which I think many sculptors tend to overlook. New tools and advances are constantly invented and updated to realise better results. Why waste time and effort if they are affordable and available to do the job better?

Given my architectural approach, there is the question of my identity as a “real sculptor” since I do not make the works myself, except for woodworks. Planning is a key aspect in my approach.

I design and plan my work in advance and assume the role of supervisor. I provide instructions to my team of builders – using laser or water to shape and cut the steel – and have ongoing consultations with engineers to come up with proper and practical solutions to various design/construction problems. This is particularly important when it comes to big outdoor works. The actual fabrication process will be more feasible and practical while maintaining the desired result.

Nothing is more fulfilling than to have a work that comes out as you planned. Eventually, what’s important throughout the fabrication process is that the integrity and essence of the original idea is sustained and followed through till the end.

Do you tend to get involved with one material with a tendency to exclude others?
Yes, now that I think I’ve found my niche. ie. Steel, but wood, I love working with wood and its finishing more than steel, but it takes too damn long to do, and I can’t sustain the momentum nor do I have the patience. Manja gileee… lagi susah dari nak jaga hati perempuan.

Why do you think there are so few young Malaysian sculptors today?
I’m not really sure but perhaps it has to do with cost being a major deterrent – but again, this depends on what kind of sculptures you are making though… In general, prices of materials and machinery are high and young artists may not have the financial resources to make their art, let alone to experiment on new ideas and medium. For instance if you are working with metal, wood or marble, you will need a decent machinery, tools, space, manpower and transport to help you move things around as you can’t do everything alone. Of course, you can always downsize, make sketch models instead of the real thing, but that would be like telling a painter to make studies all the time.

From Rimbun Dahan and now to Gunnery Studios, this coming June, tell us more about your views and experiences of artist residencies. Do you think they have helped tremendously in your ‘formative’ years?
Rimbun Dahan Residency Program was a timely and fortunate event. It allowed the opportunity for me to further develop an interest, and new possibilities – to find that common ground in bridging the highly technical aspect prevalent in architectural works and the seemingly abstract representation of form more commonly associated to art.

Believe it or not, making art is much more challenging than designing a high rise building. The difficulty of art-making lies in the highly personal nature of the project and it is therefore more difficult to realise. There’s no limit to what you can do and there’s no one around to report to or check up on your progress or tell you what to do. You are left to your own devices.

What do you hope to achieve in Gunnery Studios?
I hope to have a break from my current norm/routine. Break the monotony, in daily life and in my work. Not to have any anticipation is the best way to go, no expectation. And the Gunnery residency has no outline of what you have to do – which sounds good to me.

Do you think there should be more programmes as such for our local artists?
Of course I do! I believe that non-conventional/non-institutionalised approach in creating art and design can work for everyone – even established artists – just to be in a different mode of thinking and mind set for a certain period of time. With financial constraints in mind, young artists are always in search of space and resources. More residency programmes – and they may not necessarily fund the artists’ expenses entirely – part funding will also be a huge relief. Not only will you have less to worry about and more time to make works, the interaction with other artists within the same building or ground is always conducive.

by default

2008-05-20T04:06:00.015+08:00

Wall installation – with intricate shadow effect

Wall installation – with intricate shadow effect

detail

detail

detail

A picture of Hishamuddin Hussein (the current Malaysian Education Minister) waving the keris as a symbol of Malay supremacy at the 2005 UMNO Annual General Meeting. This photograph was widely published.

A typical keris

Image of proposed sculpture composition

DETAILS OF THE WORK
Title: By Default
Year: 2002
Medium: Mild steel & varnish
Dimension: 195x85 cm

Juror’s Award ‘The Young Contemporaries Awards Exhibition’ The National Art Gallery, Kuala Lumpur, 2002Participated in travelling European exhibition organized by the National Art Gallery of Kuala LumpurShown in ‘Festival Asia’ Casa Asia Tour of Barcelona & Madrid, Spain, 2003.Shown in ‘Of Shadows & Images’ exhibition, Malmo Konstmuseum, Malmo, Sweden, 2003.

As published in BAKAT MUDA SEZAMAN 2002 YOUNG CONTEMPORARIES AWARD exhibition catalog, The National Art Gallery, Malaysia, , ISBN 983-9572-57-1, pp 1.16-1.17.

BAKAT MUDA EXHIBITION CATALOG TEXT

The steel sculptural work is preoccupied with the utilization and association concerning the kris as a notion of ‘self-representation’ through its symbolic and iconic properties. This gesture is seen as an attempt towards achieving a design solution that is habitually instinctive, but almost reaching its limits of saturation and stagnation in terms of producing original and contemporary ideas. It is a cynical and yet serious observation regarding the manipulation of kris as a ‘design solution’ that seems to be suitable for almost any sculptural public work or design. Personally, it seems the use kris raises several profound issues beyond the mere notion of representation or symbolism (regardless of how abstract its form can be developed in artistic terms), such as those associated with contemporary belief system and religious concerns.
Obviously, the iconic significance is often ambiguously favored by ‘designers’ and/or ‘decision-makers’, and yet it seems deplorable among the general Malaysian society when some of these sculptures are finally built on site. For instance, the final public work raises the issue of human-scale relationship to objects as small as the kris itself, that needs to be considered further for the design solution to be feasible aesthetically as well as practically. As a result, a greater concern on the impact of providing a ‘one-for-all’ solution in design, is the fact that major public sculpture being in disharmony with the surrounding environment and hence failing to achieve the desired objectives that the sculpture was supposed to convey in the first place. Kris should not be seen as a panacea for all design problems and yet it has been the preferred design solution time and again, as demonstrated by this artist as an artwork that delivers…even if its by default.

____________________

1ST ROUND WRITE-UP FOR NEW PROPOSED WORK

The tentative title for the yet to be produced work is ‘bapak keris’, a steel sculptural work concerning keris, that seems to be the answer to all sculptural works on keris. It is a cynical comment on our preoccupation with utilizing the traditional keris as a ‘design solution’ that is suitable for almost any sculptural public works, especially among the majority malay Muslims. Keris has a long and embedded historical relic with the Malays, so much so that the keris is regarded as more than just a weapon. At a superficial level, if keris is as important for the safety of the contemporary Malaysian public, then surely guns are even more relevant for today’s pluralistic global society, and yet guns are not cherished in many parts of the world to an extent that huge sculptural guns are built prevalently in the public domain. But the keris seems to take an exception in this mode of understanding. Personally, it seems the keris raises several more profound issues than the usual mere notion of representation or symbol (regardless of how abstract a keris can be made into in artistic terms), such as those associated with belief system and religious responsibility (refer accompanying research paper).

The iconic significance is often unequivocally favored by the ‘designers’ or ‘decision-makers’, and yet it seems deplorable among the general Malaysian society when some of the sculptures are finally built on site. For instance, the scale of the final public work itself in relation to the spatial form of the keris, raises the issue of human-scale relationship to objects that needs to be considered further for the design solution to be feasible visually as well as practically. As a result, a much bigger concern on the impact of providing a ‘one-for-all’ solution in design, is the fact that major public sculptural work seems to be a simple cut-and-paste strategy where lack of research is apparent in the final production of the work. In addition, this is usually related to the sculpture being in disharmony with the surrounding environment and hence failing to achieve the desired objectives that the sculpture was supposed to convey during its inception stage.

As for the work itself, the dimension is proposed to be approximately 120x90x15cm. Materials are mild steel, rusted and unprotected. The work will comprise of hundreds of small keris in varying sizes, each between 5-10cm, welded against each other forming a collage of sort. A void that forms the silhouette of a keris, at a much bigger scale but in the same shape, will be the ‘keris of all keris’. It exists, but cannot be seen. When viewed, people can feel the keris in their heart and gut as they recognize the negative form at a glance, and yet it is oblivious to the sensation of the touch, rendering the physical presence of an actual ‘bapak keris’ as meaningless. A physical solution that seems to solve the composition itself by providing a focus and a focii, and yet, it does not exist physically. At this stage, the final work is designed to be hung on the wall as a conventional painting, but an attempt to also have it free standing is also being looked into. However, the outcome of whether it can be free standing is not an so much as an engineering concern, but rather an artistic justification. This is because the keris itself is a two-dimensional object that hardly justify for it to be three-dimensional.

Therefore, the work can be construed at many levels of understanding. In addition to the deep and profound comprehension that only the public and critics can decide once the work is actually complete, the work is also made to address some obvious and straight forward concerns. For instance, some of the smaller keris will be imprinted with the name of place/location where an actual public sculpture of the keris can be found. This will give a rough idea on the magnitude of utilizing keris as a public feature, bringing about the impact of our preoccupation with keris in numeral terms as well.

waswas

2008-05-19T15:53:00.013+08:00

installation display at the National Art Gallery, Malaysia. *note the pillars (columns), incorporated as a part of the work display, establishing a metaphorical relationship with the pillars of Islam.

detail - 'rear' of frame, correct jawi text spelling

detail - frontage halal jawi text (reversed)

detail - frontage haram jawi text (reversed)

proposal concept

JUDGES' COMMENTARY

As published in The Young Contemporaries 2004, Edition 01/2004, The National Art Gallery, Kuala Lumpur, Malaysia, ISBN 983-9572-94-6, pp. 40-41.

ISLAM AS A SUBJECT OF CRITICAL DISCOURSE

In the wake of 9-11, Islam and Muslims around the world have increasingly become subjects of global discourse (if not hatred and prejudices), open for public scrutiny, debate, dissection, investigation and interrogation. The subsequent response within the international and local contemporary art scenes as well as the accompanying discourses are interesting to be observed.

Edward Said has warned us against a sweeping, uncritical and singular representation or reading of Islam that defies the multi-faceted character of its followers, practices and translations into daily lives. Despite such warning, predictable and cliché expositions of Islam as a rigid, archaic and problematic religion that functions as a fertile ideological breeding ground for potential terrorists have become too common in the media that they may be taken as natural and inevitable.

Nuances of similar nature (such as: ‘Islam is not compatible with the new world order – it is the ugly ‘other’ that must be ‘corrected,’ ‘neutralized,’ ‘liberalized,’ ‘reinterpreted,’ or ‘mocked,’ ‘ridiculed,’ and worse, ‘eradicated’) are not uncommon to be traced in contemporary artworks that use it as a subject of concern. It is also not uncommon to stumble upon Muslim artists (somehow highlighted in the international art scene), who echo similar sentiment.

In the wake of 9-11, many Muslim artists around the world are beginning to respond directly or indirectly to various aspects of Islam through their works. Hopefully, the responses will help to create a more balanced discourse on Islam. Along this line, it has to be noted that several Malaysian artists (and art writers) have been known locally and internationally for their explicit and implicit remarks on Islam (or some aspects of it) in their artworks or writings about art. Joining the list is Abdul Multhalib Musa through his Waswas.

Waswas represents Multalib’s deeply involved inquiry into the concept and misconception of halal (lawful) and haram (prohibited). Multalib’s personal experience throughout the whole episode of preparing the work up to the process of installing it in the National Art Gallery epitomizes the uncertainty and complexity in the interpretation and implementation of the law.

As stated by Multalib in his statement, the work implicates the National Art Gallery (NAG) as a government institution in a country which Islam is the national religion, thus the need to have his work “cleansed in order to be considered permissible for exhibition or handled by Muslims.” If the statement is to be read as a tasteful sarcastic or cynical remark on NAG’s uncertainty or lack of professionalism in dealing with the issue, it leaves much to be desired as one is always reminded of how NAG as an ‘Islamic’ government institution has spent millions of Ringgit to purchase artworks (I believe that none was requested to be cleansed) by Malaysian artists (of various ethnic and religious background, including ‘difficult’ artworks by artists who claimed to be marginalized, sidelined or outcast by the mainstream ‘Islamic’ establishment).

Nevertheless, Multalib’s chosen subject of discourse and his deeply felt commitments in presenting his work exemplify both critical and creative reading of the subject. In observing Multalib’s current stance and track record, one may suspect that he has a strong potential to be an international star in the near future. Perhaps, Multalib can contribute proactively to the discourse on Islam in the international art scene.

All the best!

ISLAM SEBAGAI SUBJEK WACANA KRITIKAL

Susulan dari 9-11, Islam dan penganutnya di seluruh dunia semakin menjadi subjek wacana global (juga kebencian dan prejudis), terbuka dan dibogelkan untuk ditinjau, diperbahas, dibedah, didedah, disiasat dan dipersoal oleh masyarakat dunia. Reaksi-reaksi susulan dalam arena seni rupa kebangsaan dan antarabangsa dan juga wacana yang mengiringi arena ini agak menarik untuk ditinjau.

Edward Said pernah memberi peringatan terhadap representasi dan pembacaan bersifat mono, tidak kritikal dan terlalu menyeluruh mengenai Islam. Pembacaan sebegini hanya akan menidakkan sifat kepelbagaian yang terdapat pada penganut Islam itu sendiri, mahupun amalan-amalan dan terjemahannya dalam kehidupan seharian. Walaupun diberi peringatan sedemikian, pendedahan yang sudah dijangka dan klise terhadap Islam sebagai agama yang kaku, jumud, kuno, bermasalah dan sebagai pusat pembiakan ideologikal untuk bakal-bakal pengganas sudah menjadi terlalu lumrah dalam media sehingga pandangan-pandangan sebegini semakin diterima sebagai suatu yang semulajadi dan tidak dapat dielakkan.

Nada yang lebih kurang sama (seperti Islam tidak seiring dengan aturan dunia baru – ia adalah ‘orang lain’ yang hodoh, yang mesti ‘dibetulkan’, ‘dineutralkan’, ‘dibebaskan’, ‘ditafsir-semula’ (oleh siapa?), atau juga ‘diejek’, ‘dipersenda’ dan lebih parah lagi ‘dihapuskan.’) sudah menjadi lazim untuk ditemui dalam beberapa karya kontemporari yang menggunakannya sebagai subjek persoalan. Tidak menghairankan juga sekiranya kita terserempak dengan pengkarya Muslim (yang nampaknya sering ditonjolkan dalam arena seni rupa antarabangsa), yang melaungkan gema yang hampir sama.

Susulan dari 9-11, ramai pengkarya Muslim seluruh dunia mula memberi reaksi secara langsung atau tidak langsung kepada pelbagai aspek tentang Islam menerusi karya mereka. Moga-moga segala reaksi ini dapat membantu membentuk wacana yang lebih berimbangan tentang Islam.

Sejajar dengan perkembangan ini, perlu dinyatakan bahawa terdapat beberapa orang pengkarya Malaysia (dan juga penulis seni rupa) yang diketahui pernah membuat pernyataan-pernyataan secara terus-terang atau berlapik terhadap Islam dalam kancah seni rupa kebangsaan dan antarabangsa. Abdul Multalib Musa adalah salah seorang pengkarya yang mula menyertai senarai pengkarya sebegini.

Waswas mewakili penglibatan bersungguh Multalib dalam meninjau permasalahan berkenaan dengan soal halal dan haram. Pengalaman peribadi Multalib sepanjang episod menyediakan karyanya hinggalah ke proses memasang karya tersebut di Balai Seni Lukis Negara mencerminkan kerumitan dan kesangsian yang melanda penafsiran dan perlaksanaan hukum yang berkaitan.

Seperti yang telah dinyatakan oleh Multalib dalam kenyataan bertulisnya, karya ini melibatkan Balai Seni Lukis Negara sebagai sebuah institusi kerajaan yang agama rasminya adalah Islam. Oleh itu, karyanya perlu “disamak (atau dibersihkan dengan kaedah penyucian yang betul) untuk membolehkan ia dipertimbangkan untuk pameran atau disentuh oleh pekerja-pekerja Muslim.” Sekiranya kenyataan beliau ini ingin diterima sebagai suatu sindiran atau ejekan sinis yang pedas dan lazat terhadap keraguan Balai Seni Lukis atau kekurangan daya profesionalnya dalam menangani persoalan yang dibangkitkan, kenyataannya tidak begitu menggigit kerana kita seringkali diingatkan bahawa Balai Seni Lukis sebagai sebuah institusi kerajaan Islam telah membelanjakan berjuta Ringgit untuk membeli karya-karya (yang saya pasti tidak perlu di’samak’ atau di’suci’kan) oleh para pengkarya Malaysia (dari pelbagai latarbelakang etnik dan agama, termasuk karya-karya oleh para pengkarya ‘rumit’ yang sering merintih kepada dunia luar bahawa diri mereka sentiasa dipinggir, diketepikan atau dianak-tirikan oleh institusi-institusi arus perdana Islam.)

Namun demikian, subjek wacana yang dipilih oleh Multalib dan komitmennya yang tinggi dalam mempersembahkan karyanya menjadi contoh kepada pembacaan yang kreatif dan kritikal terhadap sesuatu isu persoalan. Sekiranya ditinjau pegangan Multalib yang terkini dan juga rekod penglibatannya, kita boleh menjangka bahawa beliau mungkin berpotensi untuk menjadi seorang bintang seni rupa antarabangsa pada masa akan datang. Barangkali, Multalib dapat memberi sumbangan proaktif kepada wacana tentang Islam di persada seni rupa antarabangsa.

__________________________________________

FULL ARTIST TEXT SUBMISSION FOR BMS 2004 CATALOGUE
(with minor edition for the benefit of non-Malaysian & non-muslim readers)

DETAILS OF THE WORK
Artist: Abdul Multhalib Musa
Title: waswas
Year: 2004
Medium: laser cut steel plate that has been cleansed (samak) and timber frame
Dimension: 70x307x225cm (whole installation display area)

Initially, the Arabic calligraphy or khat design was to be cut on steel plates at a laser cutting workshop. Upon completion of the cutting process a few days later, the artist, went to the workshop to pick-up the finished work. It was during lunch hour and the artist noticed some of the non-Muslim staff were consuming non-halal food in the workspace area. As a Muslim, the artist was concerned of the possibility of 'spiritual' contamination, and it was felt that this was an unlawful (haram) situation according to the basic teachings of Islam.

This incident is significant considering the type and intention of the work to be submitted for the Young Contemporaries Awards 2004, wherein the work may be exhibited for the final round of judging at the National Art Gallery of Kuala Lumpur. The site in which the work is to be shown is also important because the building is a government institution in which Islam is the national religion of Malaysia. Hence, the work should be cleansed according to the Islamic practice if it is to be exhibited in this particular site.

According to Islam anything that has been positively ‘tarnished’ by the heaviest classification of waste (najis mughalazah) or even if there is reasonable doubt (waswas), needs to be cleansed accordingly if it is to be ‘used’ by a Muslim in any way. In light of the various uncertainties pertaining to the status of the steel plates during the production process, this warranted for the work to be cleansed (samak) which has been done prior to framing.

Based on the intention and process being noted, the work therefore deals with the concept and misconception of halal (lawful) and haram (prohibited) that exists among the general Malaysian society. As a point of departure, the composition of the work is drawn from the basic Islamic principles pertaining to what this notion entails. Accordingly, it is intended to express some of the circumstances pertaining to the current state of confusion, uncertainty, and lack of knowledge that leads to allowing what is halal to become haram, and haram to be deemed as halal. It also attempts to emphasize some of the difficulties in trying to clarify such notion on a more general level, given that Malaysia is a multi-religious society that is recognized as an Islamic state. It further attempts to highlight some of the complexities in its interpretation and implementation strategies based on the current state of affairs in this country, especially within the context of public policy.

For exhibition in the National Art Gallery of Kuala Lumpur, the artist saw an opportunity for the work to be better understood through the way it was displayed, so that a different viewing experience is achieved. It was felt that the installation should allow for the viewer to be able to engage the work from a varying number of entry points in the confronting issues being raised, literally and metaphorically.

There are obviously many levels of theoretical concept and subject-matter in relation to this work. As a delimitation however, only the approach to understanding some of its basic tenets will be elaborated here. To begin with, the khat or Arabic text of halal and haram are cut out on the two steel plates. The negative figure-ground space left implies that nothing physical is evident and yet the meaning it carries is still vital to its integrity, whereby the work dictates a certain manner of caring and handling from an Islamic point of view.

Hardly noticeable, the hanging of the work just slightly above an average eye-level height reflects a minor difficulty or an unaccustomed viewing manner for a conventional artwork that has been properly framed. The arrangement of the two framed khat pieces is also significant in that both are juxtaposed facing against each other while the viewer is sandwiched in between. Hence, the two cannot be seen from this single central location. Thus the viewer is obligated to maneuver oneself around the work in order to see both simultaneously.

Another important element to the installation is that the two steel pieces are suspended between two pillars of the exhibition space. Literally, these pillars are the foundation of this building, and figuratively the foundation of this institution. Building upon this, parallels can be drawn to the pillars of Islam. Analogies to concepts of purity are further established with the white finishing and minimalist character of the columns. Depending on where the viewer is standing in order to look and understand the two metal pieces, these pillars can be seen as either an obstruction, or a framework to accentuate the solidarity of the artwork. By examining the ways in which the khat is to be, or is being observed, it is hope to encourage viewers to better understand the authoritarian nature of this mode of visual representation - the boundaries of art and iconography, belief and supposition.

2008-05-13T16:14:00.001+08:00

‘CREATIVE CITY ~ Kuala Lumpur: Small town networks, big city ideas’.
by Adeline Ooi, © IDN Magazine, number 2, vol 13, 2007, pp 46, 52-53.

If you speak with Abdul Multhalib Musa, he will tell you that he is not a conventional sculptor. “I don’t toil and sweat blood over my work,” he says. Rather, you will most likely find him behind his computer, trying out new forms or surfing the Internet. Best known for his fine finishing and sleek forms in laser-cut steel, Multhalib is recognised as one of Malaysia’s emerging stars in contemporary art, but he does not see himself as an artist only – “I still consider myself an architect.” This is what he was trained for and his work and identity perch on a unique threshold between art and architecture.

Naturally, given his training, his process of realising an idea is driven by an architectural approach, “yet it does not have the constraint architects normally face”. Ideas often begin with something instinctive, an artistic urge if you like, and are later distilled with logic and calculations. Multhalib’s forms are often inspired by nature, clouds, mathematical theories or geometrical shapes, entangled in a complex and symbiotic relationship of binary opposites – the organic with the scientific, the linear with the non-linear, the tangible with the intangible.

When asked to give an insight into his working process, he says: “I like to think that I do not design the final works themselves, but am more oriented towards conceiving the possible relationship between solids and voids, positive and negative space, or the obvious and the hidden. I prefer to consider this process as parallel to generating an organised system in order for the tectonic idea to be workable.” Planning the construction of each form is key: “The planning process is important in the realisation of an idea as practical approaches are required. Just as in architecture, which stresses the importance of ease of construction – and that means using the right materials, minimal wastage and using the right tools for the job.”

Multhalib will also tell you that he thinks his work lacks any particular sense of identity: “It is Malaysian in the sense that it is made by a Malaysian, but that is a superficial association. The forms designed have no association with roots or place of origin, and the lasers and materials I use are imported from Japan. The demands of globalisation have formalised my work. It lacks identity – but only because it is developed extensively through technology. And technology is universal.”

So, does he see them strictly as sculptural forms? “Well, it is said that one way of differentiating art and architecture is their different responses to objective requirements. If art is seen as speculative thinking, then what I am doing must be art by default since everything I do is conjectural, non-functional, and self-directed – though I am not implying that architecture is already art, or vice-versa.”

“Tectonic” is perhaps the best way to explain them in that “the works themselves are certainly ‘end products’ in their own right. Basically, the final built objects are finite, well-defined and are more or less free from the imperfections of the production process. Nevertheless, I still consider the ‘finished works’ to be incomplete, schematic, trapped in the midst of their production, with potential to be further developed. “Seen from this perspective, the work is left as if merely to engage other students and professionals within the field of art and architecture. However, as built and finished works they also have the opportunity to engage the public for whom they were meant and any subsequent unanticipated public.”

shifting boundaries 2008

2008-05-05T07:18:00.002+08:00

Here are new works for the WWF 2008 rimbun dahan art for nature exhibition.

Both are mild steel, with 2K paint, and about 2 feet high on a granite base.

> instructions on how to get there is also available here.

>> click here to find out more on how you can contribute to the WWF organization.

Architect by Training, Sculptor by Choice

2008-01-03T10:32:00.001+08:00

Architect by Training, Sculptor by Choice
KLIA Times magazine: interview 2007 by NOR HUSNA KHALID
Abdul Multhalib Musa introduces the mathematics of fine art to
NOR HUSNA KHALID
Published in KLIA Times, January 2007 issue, pp 5.

In the Malaysian art circle, Abdul Multhalib Musa is reputedly the only active sculptor in the country. But that is hardly surprising because sculpting is what he has chosen to do full time, although by right it should have been architecture. “The best thing in life is to be able to make a living from doing what you like doing,” said this Penang-born artist whose passion has earned him invitations to participate in international shows in Australia, Japan, Singapore and Europe.

Multhalib could well be holding down a job as an architect, having graduated in 1998 with a Bachelor’s Degree in Design Studies (Architecture) from the University of Adelaide, Australia and in 2000, a Bachelor of Architecture (Honours) from MARA University of Technology, Shah Alam, Malaysia. But, as he says, “I would be doing art and art related stuff, even if I were working as an architect... or in any other profession for that matter.” His years of training in architecture have however not entirely gone to waste. Indeed, his pieces – often large, sleek and geometric in shape and form – exemplify the mathematics of fine art, and the fine art that is mathematics. In addition, Multhalib distinguishes himself from other sculptors in respect of his methods and approach to his art.

He designs all of his sculptures, made from laser-cut or water-cut steel, on the computer. A team of builders then takes over to “execute the plan” – yes, just like how a building is erected. “I supervise and give instructions on each piece to my team. It also involves continuous consultations with the ‘engineers’,” he explained. According to Multhalib, every detail is meticulously worked out well before implementation, down to the selection of materials (steel mostly), their handling and amounts required, and the tools needed for the job. “I would send the steel along with my designs and measurements to a steel cutter. When the cut pieces come back, my team gets to work on the welding, and when that is done, the ‘polishing’.”

Most of his sculptures have the rusty, weather-beaten look, with the “eroded” effect being achieved by spraying salt water on them. He also sometimes incorporates shiny steel for contrast and to enhance the illusion of depth. “The eroded effect has a strong pull. In fact, many people prefer the rusty look to the polished one. They say the rusty colours give the pieces an antique look,” Multhalib said. Some art fans have even mistakenly thought his sculptures were all made of wood when only a few pieces are actually so. Why not sculpt more in wood? “Steel is more suitable to my style, I can bend and shape them better.

In addition, working with wood can be quite wasteful. I have to buy them in stacks but will end up using only a small amount... they get damaged or have cracks and have to be thrown away,” he said. “It’s bad enough that hundreds or thousands of trees are cut down for timber every day. Steel is recyclable, so I’ll keep on using that.” As for other materials, Multhalib is eyeing metals like pewter, copper, brass and aluminium for use in future projects. “Each metal will have a different effect. I am in negotiations with various suppliers. We’ll see how this turns out.”

For now, Multhalib said, demand for his work is good. “But maybe a time will come when there is no more market for my work. Still I will probably continue to do it, although obviously if I can’t make a living out of it I wouldhave to get a job... maybe become an architect,” he grinned. But, he points out, one should always choose to do what gives one more creative freedom.

Post Exhibition – A Retrospect/Looking back

2008-01-02T02:19:00.006+08:00

Post Exhibition – A Retrospect/Looking back
Published in REVUE2, Dept of Architecture and Planning UITM, 2004.

A personal account on the process of taking part in an international sculpture competition

The design of the work was initially intended to be built within the compound of Rimbun Dahan, the residence of architect Hijjas Kasturi in Kuang, Selangor. However, when there was a call for entry for ‘The 6th Oita Asian Sculpture Exhibition 2001 Open Competition’, the maquette, which was already made, was submitted rather spontaneously. The result at the national level came out in July 2001, in which the design was one of four chosen to represent Malaysia in this prestigious competition in Japan. This was followed by the preliminary selection process in Oita, where 33 maquettes were chosen out of 355 entries. The following November, the first stage selection was carried out and the work was one out of five that was nominated for the final full-scale reproduction. The other four finalists were Japan (3) and China (1). Each nominee was given an outright grant of 2,000,000 Yen (about RM60,000) for construction, transportation, and installation of the final work at the exhibition site.

When the announcement was made that the work has been selected for full-scale reproduction there were roughly 6 months to complete the work. This does not include the one month required for shipment, and about another month to install the work in Oita. In addition to this the annual Rimbun Dahan Residency exhibition in which I was to take part in, was set to go on in March 2002, followed by the Oita Exhibition later in June. The Rimbun Dahan exhibition required at least 10 works, which means about 15 sculptures had to be made for selection purposes. Taking all into consideration, logistic and timely execution were the critical factors if both exhibitions were to be successfully completed.

Works for these major events had to be carried out simultaneously, which was very difficult since the two exhibitions were distinct not only in terms of scale, but also the venue of one of the exhibition, which was to be in Japan. This brings about further complications that need to be addressed beforehand. For instance, the work for Oita has to be built in components and parts for shipping requirements. Also, because the sculpture needs to be assembled on site, anticipation of the different construction and labor system than to what we are accustomed to here in Malaysia, needs to be taken into consideration. Hence, the work was designed to be adaptable in its installation considering the many variables and problems which might be encountered in a foreign country that can hardly communicate in English.

For someone whom has never actually executed works of this nature, this was an attempt in doing an architectural project like no other. Basically, the mental preparation was immense and no architectural studies could have prepared one for the momentous undertaking of this nature, especially if you are a fresh undergraduate with no prior working experience.

The work began with a few humble construction drawings and 3D computer generated renderings to study the spatial qualities and material finishing of the work. As the design stage progresses however, it was apparent that a conventional step-by–step design development process cannot be adapted for this type of work. The highly artistic nature of the design and the fact that the final work cannot be altered from the original maquette submission, coupled with the complexity of the structural system, are only among the initial problems that need to be resolved and reassessed at an ongoing basis.

By this time, the geographical information of the site in Oita concerning wind speeds, rain downfall, seismic conditions, temperature, precipitation, and humidity needed to be addressed. A factor that was overlooked was that the work had to be highly durable and can withstand the harsh outdoor conditions in Oita. Hence, the initial proposal to use mild steel had to be reconsidered so aluminum, stainless steel, or some composite materials had to be looked into as an alternative.

After numerous discussions with engineers, manufacturers and builders, the choice was rather obvious that the sculpture had to be constructed purely in stainless steel. Initial consultations with renowned artists and designers such as Redza Peyadasa, Hijjas Kasturi and Ramlan Abdullah has already indicated that stainless steel was the better choice. At one stage, even the Oita Organizing Committee advised that stainless steel be used even though the winning maquette was proposed as high quality timber. However, working purely in stainless steel means that the cost would be about 8 times higher than mild steel, and twice as much if stainless steel cladding was applied on mild steel structure. One reason for this was the fact that the 30 columns of the sculpture are comprised of 3mm thick rectangular hollow sections, which is not your typical construction material. Furthermore, it is almost impossible to acquire the required quantity of material for a small-scale project such as this, especially when the only preferred quality of stainless steel was manufactured in Japan.

As tempting as it may sound to cut costs by using mild steel, the design went ahead with the more permanent characteristics that can only be achieved through stainless steel. Before the actual work was carried out, a 1:1 scale mock-up was constructed for a portion of the sculpture to study the different aspects of the design, structurally and aesthetically. Deliberations went on between other designers, engineers, and builders. Following some minor changes, the fins were the first component to be constructed. The 6mm thick plates were shaped exactly to profile using water-jet cutting technology. Each fin was then fixed to a single column member. They were then packed into crates and were off on their way to Japan.

In Japan, construction went without a glitch. There were some problems initially with the base construction, but the Japanese seems to be very resilient with their technical know-how. The reinforced concrete base were constructed with a slightly different mixture, and cured in less the time than the specifications provided by the engineers. However, this was because the method they had was more efficient and the builders there were more like craftsman in their own right, rather than as contractors that simply builds according to directions. Since virtually every part of the assembly was rehearsed, welding and putting together the sculpture was relatively a straight-forward procedure. The assembly work in Japan took about 3 days to complete, with a few more days for polishing and cleaning up.

The following people were instrumental in the materialization of this work: Angela Hijjas and Hijjas Kasturi, Azhar Ariff, Azizul Sulaiman, Bambang Gunawan Mohyani, Fairul Zahri Mohd Abas, Mohd Saharuddin Supar, Wan Marhafidz Wan Mohd Omar, Zainal Mohamad, and Zainol Abidin Kasim.