ROUTINE FAZRIN ABD RAHMAN artist statement - TAKSU

R OROUTINE

FAZRIN ABD RAHMAN_

K U A L A L U M P U R

17 Jalan Pawang54000 Kuala LumpurMalaysiaT +603 4251 [email protected]

S I N G A P O R E

43 Jalan Merah Saga#01-72 at Chip BeeSingapore 278115T +65 6476 [email protected]

a r t i s t s t a t e m e n t

An artist is often influenced by the instilling values

kept in him which he translates into experience

across space and time. As art is a repository of one’s

collective memory, it preserves what history-based

information can’t; and that is, what it felt to exist

in a particular place at a particular time. I’ve started

painting from musings of past experiences (involved

in craftsmanship trade) and I’ve used that privilege

as an outlet for my work. As a kampong boy, the

surrounding that I’ve thrived from my boyhood years

are the most valued aspect that affects my work. With

weaving, I like to see my works communicate our

language and culture to the viewer.

Art is an independent way to experience the meaning

of creation and values in everyday life. As previous

experiences guide me in creating an artwork, I like to

be honest about what I feel. Even though I am still

fond of sculpture than painting, I always encourage

myself to let my inspiration flow voluntarily to what

my ideas and emotions are feeling at that particular

time in creating something. In my recent works, I’m

using my life routine as the main work narrative.

The shapes that I’ve chosen represents the constant

movement in my current life; it personifies my past,

my present and also the future I’m shaping for myself.

U T

“The human imagination … has great difficulty in living strictly within

the confines of a materialist practice or philosophy. It dreams, like a

dog in its basket, of hares in the open.” John Berger

We live in a world where we are inundated by images, language and music. And what we perceive, whether it is a photograph, a film or a work of art, our brain processes every conjured documentation into meaning. Through my own experience — and that of countless others as well— I have come to believe that creativity is in our true nature; everything is a thwarting process as miraculous as the blossoming of a flower.

Majoring in sculpture, Fazrin preserves the art of weaving as his main inspiration in his works. Although more imperative and inventive in method, he utilises the aesthetic and metaphor of weaving into an impressive and complex form that cannot be seen from the naked eye unless you see all the derivative details up-close. Citing from the traditional art of rattan weaving itself, this technical approach on the use of woven rattan sheets can be often seen in the interiors of traditional Malay kampong houses. This chosen form of repetitive practice matures progressively as Fazrin had succeeded in the exploration of the practice of hand and mind and turn it into a language of sculpture of his own. Even so, his works do more than juxtapose; it is schematised in autonomous arrangements, stylised by colour tints with acid touches. The abstract tones are impressionistic but with a sort of careless spontaneity.

“In the events of our lifetime, sometimes small things can bear and

enkindle big changes that personate an impression in our existence.

Thus, there is always a need for context and a given cause to constantly

reflect on what life has to offer. For instance, when we’re kids, we

learn how to draw something, and sometimes it can be a simple form

as an ‘X’. I remembered when I was young, this simple form of ‘X’,

is a consolation (for me at least); it is easy to draw as it is just two

lines emerged in the middle, and as I drew it, it becomes a symbol, a

metaphor, free in my hand but as I grow older, I realised that it is not

as simple as it seems to be. ‘X’ has become something bigger and more

significant than what it stands to be. When I went out to vote in the

recent election, this simple form of ‘X’ has become this compelling

figurative expression of freedom and power.” Fazrin Abd Rahman

FAZRIN ABD RAHMAN

As Fazrin describes himself as a realist, his fashioned works is an exhaustive observation of his reflection and surroundings, and even though his projection of how he perceives the world is more abstract and epigrammatic in thoughts (and among many other meanings as well) Fazrin is more interested in the traditional ideas such as language and culture when asked about his approach in personal preferences. To transcend the idea of art, an artist should imitate life and translate his admiration of life into creation. It is human nature to create something that shapes one’s life. As most people will just see weaving as a simple pattern in textiles and architectural craft (kampong houses), Fazrin sees weaving as something more than it is. Weaving, the congenial practice which to a degree has already define Fazrin’s work and his identity as an artist. In ‘Routine’, he applied the same approach of practice but with a more conventional medium which is rice. Rice represents and reflects most Malay cultural expressions. It is also an important rite in our routine life as it is our staple food be it the rich or the poor.

Sometimes I think of artists as scientists, they begin with a question of something they’re curious about, they go into their studio and do research on it. And just like science, sometimes they get negative results and sometimes they get positive results. The artist’s approach and process become a contrived inspiration for them to produce works. Artist is those who contribute new knowledge to the cultural realm; they refine and they synthesise what they discover into a metaphor of their inventions. Like how a poet is unified with nature, the artist experiences sensually all things with a sort of transparent eyeball of which he only sees; he perceives the world with a romantic sensibility but with a more dramatic touch. And alike for them, it is a sort of consolation, a sacred responsibility. The artist provides nutrition and the soul feeds on it. Making art demands faith and the artist is resilient of it. And there is a fundamental generosity to making art, a giving.

Wittgenstein once said, “Man has to awaken to wonder”. A child will awe in wonder when they first experience a rainbow (for instance) and art (although it is subjective to the eye of its beholder) is dependent on it. This is where the work of an artist and how they process explanation through their works, creates this wonder to the observer. The world may be bound to different aspects of beauty and this leaves the observer with a lot of responsibility — they are then plunged into deep waters of artistic translation.

ESSAY R.O.

r o u t i n e - s q u a r e / s p r a y p a i n t o n a l u m i n i u m s t r i p s / 1 5 4 x 1 5 4 c m / 2 0 1 9 r o u t i n e - ( x ) / s p r a y p a i n t o n a l u m i n i u m s t r i p s / 1 3 4 x 1 3 4 c m / 2 0 1 9

r o u t i n e - f i r s t a i d / s p r a y p a i n t o n a l u m i n i u m s t r i p s / 9 2 . 5 x 9 2 . 5 c m / 2 0 1 9 r o u t i n e - u / s p r a y p a i n t o n a l u m i n i u m s t r i p s / 1 2 2 x 1 2 2 c m / 2 0 1 9

r o u t i n e - p u z z l e / s p r a y p a i n t o n a l u m i n i u m s t r i p s / 1 1 8 x 1 1 8 c m / 2 0 1 9 r o u t i n e - p u z z l e 2 / s p r a y p a i n t o n a l u m i n i u m s t r i p s / 1 5 2 . 4 x 1 5 2 . 4 c m / 2 0 1 9

r o u t i n e - 5 / 9 1 . 5 x 9 1 . 5 c m / 2 0 1 9 r o u t i n e - 6 / 9 1 . 5 x 9 1 . 5 c m / 2 0 1 9 r o u t i n e - 7 / 9 2 x 9 2 c m / 2 0 1 9

r o u t i n e - o c t a g o n / s p r a y p a i n t o n a l u m i n i u m s t r i p s / 1 8 2 . 5 x 1 8 2 . 5 c m / 2 0 1 9 r o u t i n e - o c t a g o n 2 / s p r a y p a i n t o n a l u m i n i u m s t r i p s / 9 2 . 5 x 9 2 . 5 c m / 2 0 1 9

r o u t i n e - t w i n / s p r a y p a i n t o n a l u m i n i u m s t r i p s / 9 2 . 5 x 9 2 . 5 c m / 2 0 1 9 r o u t i n e - b o x / s p r a y p a i n t o n a l u m i n i u m s t r i p s / 1 2 2 x 1 2 2 c m / 2 0 1 9

r o u t i n e - b a r c h a r t / s p r a y p a i n t o n a l u m i n i u m s t r i p s / 1 8 3 x 1 8 3 c m / 2 0 1 9 r o u t i n e - w e a v i n g / s p r a y p a i n t o n a l u m i n i u m s t r i p s / 1 5 2 . 5 x 1 5 2 . 5 c m / 2 0 1 9

ROUTINE

FAZRIN ABD RAHMAN_

FAZRIN ABD RAHMAN

(b. 1989) Batu Pahat, Johor

EDUCATION 2012B.A in Fine Art (Sculpture)

Uitm, Shah Alam, Selangor

2010Diploma Art and Design, Fine Art

Uitm Sri Iskandar, Perak

SOLO EXHIBITIONS 2019Routine TAKSU Kuala Lumpur

AWARD2019Winners Malaysia Emerging Artist

Award (MEA) 2019

SELECTED EXHIBITIONS2019New Now III Convergence

Gajah Gallery, Singapore.

TAKSU 30th Anniversary Exhibition

TAKSU Kuala Lumpur

MEA Award White Box, Publika, KL

Tribute to Hery Zain HOM Art Trans, KL

Nineteen Segaris Art Center, KL

2018START Art Fair Saatchi Gallery, London

represented by TAKSU Galleries

ARTAID18 ‘Diri’ White Box, Publika, KL

The ABSTRACT Show Art Stage,


Art Expo Malaysia MATRADE, KL


Art Show Publika Segaris Art Center, KL

Locals Only! TAKSU Kuala Lumpur

Immaterial: A Complication of the

Unconventionals G13 Gallery, Malaysia

BINTANG 5 Vol. 4 Segaris Art Center, KL

Between Abstraction And Figuration

Nadine Fine Art Gallery, Malaysia

13 Stories HOM Art Trans, Kuala Lumpur

2017Art Weekend TAKSU Kuala Lumpur



The Unreal Deal: Six Decades Of

Malaysian Abstract Art Bank Negara

Malaysia Museum and Art Gallery, KL

Bi Lateral Bonds TAKSU Singapore

Bi Lateral Bonds TAKSU Kuala Lumpur

P Kreatif Segaris Art Center, Johor

Nasi Campur TAKSU Singapore

Contemporary Art Show Segaris Art

Center, Singapore

Locals Only! TAKSU Kuala Lumpur

Cover: Detail-

Routine-Weaving

Front flap: Detail-

Routine-(X)

Front inside cover: Detail-

Routine-Weaving

Rear flap: Detail-

Routine-Square

2016Locals Only! TAKSU, Kuala Lumpur

View From The Six G13 Gallery, Malaysia

Bi Lateral Bonds TAKSU Singapore

Bi Lateral Bonds TAKSU Kuala Lumpur



Naratif Iskarnival Segaris Art Center, Johor

2015ADA Show Segaris Art Center, Malaysia

SHIFT TAKSU Kuala Lumpur



Attitude In Lines TAKSU Kuala Lumpur

2014UOB Painting of the Year

Penang Art Competition Malaysia

Pameran Terbuka Galeri Shah Alam

Selangor, Malaysia

2012Degree Show UiTM Shah Alam, Selangor

Nando’s Art Competition Kuala Lumpur

Rubanization Galeri Seni Tengku Nur

Zahirah, Shah Alam, Selangor

2011Pameran Terbuka Galeri Shah Alam

Selangor

Pameran First Touch Galeri Tengku

Nazirah, Shah Alam, Selangor

Pesta Open Art Competition Balai Seni

Lukis Pulau Pinang, Penang

2010Pameran Terbuka Galeri Shah Alam,

Selangor

2009Diploma Show UiTM Sri Iskandar Perak

Pertandingan Seni Tampak Johor Johor

Art Gallery, Johor

Nando’s Art Competition, Kuala Lumpur

FAZRIN ABD RAHMAN (b.1989, Malaysia) completed his Diploma in Fine Arts from UiTM Sri Iskandar in Perak followed by B.A. in Fine Art (Sculpture) in UiTM Shah Alam, Selangor, Malaysia.

Fazrin’s artwork do bear hint to his time majoring in sculpture. Aluminium dominates as the chief material, and the immediate impact felt by his works are its strong geometric qualities and the flat surfaces that deceive the eye; from afar, the works appear to be paintings, but closer inspection reveals the use of materials and markings that hint at the language of sculpture.

Fazrin, who cites the traditional art of rattan weaving, specifically the use of woven rattan sheets in the interiors of traditional Malay kampong houses, chosen aesthetic professes an affinity for the traditional forms found in local designs as a driving influence in his body of work. Fazrin once worked as a craftsman specialising in traditional woven goods and this personal reference has been present throughout all his works. The artist’s works also feature tile-like arrangements that resemble the square blocks of woven surfaces.

In April 2019, Fazrin’s been awarded with the prestigious Malaysia Emerging Artist Award (MEA). MEA Award is a biennial competition that honours the most promising young artists in Malaysia. Its main goal is to recognise the country’s top emerging talents and to give them the opportunity to break into the local and international art scenes.

To date, Fazrin had participated in numerous group exhibition, among which are: Locals Only! by TAKSU (KL), Art Expo Malaysia, represented by TAKSU (KL), ADA Show by Segaris Art Center (KL), Bilateral Bonds by TAKSU (SG), Six Decades Malaysian Abstract Art by Bank Negara Malaysia (KL), View From The Six by G13 Gallery (KL).

Fazrin has completed his first Solo Exhibition “Maze” by TAKSU Kuala Lumpur on September 22,

2016. Fazrin currently lives and work in Ara Damansara, Selangor, Malaysia.

I

NTAKSU is a leading contemporary art gallery and specialist in Southeast Asia. Representing selections of fine art with a distinctive urban edge, we are at the forefront of contemporary art in this region. TAKSU works to forge a platform for established and emerging artists to share their pool of creativity and knowledge through its residency programs and exhibitions. Encapsulating the true meaning of the word TAKSU; divine inspiration, energy, and spirit.

Suherwan AbuDirector, TAKSU Galleries

Artworks & Images © 2019 Fazrin Abd Rahman

Essay by R.O.

This publication may be reproduced in any form for academic, editorial and/or non-commercial purposes without special permission from the artist(s) and gallery, with acknowledgement of the source. For other purposes, prior consent is needed.

a c k n o w l e d g e m e n t

I would like to give acknowledge to Director

Mr Suherwan Abu, Syukur, Mat, Farhanah

and Ching Ting from taksu , Syed Fakaruddin

and Azizi Latif from studio sarang batu ,

Farhan Ikhwan, Nazhan Fikri, Fendy Zakri,

Najib Bamadhaj, Shafiq Nordin, Hisyammudin

Abdullah, Sabihis Md Pandi, Fawaz Sukri,

Hilmi Bajilah, Fadilah Karim, Rasyidah Othman,

Din Diran, Jeffrey Lim, collectors, artist friends,

my family and the biggest thanks to Allah s.w.t.

FAZRIN ABD RAHMAN

ROUTINE

FAZRIN ABD RAHMAN_

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ROUTINE FAZRIN ABD RAHMAN artist statement - TAKSU