27 AUG - 7 SEPT 2019 AT HOM ART TRANS, KUALA LUMPURRambu-Rambu Memori organised by National Art...

27 AUG - 7 SEPT 2019AT HOM ART TRANS, KUALA LUMPUR

PRINTS BY

LONG THIEN SHIH

JUHARI SAID

A. RAHMAN MOHAMED

BAYU UTOMO RADJIKIN

SAMSUDIN WAHAB

FAIZAL SUHIF

ANTON VILLARUEL MANILA

IMMARTYAS BANDUNG

YAS DOCTOR MANILA

Chetak 12 presents its second annual exhibition entitled 2nd Edition from [August 27] to [September 8, 2019] at HOM Art Trans, Kuala Lumpur.

Original artworks in Intaglio print medium signed “edition 2” will be highlighted in this show to celebrate Chetak 12’s subsequent collaboration with senior Malaysian artists and international emerging artists.

Established in 2018, Chetak 12 is formed by contemporary artists Bayu Utomo Radjikin, Samsudin Wahab and Faizal Suhif as a printmaking studio that allows fellow artists to produce works in this medium.

Three senior artists: Long Thien Shih, Juhari Said and Rahman Mohamed were invited to create original prints in the studio. In July 2019, Chetak 12 welcomed three Southeast Asian emerging artists: Anton Villaruel (The Philippines), Immartyas (Indonesia) and Yas Doctor (The Philippines) to participate in its inaugural one-month-long residency programme.

The results of their artistic production featured in 2nd Edition offer fresh perspective into printmaking. The senior artists worked on perfecting their technique: Long Thien Shih produced an etching and aquatint work titled Pisang series; and Juhari Said created etchings entitled Kerbau Jantan and Kerbau Betina, a technique he has just retreated to after nearly four decades since he last worked on the medium.

Bayu Utomo Radjikin’s series of Raut Wajah etchings are created from used plates resulting in overlapping effects in each portrait. Samsudin Wahab’s series of “love ballads” in etching and aquatint technique is a reflection of his current personal life – illustrating hybrid characters based on distant memory. Faizal Suhif experiments with Chine-collé technique to produce nature-inspired works.

Through the residency programme, Anton Villaruel, Immartyas and Yas Doctor hone their skills in printmaking and at the same time, share new knowledge with Chetak 12. A collaborative work was created to commemorate the occasion. Though the artworks produced consist of individual elements, the participating artists experienced a sense of communal and togetherness in the process.

In addition to cultivating the art of printmaking through artist-exchange programmes, Chetak 12 also aims to popularise this early artistic technique by encouraging more artists to explore this medium with hopes of gaining new interest among the local audience.

LONG THIEN SHIHb. 1946, Selangor

Executed in etching and aquatint technique, Pisang Series illustrates a sphere-shaped comb of banana etched at the top centre and a banana leaf at the bottom of the plate. An undulating wave of abstract lines in monochrome representing the energy of the universe is expressed in the background.

Long Thien Shih’s concern with the environment has always been the subject of his creative oeuvre. The banana symbolises the most essential sustenance for man-kind and faunas. It is widely cultivated and consumed globally. Long’s interest in biodiversity and the preservation of nature was instigated by the issues of genet-ically modified organism (GMO) technology in food. This was initially expressed in a watercolour artwork entitled How Many More Will It Take? (2011), which was displayed in his major retrospective exhibition. It depicts an anonymous figure wearing a hazardous material suit holding an oversized multi-coloured banana with both hands.

Long Thien Shih is a veteran artist specialising in printmaking. Long began his formal printmaking training at Atelier 17, Paris – an illustrious institution for print-making established by British printmaker Stanley William Hayter – from 1966 to 1968. He then attended Atelier de Lithographic at Ecole Nationale Superieure des Beaux-Arts in Paris, France from 1967 to 1969. He obtained a Masters in Fine Art majoring in printmaking from the prestigious Royal College of Art, London (1969-1972). In 2014, Long was honoured with a retrospective exhibition entitled Man of the Times at the National Visual Arts Gallery, Kuala Lumpur.

Pisang Series

Etching & Aquatint on Hahnemuhle 150gsm paper32.5 x 24.5 cm2019Edition of 18RM 1,200

JUHARI SAIDb. 1961, Selangor

Having worked on his last etching 38 years ago, Juhari Said is reacquainted

with this technique at Chetak 12 with immense enthusiasm. During the

process of producing Kerbau Jantan, Kerbau Betina and [untitled], Juhari

devotes himself wholly by suspending other creative activities such as

producing woodcut work and writing in order to immerse himself in the

course of production.

Juhari Said graduated from Universiti Teknologi MARA (UiTM) Shah Alam,

Selangor in 1983. He has mounted 12 solo exhibitions in Malaysia,

Indonesia, Japan and Austria since 1989. His most recent solo show

entitled Solitude was held at Wei-Ling Gallery, Kuala Lumpur in 2017. In

2018, Juhari actively participated in a number of printmaking group shows

namely Go Block: The Expanded Contemporary Printmaking at G13 Gallery,

Selangor; Shah Alam Biennale, Tapak, Shah Alam, Selangor; International

Printmaking and Paper Art Show 2018 (IPPAS), Jakarta, Indonesia; and Seni

Cetakan Sepanjang Zaman-The Art of Printmaking: Lasting Impressions at

Muzium dan Galeri, Bank Negara Malaysia, Kuala Lumpur.

Kerbau Betina

Etching & Aquatint on Hahnemuhle 300gsm paper19.5 x 24.5 cm2019Edition of 20RM 1200

Kerbau Jantan


Potrait


Tribal


Jembalang

Etching & Aquatint on Hahnemuhle 300gsm19.5 x 19.5 cm2019Edition of 20RM 900

Shadow

Etching & Aquatint on Hahnemuhle 300gsm paper19.5 x 19.5 cm2019Edition of 20RM1200

A.RAHMAN MOHAMEDb. 1955, Johor

Academician Rahman Mohamed is an Associate Professor at his alma

mater and currently serves as Dean of School of the Arts, Universiti Sains

Malaysia in Penang. In 1996, he received an MFA in Graphic Design from

the University of Wisconsin, Milwaukee, the US. In 1995, he obtained a

Master of Science in Communication Design from Pratt Institute, New York.

From 1988, he was enrolled in the undergraduate course, Bachelor of Arts

in Fine Arts at Universiti Sains Malaysia and graduated in 1992. His solo

exhibitions included Terap Ulang at Galeri Seni Mutiara, Penang (2010);

Solo: A. Rahman Mohamed at USM ABN Amro Gallery, Penang (2005);

and Design, Culture and Technology Art Exhibition with talk and slides

presentation at Panduri Design Sdn. Bhd, Penang (1998), to name a few.

Bukan Kuku Besi

Etching, Drypoint & Aquatint on Saunders 500gsm paper25 x 38 cm2019Edition of 20RM 1,800

Khat Ta Mim Kayu

Etching & Aquatint on Saunders 500gsm paper25 x 38 cm2019Edition of 20RM2,500

Kaki Bangku

Etching, Aquatint & Drypoint on paper20 x 20 cm2019Edition of 20RM1,800

BAYU UTOMO RADJIKINb. 1969, Sabah

Bayu Utomo Radjikin’s series of monochromatic etchings entitled Raut

Wajah explore the basic motion of facial expressions as a means to convey

nonverbal communication. Bayu selects the faces of generic women on the

internet as to liberate himself from the weights of emotional attachments

when illustrating an acquaintance. His choice of used metal plates for the

etchings gives an overlapping effect to the portraits, at once giving new

life by integrating fresh lines. For instance, in a self-portrait rendered in

chiaroscuro - in the style of Caravaggio – there are markings of the former

artist that features the mythical characters of Rama and Sita from the epic

poem Ramayana.

Besides being a professional artist, cultural strategist Bayu Utomo

Radjikin has produced a number of programmes through HOM Art Trans,

an independent art space he established in 2007. A founding member

of Chetak 12, Bayu also initiated The F Klub and Matahati. In 2017, Bayu

presented a solo exhibition entitled Gejolak showcasing abstract paintings

at G13 Gallery, Selangor in 2017. His recent group exhibitions include

Second Edition: Chetak 12 (2019) at HOM Art Trans, Kuala Lumpur; Life:

The F Klub (2019) at Ken Gallery, Kuala Lumpur; and Awan & Tanah (2019)

at Cult Gallery, Kuala Lumpur, to name a few.

Seraut Wajah - Himbauan

Etching & Aquatint on paper20 x 30 cm2019Edition of 9RM3,500

Seraut Wajah - Harapan


Seraut Wajah – Kenangan


Seraut Wajah – Kelam


SAMSUDIN WAHABb. 1984, Perak

Themed “love songs”, Samsudin Wahab unveils a fresh body of work for

Chetak 12’s Second Edition, detaching himself from his usual rebellious

streak for the first time. His romantic approach is derived from the

sentimentality of his life’s journey and personal memory. In [untitled], the

fictional couple is engaged in an intimate conversation - deeply engrossed in

a “pillow talk” moment. Their environment represents their socioeconomic

status: a couple snuggling on the floor housed in a makeshift mosquito

net. A half-full jug of coffee and a serving of kuih loyang – symbolic of

Samsudin’s work relating to an episode from Bakat Muda Sezaman 2017

– is illustrated on the floor alongside mosquito coil, a bunch of rokok daun

or leaf cigarettes, an oil lamp and a randy male cat approaching a snoozing

female feline.

Samsudin Wahab is the main recipient of the 25th edition of Anugerah Bakat

Muda Sezaman 2019 (Young Contemporary Award) for his installation,

Rambu-Rambu Memori organised by National Art Gallery, Kuala Lumpur.

He obtained his Bachelor (Hons) in Fine Arts, majoring in Printmaking

from UiTM Shah Alam, Selangor in 2007. His solo exhibitions included

Kadang-kadang, Dekat-dekat, Akan Datang No 4, Wira Bangsa at A+ Works

of Art Gallery, Kuala Lumpur (2018); Propositions for the Future, Fergana

Art Gallery, Penang (2015); Self-parody, 15th Rimbun Dahan Residency

Exhibition, Rimbun Dahan, Selangor (2010); Not Enough!, Chandan Gallery,

Kuala Lumpur (2009); and Enough!, Taksu Gallery, Kuala Lumpur (2008).

Dakapan Kenangan

Etching & Aquatint on paper40.5 x 30 cm2019Edition of 12RM 2,800

Di Kala Malam

Etching & Aquatint on paper20.5 x 26.5cm2019Edition of 12RM 1,300

Asmara Perdana

Etching & Aquatint on paper12.5 x 20 cm2019Edition of 11RM 980

Rindu

Etching & Aquatint on paper12.5 x 20 cm2019Edition of 12RM 980

FAIZAL SUHIFb. 1984, Johor Bahru

Faizal Suhif’s fascination with the natural world and its organic matter is

widely depicted in his large-scale canvas work often rooted in printmaking

technique to best illustrate the texture quality of soil. For Chetak 12’s

Second Edition, Faizal employs a technique in printmaking called Chine-

collé. Its methodology involves transferring an image with a thin layer of

painted paper adhered to the heavier print paper. The result is exemplified

in [untitled] – a trail of creeping plant grows amidst the drought – illustrated

by the desiccation cracks in dry earth and a skull embedded within it.

Faizal Suhif obtained a Masters in Fine Art from UiTM Shah Alam, Selangor

in 2013. His solo exhibitions included Visual Poetry at G13 Gallery,

Selangor (2017); Hidden: Treasure of a Natural World, Vallete Gallery,

Kuala Lumpur (2016); Stories from the Soil at G13 Gallery, Selangor (2014);

and Fossil at Beranda Langkawi Art Gallery (2013) among others. In 2018,

he participated in a number of group exhibitions namely Go Block: The

Expanded Contemporary Printmaking at G13 Gallery, Selangor; Di Antara

Itu & Ini organised by Fergana Art at National Art Gallery, Kuala Lumpur;

Mars 3 at HOM Art Trans, Kuala Lumpur; and ArtAid18 Diri at White Box,

Publika, Kuala Lumpur.

Penunggu...

Etching & Aquatint on Hahnemuhle 300gsm paper24.5 x 29.5 cm2019Edition of 20RM 1,200

Seribu tahun lagi...

Etching & Aquatint on Hahnemuhle 300gsm paper29 x 29 cm2019Edition of 20RM1,200

Menuju terang..


Sepi...

Cementcut on Arches 250gsm paper62 x19.5 cm2019Edition of 20RM 950

ANTON VILLARUELb. 1983, Philippines

For this instance, even the act of documenting has taken its part as a catalytic medium

for emotional digestion. Somehow it has extended a bridge between my personal life and

practice as a printmaker. I also found, that an amount of courage was needed to face certain

conversations that required engagement rather than attempting to be indifferent towards

my looming depression, because despite my attempts to engage with these conversations

an initial and natural reaction to resist and cease admission to certain truths; that I am not

enough, that I have no value, and that I am not worthy of belonging to someone, still persisted.

It was very hard to say yes and simply accept. All these drove me to a state of wanting to

escape from very hard-hitting pains.

These conversations now resonate into forms that are the works I have rendered and created.

524 - a Wish for peace of mind

State of dead end - state of mind

How is this story shaped like? Does it start from one point? Yes it had peaked to a certain

height? it did crash down to fail? How do I rise up?

Stop . . Slow Down . . . Go

Run . . Fly . . Run

Anton Villaruel was born in 1983 in Philippines. Graduated from University of Philippines

Diliman Quezon City, majoring Fine Art in Visual Communication. Started active in art

scene since 2013, and he has also been involved in several printmaking workshops in

the Philippines. Anton process if work involves a predominance of collagraph prints. As

a child, he was immersed in this art form in such a way that he would escape reality and

get lost inside his comic fantasies.

My process involves a reflexive practice and process I have developed as a printmaker,

gathering and documenting random visual patterns found in decrepit surfaces of worn

down structures, withering masonry, decaying and discarded plywood, emaciating

layers of paint from pavements, floors of public utility vehicles, bridges and found wood

and creating them through printmaking in new forms.

Both consequently created from the same mode of process these visual patterns,

become unique, ambiguous biomorphic forms or subjects and realms. They depict

scenarios, different dispositions and concerns, towards places, events, dilemmas and

circumstances in everyday life.

The source for the imagery I used as basis for this body of works comes from a common

and very meaningful place for me, located between Bangbang and Tayuman Avenue

in Barangay Sta. Cruz Manila. These images were taken from the walls of the local fire

station, a post that is a part of an old arcade building, and painted calligraphy from

registration numbers of local public utility vehicles (jeepneys). As mundane and random

as my subjects are the essence and narrative for me are very personal and reflective of

conversations with self.

PXX GoCollagraph on paper33 x 24 cm/each2019MonoprintRM 600 each

PXX StopCollagraph on paper33 x 24 cm/each2019MonoprintRM 600 each

PXX Show DownCollagraph on paper33 x 24 cm/each2019MonoprintRM 600 each

Some Piece of Mind Ples

2 plate Collagraph on paper50 x 45 cm2019MonotypeRM 1,200

Dead End Ex

Collagraph on paper65 x 42 cm2019MonotypeRM 1,800

Bukit of Heart, NOT!

Collagraph on paper52 x 68 cm2019MonotypeRM 2,000

Rum, Fly, Rum, Fly

2 plate Collagraph on paper100 x 29 cm2019MonotypeRM1,200

YASMIN DOCTORThe Philippines

Yas Doctor, born in 1984 in Manila, Philippines and graduated firm University

if Santo Tomas, majoring in Journalism. Yas Is a freelance illustrator and artist

based in the south of Manila. She is also behind the zines Sari-sari Project Vols. 1

and 2. Yas started active in art scene since 2011 have participated in exhibitions

in several galleries in Philippines and Indonesia.

Connect / Disconnect is a three-part series that deal with my experience here in

Malaysia.

(i) is about the self, looking for things to remind of home

(ii) I took photos of street signs that, for me, felt distinctly Malaysian yet also

reminded me of signs back in the Philippines.

(iii) is a compromise of elements that for me, are unique to both countries but in

essence, have similarities. Whenever we experience something new, we as

vessels look for anything that make us connect to our current environment

then we learn to disconnect in order to move on.

Connect / Disconnect I

Drypoint on fabriano rosaspina 290gsm paperXx x xx cm2019MonotypeRM 1,600

Connect / Disconnect II

Drypoint on fabriano rosaspina 290gsm paperXx x xx cm2019MonotypeRM 1,300

Connect / Disconnect III

Drypoint, Mottage, Paper cut-out on fabriano rosaspina 290gsm paper2019MonotypeRM 1,600

IMMARTYAS GHINAAb. 1996, Bandung, Indonesia

Emerging Indonesian artist Immartyas graduated with a Bachelor

of Fine Arts in Printmaking from Bandung Institute of Technology,

Bandung, Indonesia in 2019. In July 2019, she participated in her

first residency programme at Chetak 12 Studio in Kuala Lumpur.

She employs dry point technique on multiple plates to produce

prints based on the photographs that she took. Immartyas said:

“I have learned a lot from this residency programme particularly

new discovery of materials in printmaking.”

Marka Cetak l

Drypoint on paper15 x 20 cm2019Edition of 6RM 600

Cetak Bayangan l

Drypoint on paper15 x 20 cm each2019MonotypeRM 3,000

Faizal Suhif, Anton, Yas(collaboration)

UntitledCementcut, Collagraph & Chine-colle’ on Arches 250gsm paper19 x 39cm2019MonotypeRM 1,500

Faizal Suhif, Anton, Yas(collaboration)

UntitledCementcut, Collagraph, Chine-colle’ & Drypoint on paper26 x 36 cm2019MonotypeRM 1,500

This catalogue is published in conjunction with the 2ND EDITION

Exhibition at HOM Art Trans from 27 Aug – 7 Sept 2019. Copyright

Catalogue C 2019 HOM Art Trans. Copyright Artworks C Artists. All

images are reproduced with the permission of copyright owners.

This catalogue is copyrighted. Other than for academic research,

criticism, as permitted by the Copyright Act 1987, no part or image

from this catalogue may be reproduced by any process without written

permission of the copyright owners.

CHETAK 12

12A Jalan Cempaka 16

Taman Cempaka, 68000 Ampang

Selangor, Malaysia

mobile: +6012 373 6004

[email protected]

www.homarttrans.com

CHETAK 12 is an artist run printmaking studio that presents

print work made by using traditional techniques.

The core mission for the studio is to preserve, celebrate and

increasing understanding of viewer in printmaking by hosting

a printmaking workshop, providing space for artist to produce

artwork and also act as art consultant for artist or an institution

about printmaking and etc.

The studio was founded in 2018 by Bayu Utumo Radjikin,

Samsudin Wahab and Faizal Suhif. The studio located at 12A,

Jalan Cempaka 16, Taman Cempaka, 68000 Ampang, Selangor

27 AUG - 7 SEPT 2019 AT HOM ART TRANS, KUALA LUMPURRambu-Rambu Memori organised by National Art...

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