suzlee art gallery

The Kingdom: Painting The Expression

 

Monsoon Series had successfully met and won many hearts at Suzlee’s last Solo Exhibition in 2009. To close the dynamic year of Suzlee’s painting career in 2011, Suzlee has produced another new series of work called ‘The Kingdom’.

The Kingdom is based on Suzlee’s first expedition with a few friends to Kota Gelanggi Caves, Pahang. Kota Gelanggi is a historical old city that holds approximately 100 caves around it. The mythical caves are the habitat of unique flora and fauna. The place, which is known to archaeological remain is believed existed approximately 1500 years ago. Going through the woods, Suzlee was thrilled by formations of rocks around the cave area. There were places which he had to climb and slopes that he had to slide in the darkness of the cave. It was nothing but tiring, fear and tense; at the same time his anxiety grew more and more to know how this journey would end. High spirits showed by the team had encouraged them to complete the expedition with endless satisfaction to this new experience. Suzlee’s ‘emotional expression’ and ‘interpretation’ of the Kota Gelanggi Caves has developed the new series of paintings.

Suzlee’s new series is a combination of many styles, which he had produced in the past. Spontaneous brush strokes from Movement Series (1995-2005), textured surface from Wall series (2008/09) and attractive composition that created the Monsoon Series (2009/ 2010) all put together to make Kingdom the best paintings ever produced by Suzlee.

During Suzlee’s preparation to produce Kingdom (2009-2011), Suzlee had attended The 8th International Visual Arts Festival in Monastir (20-30 Sept 2010/Tunisia) and an art workshop; MAFE Art Workshop/Malaysia & France (13 -18 July 2011), Kuala Lumpur. Suzlee had used this opportunity to discuss his works and exchange ideas with fellow artists from other countries. The outcome has showed tremendous change on his canvas.

Suzlee is a very active painter that involves in many exhibitions in and outside the country. He has exhibited his works in the United States, United Kingdom, Denmark, Germany, France, Belgium, Italy, Brazil, Cuba, Spain, Canada, China, Japan, Argentina, Greece, Poland, UAE, Australia, Bangladesh and Nepal. He is also recognized as jury in art competitions, art curator and advisor. Upon recognition for his participation in Malaysia art scene, Suzlee was awarded Anugerah Citra Kencana (Citra Kencana Award) by the Universiti Kebangsaan Malaysia (2011).

Suzlee is a very experienced painter who has been in the art scene for more than 25 years. He started to paint seriously since he was 19. After he graduated from Universiti Teknologi MARA Malaysia he worked in graphic department at advertising and publishing companies before he returned to the University to teach. Since then, Suzlee had taught Fine Arts full time and part time at four higher institutions in Kuala Lumpur. His lengthy experience in both theory and practical shows maturity of his works.

Personally looking at Suzlee’s works, I felt I was drawn to the great masters in the art scene. Suzlee’s spontaneous brush strokes and gestures reminded me of Willem de Kooning’s Woman 1 (1950-52). Sprinkled colors on his canvas reflected Jackson Pollock’s No.5 (1948) and composition of Mark Rothko’s White Cloud over Purple (1957). Suzlee’s paintings are definitely of high reputation. I see him as a great artist in the country with bright future ahead. Feedbacks from Suzlee’s collectors have put his works as art for investment. The Kingdom has higher artistic values and a step ahead from other series he has painted.

Suzlee’s works are collected by corporate organizations and private collectors in Malaysia and outside the country such as Remise Academy (Denmark), Emaar Properties (UAE), Central Bank of Malaysia and National Visual Arts Gallery of Malaysia.

I must say, Suzlee Ibrahim, is the most dynamic abstract painter in Malaysia. Every piece created is Suzlee’s master piece. Kingdom; 20 of his best from the best are for you …

- WinSon Loh (Curator & Founder Pinkguy Art Gallery)

 

 

Traveling Abstract

Art Malaysia  Issue 13 (May-June 2011)

 

Title: Monsoon Series, Road To The Desert (Masterpiece)

Acrylic & Oil on Canvas,150 x 300 cm, 2009

 

Born in Kuala Terengganu in 1967, Suzlee Ibrahim is one of the nation's most notable abstract expressionism painters. His star continues to rise; also a lecturer and traveler, Suzlee's wide understanding and network of art beyond our borders is translated in riots of colours and brushstrokes on canvas.

      In his childhood, Suzlee would often see his father doing craftwork; drawing before he constructed. That is how Suzlee's love for drawing began. “My father wanted me to be an architect and my mother wanted me to be a teacher, but I wanted to be an artist!”

      Suzlee received his formal art education in 1987 from Institut Teknologi MARA (now Universiti Teknologi MARA) and worked in an advertising agency. He then delved into the music industry where he illustrated covers for CD albums that needed a surrealist style. This interest in surrealism led to a love for abstract art.

      “A rock group called May requested me to do an illustration of a big clock hanging in the sky, with a volcano in the earth,” recalls Suzlee, “From there, I produced surrealism but at times I didn't like to follow instructions as it made me feel bored.” Constantly catering to clients' needs soon became unbearable for Suzlee, who switched careers to teaching, which he is doing to this day. His last position in commercial art was as a Visual & Art Director.

      When Suzlee returned to his hometown in Terengganu, he chanced upon a newspaper article about turtle poaching. “I felt saddened, so I painted the turtle, depicting it with only brushstrokes. You could still see the turtle's form, but sometimes it disappears entirely, and  became abstract. This is how my movement series began in 1994.” That year, he had already begun teaching. He later joined Universiti Teknologi MARA (UiTM) in 1997, teaching Fine Art. In the same year, Suzlee had an encounter that would change his art.

  

 

1997: Suzlee & Robert Rouschenberg

  

       “In 1997, I met Robert Rauschenberg and spoke with him,” Suzlee shares, “He was here to do an exhibition, having travelled all over the world and going to so many countries. I fell in love with painting because of Rauschenberg, I wanted to be like him and worked hard to achieve that. Though Malaysia is a small country, but the inspiration he gave was so big.” So inspired, after teaching Suzlee would return home to paint into the am's.The fruit of his efforts was his first solo exhibition in 1998.

 

Seeing More of the World

      The next big event in Suzlee's life was in1999 when he moved to England to accompany his wife who was furthering her studies there. With only the barest of basics in the English language, Suzlee settled in Birmingham and became a full-time artist. As he picked up the language, he met many artists from around the world and in the year 2000, began exhibiting overseas. Prior, he had never had an international exhibition, except in Singapore.

      “The art environment in England is very different; they appreciate art very much. I travelled from Birmingham to London almost every 2 weeks. I worked part-time at McDonald's to  buy art materials and travel to the Tate Modern and surrounding galleries.” There, he saw for the first time, actual deKoonings and Pollocks; “Before I had only seen them in books, so seeing the real things changed my life.”

     By the year 2000 his paintings were selling and in 2002 he travelled to Denmark, Germany and Holland for 40 days. “I met a big collector in Frankfurt and he invited me to see his collection that comprised of Dali and Max Ernst, amongst others, all underground in his house. He told me the value of his collection and it convinced me that I could survive as a full-time artist.” Nevertheless, Suzlee decided to continue teaching while painting.

     Since then, Suzlee has had 18 solos and is now preparing for his 19th. Like his idol Rauschenberg, Suzlee's works are widely exhibited; England, USA, Denmark, Germany, France, Belgium, Italy, Brazil, Cuba, Spain, Canada, China, Japan, Argentina, Greece, Poland, UAE, Australia, Bangladesh and Nepal. He is also active as a competition judge, curator and advisor on art.

     Upon returning to Malaysia in 2001, Suzlee continued to upkeep and build up his networking: “Every Christmas I send cards, and I am very active in mail art. That way, we can exchange ideas and artworks; if they invite me to contribute for an exhibition, I can send my mail art. To this day, I have amassed five thousand artworks in mail art sizes; A3 and the largest in A2.” Clearly, art is also an investment for Suzlee.

     “Networking is a very important thing. If you want to be good, you must have international-level networking,” Suzlee stresses, “In 2005, I was invited by Emaar properties to paint 9 paintings at the Marina Dubai. While in Dubai, I met the organizer of Artists Respond Globally, of which I became a member.”

    Having lectured in UiTM for 16 years, Suzlee then joined the National Academy of Arts, Culture & Heritage (ASWARA), “There are students of many races and I am very comfortable and happy here.” ASWARA has even provided him his own well-lit studio space.


 Title: Movement Series, Drum Beat (Masterpiece)

Acrylic & Oil on Canvas (1999/2002)

 

Painting Emotions & Experiences

    Many of Suzlee's series are based on his travels, “For me, moving from one place to another gives me new ideas. When I went to Tokyo I produced the Sakura series and  when I visited the Great Wall, I produced the Wall series... the Sahara is my latest destination and series.”

     After the Movement series, Suzlee embarked on the Belantara series (2003), Space series (2005/2006), Foundation series (2006), Ombak series (2007) inspired by the sound of crashing waves, Batik series (2007/2008), Root series (2008), Sakura series (2008/2009), Wall series (2008/2009), Melody series (2009) inspired by music, the Monsoon series (2009/2010) was full of coldness while the parallel Sahara series (2010) is fiery and restless.

     The Movement series remains special to Suzlee as it is “one that came deeper from my heart.” he has thought constantly of the plea of the turtles and it resulted in a deep conviction to love nature and animals. “My artist statement then was that movement is life; every living thing moves. Series such as Sahara is geographically inspired, just from my brief experience of it, but the Movement series is from my heart.”

     The road as an artist was not all smooth sailing for Suzlee; one of the biggest storms in his art career was caused by someone he respected and admired. “There was a year when I did not produce a single painting. An ex-lecturer whom I respected had suggested to me to switch to another genre when he found out that I was actively producing abstract art. His reasoning was that even kids could paint abstract art. I was upset that someone with his qualifications couldn't believe in art.” Fortunately, Suzlee's then-girlfriend encouraged him to continue doing what he believed in, for despite that lecturers qualifications, who bought his art? “Now that the National Art Gallery and Bank Negara collects my paintings, I have proven myself. However, I lost connection with him as I do not want to be connected with people like that.” As shown, an artist's emotional constitution can be very fragile, and especially for one who 'throws his emotions on canvas'.

 1+1 doesn't necessarily mean 2

     Suzlee's reason for painting abstract art is that: “[It] is something that everyone can appreciate and understand using their own knowledge and feelings. For me, there is no need to understand the meaning behind the painting or to go deeper into it, because only the artist knows what he is doing. Viewer's need only feel it.” In accordance, Suzlee likes to say that “Art is not 1+1=2. It is not straightforward.”

     “I've been in the art scene for 24 years and found that abstract is very difficult to produce because of changing emotions; you keep changing colours depending on how you feel one day to the next.” This is why Suzlee loves to listen to music while he paints, though sometimes he needs total quiet, depending on his mood. “But I try to paint everyday. Even if I don't go into my studio, I will do a small sketch, sometimes with just a pen. But painting larger sized canvases gives me more freedom and relaxation, and I also love working in large sizes, normally up to 10 feet.”

    Suzlee divulges that his new series is not on canvas: “I want to move to another medium to produce something different from the previous. Normally I will just change the colours and textures but now I want a new surface.” Accordingly, Suzlee is now working on something very different indeed: painting on fibreglass sculpture. This is for a Singaporean event called Elephant parade, which involves a hundred artists from around the world (of which 5 are Malaysian) and includes an auction on 11/11/11.

     Suzlee prefers to be known as a painter than a lecturer, as “lecturers impart ideas but painting is producing something.” When asked if he enjoyed teaching, Suzlee replies: “If I stayed in my studio 10 hours a day, I need to talk to someone to rest my mind. Teaching is important as I am able to throw ideas at my students and their questions spur my mind to think of new ideas and techniques. Sometimes, they give me inspiration, I even ask them to critique my works. For me, discussion is also important, whether with students or friends, in fact my wife is my big critic also.” Every few weeks, Suzlee invites friends to his studio to seek opinions for his work. “If I only do what I think is right, I can't improve, so at least I need to know what other artists think about my work. If you have good artwork but you can't market it, it's no use. Artists must share their art and be close to galleries.”

     On that note, Suzlee says that one of the most difficult aspects in his artistic career was marketing his artwork. “In the early days, in a year sometimes I don't even sell a single painting.” Another difficulty was that international galleries require artists to be represented by a local gallery, which is why Suzlee began to work exclusively with Pink Guy gallery. Such an arrangement also prevents scams: “I was once invited for a group exhibition in Slovenia through someone online. I sent my paintings but after the exhibition, when I wanted my paintings back and contacted them they said they cannot speak English! Four paintings gone!”

Methods in Abstract Expressionism

      So how does Suzlee paint? “The first thing I do is find a subject matter,” he explains, “Whether textures on the brick wall or the landscape of the Sahara. I make a few hundred sketches and then I select a few to transfer to an illustration board, as large as A2 size. Then I will choose again to transfer to the canvas.”

      This methodical and selective process to produce such expressive and seemingly spontaneous artwork, perhaps reflects Suzlee's commercial art background. “Sketches are very important for me, but normally the final product is not the same as the sketch because your mind is always thinking new things during the process. I let my mind be whatever it wants, do whatever it wishes.” Sketches are the key to start the ignition: “You have to plan what you want to produce; anything you want to do, you must prepare. Without sketches, I face my blank canvas and don't know what to paint!”

      Suzlee learned about abstract art by studying three artists “I love the spontaneity of Jackson Pollock, the brushstrokes of de Kooning and Franz Kline's composition. I've always refered to these artists, but now I've already established my own stlye.”

      In Suzlee's point of view, the art industry in Malaysia is looking better and better, “Twenty years ago, it was difficult to find a gallery. The fact that universities offer Fine Art means there is a market for that, and parents are much more open to letting their children study art. The market is not difficult to break into, especially with the internet and so many art collectors and companies wishing to buy art for investment.” Suzlee also notes how the government has allocated large funds for the creative industries.

     Suzlee's concluding words is something he always tells his students: “To have a future in art, you need to look forward but you must also look behind to the past as a reference.”

 

Suzlee is represented by and contactable via PinkGuy Art Gallery.

Teks by Nikki Liaw (biteconcepts@gmail.com)

 

All rights reserved by Dunia Seni Lukis Sdn. Bhd.

(www.Art Malaysia.com.my)

 

 

 

 

 

MALAYSIAN PAINTER DISPLAYS HIS WORK IN CHICAGO

 

PRESS RELEASE October 14, 2010      


For Immediate Release Contact: Connie Noyes
connie@arg-art.com
001 415-299-1754    

IN MY OWN BACKYARD I CAN SEE THE WORLD: the prequel

Zhou-B. Art Center, Chicago, USA.(October 14- 17, 2010)


(Chicago) A.R.G: ARTISTS RESPOND GLOBALLY is pleased to present an exhibition of works by 8 CHICAGO ARTISTS who have been paired with 8 INTERNATIONAL ARTISTS for the collaborative project IN MY OWN BACKYARD I CAN SEE THE WORLD.  An opening night reception will be held at the ZHOU B. CENTER on Thursday October 14, 2010, from 6-10 pm
                       
Through communication technology IN MY OWN BACKYARD I CAN SEE THE WORLD brings artists from around the world together in their studios. Officially launched in May 2010, one local CHICAGO artist is currently paired with one INTERNATIONAL artist. The artists did not know anything about each other before they began. Each pair was directed, to find their own solution, topic and common ground without restriction.    

Global platforms of social networking such as Facebook, international communication platforms such as Skype and Jajah, and readily available web based translation programs such as Google translate will be used by the artists in their collaborations and communication will be recorded or notated by the artists for use in monthly or bimonthly video documentation of navigating through the collaborative relationship.

Documentation in the artist's studio and their exterior surroundings will also be recorded as part of a larger collaboration between Connie Noyes as artist/organizer, a documentary film crew, the sixteen artists and the international community at large. Videos, photographs and notes from each pair will be posted as they are completed to an interactive website, accessible by the artists and the global community. These videos will provide a peak inside the successes as well as frustrations of creative production, through process and the viewer will be privy to the back-story, which is rarely ever exposed.    

Suzlee Ibrahim is a renowned abstract artist in Malaysia who has been in the art scene for more than twenty years. He is established with his Movement Series has exhibited at seventeen solo exhibitions and more than five hundred group shows. His paintings had travelled to England, Denmark, Germany, Cuba, Canada, Japan, Greece, Poland and UAE.  Today, Suzlee is a full time lecturer at the Faculty  of  Fine  Art, National  Arts Culture  and  Heritage  Academy (Ministry  of Information  Communication  and  Culture), Kuala  Lumpur. Information on Suzlee Ibrahim and his paintings can be obtained at http://www.suzleefineart.paint.at

Suzlee is paired with  feminist, narrative painter Gabriella Boros and may be the most diverse pairing in the group of current artists.

Other artists include Ceasr Conde, Kate Friedman, Ginny Sykes, Connie Noyes, Gabriella Boros, Sergio Gomez and Harry Sudman from Chicago and International artists, Manhal Issa (Syria) Gabrila Proksch (Austria) Yvette Dunn (South Africa), Roland Orepuk (France), Simeon Todev (Bulgaria),Petronilla Hohenwarter (Germany) and Regina Pereira Lopes (Brazil).   
 
ARG: Artists Respond Globally is a project based organization, which connects artists and communities who are interested in communication and collaboration on a global scale. The mission of ARG is to utilize the personal or local act of art making in combination with global relationships and communication technology. ARG's aim is to create dialog, strengthen understanding, and support awareness of social, political and aesthetic concerns through creative practice and process.
 
Project director and instigator Connie Noyes began this project with a small observation. As she participated in several painting symposiums and residencies in Dubai, South Africa, Bulgaria, Tunisia and Montenegro from 2005 - 2008 she noticed how artists from all over the world were able to get along. It didn't seem to matter where they were from, what language they spoke, their religion or beliefs about social issues, the artists communicated from the heart, through their creative spirit and seemed to celebrate their differences. The project has grown from this small idea though local and global networking.
 
IN MY OWN BACKYARD I CAN SEE THE WORLD is a sponsored project of the New York Foundation for the Arts, with funding provided  in-kind  by the Zhou-B. Art Center, in part by Beviamo and is a scheduled event during Chicago Artists Month 2010, Our City, Our Studios.

For more information on ARG or In MY OWN BACKYARD I CAN SEE THE WORLD.  please contact Connie Noyes at connie@arg-art.com or call 001-415-299-1754  

 

 

Wonders of ancient history (Saturday January 14, 2012) 

By MUHD BASYAR MUSTAPHA    basyar@thestar.com.my  Photos by LOW BOON TAT

WHAT could someone acquire from an expedition to a long-buried ancient kingdom in Pahang?

Well, for artist and academician Suzlee Ibrahim, he was inspired to draw a series of 20 dazzling abstract paintings.

The latest series from Suzlee, named Kingdom, is based on his trip to the historical Kota Gelanggi Caves in Pahang.

Intrepid artist: Suzlee standing in front of one of his paintings.

He admitted that it was a challenging and adventurous expedition.

“I was going through the woods and there were places in the caves to climb and slopes to slide down.

“The passageways were really narrow and most of the time we moved in darkness.”

Suzlee said that he was afraid of the dark and it was the first time he was in a cave with ancient tales to share.

“I was filled with feelings of awe, anxious and surprise.

“I was thrilled by the formations of various types of rocks in the area and the whole landscape was just fascinating,” said the lecturer at the faculty of Fine Art of the National Academy of Arts, Culture and Heritage (Aswara).

Metaphors: Suzlee uses the collage method where shreds of canvas are stuck onto the paintings.

Amazed and always prepared, Suzlee sketched down his vision and emotions immediately on A4-sized papers to store his own fresh visualisations.

He then interpreted those visualisations on canvas within six months.

Although the inspiration was an ancient kingdom, all pieces in this series have a contemporary appeal.

The series also sees Suzlee using the collage method where shreds of canvas are stuck on to the paintings.

This technique, according to him, metaphorically addresses the different textures and scenes he sensed in the “kingdom’s” vicinity.

Layers of emotions: A painting with sharp strokes and vivid tones.

Suzlee’s feelings and emotions on the adventure are also conveyed through an explosion of vivid hues in his favourite medium— acrylic on canvas — with oil colour finish.

A piece named Flowery that bursts with vibrant tones reflects his own feelings when he came across a beautiful path in the caves dotted with beautiful flowers.

With more than 23 years of experience as a painter, Suzlee’s main aim is not monetary gains but a chance to share his work and passion with visitors to the exhibition.

He hopes Kingdom, his 14th solo exhibition, that is being displayed at the Pinkguy Art Gallery from now until Jan 18 will give visual satisfaction to visitors and art lovers from all walks of life.

The Terengganu-born artist’s spontaneous brush strokes and gestures and his outstanding composition were also apparent in his previous abstract series such as Monsoon and Road to Sahara series.

The gallery is located on the ground floor of Marc Service Residence at Jalan Pinang, Kuala Lumpur and opens daily from 10am to 6pm. For details, contact 03-2166 2166.

 

 

 

COMMENTARY

local newspaper-Malaysia)
The Malay Mail, MALAYSIA; April 26, 2001

THE paintings that are on show are acrylics, finished with oil bar. He first acquainted himself with the oil bar in England and gladly found his style and the oil bar complementary. His publicist says that most of Suzlee paintings have a strong expressionistic slant, suggested by the spontaneous brush stroke. The artist has also found himself replacing his brushes and palette knife with other malleable objects. Suzlee also replaces his dominant brush strokes using repeated lines. The result is a totally different style but with essence of his previous works. Suzlees art is collected by serious collectors and public figures.

 

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New Straits Times Press
Sep 8, 2001
Lecturer to hold solo arts exhibition at Balai Berita

KUALA LUMPUR, Fri. Forty-six paintings by Suzlee Ibrahim will be on display at the Balai Berita lobby in Jalan Riong here from Monday to Oct 5. Themed Movement Series, the exhibition is open from 10am to 6pm daily. Suzlee, 34, who specialises in abstract paintings, began his career in 1987 after graduating in fine arts from Universiti Teknologi Mara. He also studied arts at the Friends Institute in Birmingham, United Kingdom, and is now a lecturer in Arts and Design Faculty at the UiTM.


Terengganu-born Suzlee has so far participated in more than 100 exhibitions and has held five solos in Malaysia and UK. He is also a member of the Royal Watercolour Society and the Royal Society of Painters-Printmakers.
His paintings are priced from RM3,000 to RM20,000 each. Limited edition prints are priced at RM350 each.

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Sep 11, 2001
Suzlee's `riot of colours' on display 
LUMPUR, Mon. - To the man on the street, Suzlee Ibrahim's painting `Ika', from his Movement Series collection, seems more like a riot of colours than an expression in art. In fact, it is both.


`Ika', named after Suzlee's infant daughter, is his favourite among the 48 paintings on display at the New Straits Times Press Berhad Solo Art Exhibition from today.
Painted in the months leading to Ika's birth and completed after her arrival into the world, the painting reflects the turmoil and trepidation Suzlee felt pre-natal, as well as the joy and relief experienced post-natal. An artist in the abstract expressionist style, Suzlee is a lecturer at the Faculty of Art and Design at Universiti Teknologi Mara Shah Alam, and has participated in over 100 exhibitions in and out of the country.


"Originally, I started with the realist style when I was an illustrator for an advertising firm, but I found that I couldn't express myself properly. Then in 1993, I did research on abstract expressionism, and since then I have found that it suits me."


Suzlee began the Movement Series in 1995, though this current collection is from the 1998, 2000, and 2001 period. 

------------------------- 

Sep 13, 2001 Consider this!
Drawn to abstract expressionism
By Karen Yap

EVERY artist finds a niche among the many branches of art. For homegrown artist, Suzlee Ibrahim, his forte and passion lies in abstract expressionism.
Suzlee became acquainted with this particular category of art while lecturing at the Universiti Teknologi Mara (UiTM) Faculty of Art and Design (Foundation Course), in Shah Alam, Selangor.


"While lecturing, I managed to do some research in my spare time to acquire in-depth knowledge and understanding on the topic.
"I discovered that `Movement' was not only interesting, but an essential element in any artwork.
"After two years of research, I finally developed the `Movement Series' in 1995, and it is continuously being perfected," said Suzlee.


Abstract expressionism is a painting movement in which artists typically apply paint rapidly and with force to their huge canvases in an effort to show feelings and emotions, painting gesturally, non-geometrically, sometimes applying paint with large brushes, sometimes dripping or even throwing it onto canvas. The works of artists who paint in this style are characterised by a strong dependence on what appears to be accident and chance, but which is actually a highly-planned exercise.
Usually, there is no effort to represent subject matter. Not all work is abstract, nor is all work expressive but it is generally believed that the spontaneity of the artist's approach to the work would draw and release the creativity of the unconscious mind.


The expressive method of painting is often considered as important as the painting itself. Most of Suzlee's acrylic and oil on canvas pieces have a strong xpressionistic slant. His brush strokes seem equally spontaneous, with alternating bold and fine lines.


The artist, who hails from Kuala Terengganu, is currently showcasing hissixth solo exhibition at the main lobby of Balai Berita, Jalan Riong, Kuala Lumpur until Oct 5.
This is the fourth of such art exhibitions organised by The New Straits Times Press (Malaysia) Berhad with the objective of promoting the works of Malaysian artists.
On exhibit are 40 of Suzlee's compositions, including six in the form of printed art. One of these paintings has been printed in postcard form in England. Two of the art pieces took Suzlee up to two years to complete.


His paintings are collected by corporate organisations, art galleries and serious collectors, making the "Movement Series" well known both in and out of the country.


In fact, some of his masterpieces now reside in homes, offices and galleries in France, Sweden, Spain, Germany, United States and the United Kingdom.
"It just illustrates the fact that artwork by local artists is on parwith that of foreign artists.
"In turn, it encourages us to strive harder and achieve new levels of success in art," said Suzlee.


His years in the UK has given him many opportunities to visit its modernart galleries and study the works of artists from all over the world.
"Last year, I held a solo exhibition at The City Gallery in Leicester. The response was very encouraging.


"I also had the opportunity to exchange views with other artists, art enthusiasts, art collectors and gallery owners, which helped improve my art."
Suzlee likes to observe moving objects. "For me, everything in life moves.


"Movement is life. Life must be continued and life itself is a process of movement."
Although he returned to Malaysia less than a year ago, Suzlee hasalready featured his masterpieces in two recent solo exhibitions held at the Galeri Seni, Faculty of Art and Design, UiTM and Shah Alam Gallery.


His work has been used for cassette covers, magazines and novels.
For more information on Suzlee's "Movement Series", contact the NSTP Corporate Communications Department at 03-22823131 ext 2592.


Stint at Friends Institute in UK

ABSTRACT expressionist Suzlee Ibrahim was born on April 15, 1967 in Kuala Terengganu.


He attended Universiti Teknologi Mara (UiTM) in Shah Alam, Selangor, where he majored in Fine Arts and later continued his studies at the Friends Institute in Birmingham, United Kingdom, specialising in Figure Drawing.


He is currently a member of the Friends of Bankside Gallery, London, (Royal Watercolour Society and the Royal Society of Painter-Printmakers), and Friends of The City Gallery, Leicester. Both cities are in the United Kingdom.


Currently a lecturer at UiTM, Shah Alam, Suzlee has held several solo exhibitions from 1998 including the "The Notion of Gesture" in 1999 at the Elm Quay Fine Arts Gallery, Kuala Lumpur.


His latest exhibition is at the main lobby of Balai Berita, New Straits Times Press (M) Bhd in Bangsar, Kuala Lumpur, entitled "Movement Series".
For details, Suzlee can be reached at suzleeibrahim@hotmail.com or( 006) 012-6025260.

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Sep 7, 2001
Suzlee to hold exhibition at Balai Berita
By Azman Abdul Ghani

"MOVEMENT is life, everything on the planet moves," said Abstract Expressionist artist Suzlee Ibrahim.


What he means is that his work is like life - where everything moves on. To prove his point, Suzlee will hold his latest solo exhibition at New Straits Times Press' Balai Berita lobby in Jalan Riong from Monday. Themed The Movement Series, the exhibition is a continuation of a series he started in 1995.


"This series is my self-expression of the last six years and focuses alot on elements of design with a strong slant on the visual language," he said.


Suzlee's paintings uses a lot of strong and vivacious colours - black, red and green.
Since his first Movement Series, he said his work has subconsciously
developed and is now more matured in composition and colour.


"My work has attracted a lot of attention from local and international art lovers. In Leicester, England, the people there were amazed that a Malaysian can do abstract art too," he said.


The Movement Series, he added, owes a lot on his travels to England where he was able to witness masterpieces by great artists like Picasso, Van Gogh and William de Kooning.


During his stint there, he travelled around in buses and trains and has drawn ideas and inspiration from what he has seen and experienced.


"My brush strokes have changed to a more mature and confident style," said Suzlee, an Art and Design lecturer at Universiti Teknologi MARA (UiTM).
He has taken part in more than 100 exhibitions locally and
internationally, with his previous Movement Series at Galeri Shah Alam earlier this year.


The Movement Series at Balai Berita from Sept 10 to Oct 5 is open to the public daily from 10am to 6pm.


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Sep 11, 2001
Suzlee Ibrahim's creative `movements' on display

LOVERS of abstract expressionism may want to check out Suzlee Ibrahim's Movement Series at the New Straits Times Press buiding in Jalan Riong, Kuala Lumpur.


Held at the main lobby, the 48 paintings and prints by this 34-year-old Kuala Terengganu-born artist is all about `movement' which to him represents life.
An art and design lecturer at UiTM, Shah Alam, Suzlee furthered his art studies in Birmingham, Britain, in 1999.


He did research on the "movement" concept in 1993 before producing the paintings two years later. But the brush strokes in his paintings before 1999 did not have the "defined lines" as what can be seen in his more recent paintings. When he was in Britain, he started using oil bars which brought out more movement in his paintings.


Among the pieces on display are Ika (2000/01) and Highgrove (2000/01). Ika, which took 1 1/2 years to complete, was done time when his wife was pregnant with their second child. His joy was shown through the bright and vibrant colours he chose.


Highgrove is a 244x198cm piece that took almost two years. to complete. His inspiration came after seeing recurring pictures of Prince Charles' Highgrove in magazines when he was in Britain.


The paintings on display are priced between RM350 and RM20,000. The exhibition is open daily from 10am to 6pm until Oct 5. Visitors will also have the chance to meet Suzlee on Saturdays and Sundays. This is the fourth art exhibition hosted by Balai Berita this year. The other three were Abdul Ghani Ahmad (Malaysian Heritage in Water Colours), Nor Hanem Mohd Nor (Nature's Reflection and Sculptures) and Abdul Rasid Yusuf (Wildlife and Natural Heritage).


For details or appointment, call Norena at NSTP Studio 31 at 22823131 ext 5496 or NSTP Corporate Communications Department at ext 2575/2475. 
 
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SUZLEE Karyanya Semakin Unik

Pic: Utusan Malaysia, 29 Disember 2001 (Sastera & Budaya)

SUZLEE di samping salah sebuah karya terbarunya yang memperlihatkan adapatasi dari abstrak ekspresionisme Barat ke gaya seni lukis tempatan.

 

BERCAKAP tentang perkembangan aliran seni lukis abstrak ekspresionisme di Malaysia, Suzlee Ibrahim adalah pelukis yang setia menekuni aliran ini sejak 1995.
Sebenarnya, karya-karya yang tidak mengutamakan imej atau subjek tertentu dengan kombinasi sapuan berus yang kasar dan halus tidak banyak ditekuni oleh pelukis Malaysia dewasa ini.

 
Ini kerana `tuduhan' sesetengah khalayak bahawa karya abstrak ekspresionisme ini tidak menonjolkan nilai artistik sesebuah karya tampak berbanding dengan aliran realisme dan surealisme.


Meskipun begitu, banyak perubahan yang ditonjolkan dalam setiap karyanya sehingga tahun ini. Ia begitu ketara dari aspek catan, kombinasi tekstural dan paling penting pencarian identitinya tersendiri.


Pada peringkat awal pengkaryaannya, karya-karya Movement Series begitu mementingkan gaya dan teknik catan tokoh-tokoh besar dalam aliran ini seperti Jackson Pollock, Willem de Kooning, Mark Rothko ataupun Franz Kline.


Dalam erti kata lain, paparan karya yang banyak menonjolkan gejolak emosi pelukisnya yang diperlihatkan menerusi sapuan berus dan garis-garis warna yang begitu sukar untuk ditafsirkan.


Kini karya-karya Suzlee memperlihatkan kematangan, khususnya dari aspek gaya pengkaryaannya yang semakin meninggalkan teknik dan konsep karya pelukis-pelukis besar ekspresionisme Barat itu.


Tumpuan catan tidak lagi terhadap warna-warna kontras yang membawa imej ketakutan dan gejolak perasaan Suzlee yang tidak menentu, sebaliknya memperlihat nada serta ritma yang harmoni dan tenteram.


Oleh itu, emosi ini diperlihatkan menerusi sapuan yang agak lembut dan kurang menggunakan warna-warna kontras. Sebaliknya beliau cenderung menggunakan warna-warna seperti biru, ungu dan kuning dalam satu kombinasi yang menarik.
Selain itu, karya-karya terbaru Suzlee sepanjang tahun 2001 juga menggunakan warna-warna yang sama sekali tidak terdapat dalam karya-karya awal Movement Series seperti kelabu dan putih.


Malah dalam beberapa karya terbarunya, Suzlee menggunakan warna biru yang begitu ketara dalam pada keseluruhan kanvas dengan kombinasi beberapa warna ceria lain seperti kuning dan sedikit merah dan emas.

 
Karya-karya terbarunya juga sangat sedikit menggunakan warna hitam dan putih yang menjadi ciri utama karya-karyanya terdahulu. Namun, ini tidak bererti ciri-ciri khas abstrak ekspresionismenya telah hilang.


Justeru, Suzlee menerusi beberapa karya terbaiknya seperti Missing You (Terengganu) berjaya menunjukkan kematangan dalam mengeksplorasi warna untuk menyampaikan mesej kepada khalayaknya.


Penggunaan catan yang agak berbeza ini bukan hanya mengikis pengaruh tokoh-tokoh ekspresionis Barat tetapi juga membawa konsep baru ekspresionisme yang bercitrakan seni tampak tempatan.


Kemampuan mengadaptasi gaya ekspresionisme Barat ke dalam wacana seni tempatan inilah menjadikan karya-karya terbaru Suzlee begitu unik dan menarik.

 

 

 
UTUSAN MALAYSIA /24 April 2002 (Sastera & Budaya) 

 

SUZLEE di samping lukisan terbarunya Drum Beat: 2002, salah satu karya terbaik dalam Movement Series. 
 
 

 

Karya Suzlee Bertaraf Dunia

Karya Suzlee bertaraf dunia
PAMERAN seni lukis 10 World Artists di Noosa Gallery, Australia baru-baru ini memperlihatkan perkembangan menarik dalam dunia seni catan tempatan. Ini kerana antara 10 pelukis terbaik dunia, seorang daripadanya adalah pelukis Malaysia iaitu Suzlee Ibrahim.

Program ini anjuran Artists Own Registry (AOR) iaitu badan yang bertanggungjawab untuk membuat pemilihan serta menilai pelukis yang berbakat serta berpotensi besar dalam seni visual.

Pastinya bukan sesuatu yang mudah kerana AOR hanya memilih 10 pelukis yang terbaik seluruh dunia. Pemilihan pastinya tertumpu kepada pelukis dunia yang aktif, berbakat dan komited dari aspek mutu pengkaryaan.

Peter Alexandroff, salah seorang panel yang dilantik oleh Noosa Gallery telah membuat pemilihan yang teliti dengan memilih 10 pelukis dari 10 negara iaitu Jepun, Amerika, Australia, Denmark, Malaysia, Bolivia, Perancis, Korea Selatan, Scotland dan Vietnam.

Pelukis yang terpilih akan mempamerkan karya-karya terbaik mereka berdasarkan kemahiran mengikut aliran atau bidang masing-masing. Antara karya yang dipamerkan ialah lukisan bercorak realisme, pop art, surrealisme, figuratif, media campuran, seni digital dan abstrak.

Suzlee dalam konteks pemilihan ini dianggap begitu tepat berdasarkan kejayaan, potensi dan konsistennya dalam aliran abstrak ekspresionisme sejak 1992. Malah, beliau dianggap sinonim dengan aliran ini.

Beliau misalnya telah menyertai lebih 100 pameran di dalam dan negara meliputi pameran berkumpulan dan solo. Karya-karyanya juga menjadi milik beberapa kolektor di seluruh dunia.

Pada pameran 10 World Artist Suzlee mengetengahkan 11 karya terbaiknya dari Movement Series yang menggunakan cat minyak dan akrilik di kanvas. Ia dihasilkan dari 1996 hingga 2001.

Melihat karya-karya ini, khalayak boleh membuat satu perbandingan catan-catan yang telah dihasilkan dalam tempoh tersebut. Interior, November dan Extreme Lives 2 adalah antara karya yang dipamerkan.

Idea karya Suzlee dianggap mempunyai kekuatan tersendiri dalam aliran abstrak ekspresionisme. Gaya sapuan tekstural dan gestural yang kasar, spontan dan bersahaja menonjolkan gerakan emosi yang begitu kuat.

Kesungguhan dalam bereksperimen dan mencari identiti tersendiri dalam aliran ini menyebabkan Suzlee berjaya `meninggalkan' pengaruh pelukis abstrak ekspresionisme Barat seperti Willem de Kooning dan Jackson Pollock dalam karya-karya awalnya.

Ini dibuktikan dalam karya-karya mutakhirnya yang menonjolkan gaya tersendiri dalam aliran ini. Antara lain, penggunaan kombinasi warna seperti merah, hitam dan kuning yang berbeza dengan gaya kedua-dua tokoh tersebut.

Sapuan berus dan penggunaan warna seperti itu, secara tidak langsung memberi impak dan daya tarikan emosi kepada khalayak untuk menyelami mesej yang cuba diutarakan oleh Suzlee dalam konteks seni lukis tempatan.

Di samping itu, beberapa eksperimen dari aspek warna dan bentuk juga menjadikan karya-karya mempunyai tarikan. Lukisan-lukisannya yang dihasilkan pada 2000 (sewaktu berada di England) agak berlainan. Ia dipersembahkan secara vertikal, berbeza dengan gaya horizontal seperti sebelumnya.

Sementara itu, antara pelukis yang mengambil bahagian dalam 10 World Artist ialah Richard Baxter (Australia) dan Prof. Kim Myung-Sik (Korea).

Pemilihan Suzlee merupakan pengiktirafan dunia terhadap pelukis tempatan dan juga hasil-hasil seni mereka yang tidak kalah mutu, idea, konsep dan gaya.

© UTUSAN MELAYU (M) BHD., 46M, Jalan Lima Off Jalan Chan Sow Lin, 55200 Kuala Lumpur.

 

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Utusan Malaysia;2 Jun 2002 ;(Sastera)

Suzlee Duta Catan ke Slovenia

TANGGAL 15 Mei lalu sekali lagi menjadi catatan penting dalam sejarah perkembangan seni catan tempatan. Pada tarikh tersebut, pelukis abstrak ekspresionis tanah air, Suzlee Ibrahim sekali lagi terpilih mewakili negara ke pameran Spring Award Bled 2002 di Ljubljana, Slovenia.

Meskipun hanya mempamerkan tiga karya terbarunya, iaitu Thames River, Grey dan Day & Night, Suzlee telah berjaya mengharumkan nama negara sebagai wakil tunggal bersama 180 pelukis lain dari 45 negara.

Pameran ini merupakan pengiktirafan besar kepada komitmen dan kejayaan Suzlee setelah pameran 10 World Artists di Australia Mac lalu. Beliau juga pernah mengadakan pameran solo di City Gallery, Leicester, England.

Tidak dinafikan dalam konteks pengkaryaan dan komitmen, pensyarah di Fakulti Seni Lukis dan Seni Reka, UiTM ini telah mengambil bahagian lebih 100 pameran berkumpulan dan solo.

Pada November ini misalnya, Suzlee akan mengambil bahagian dalam pameran bersama di Denmark dan Itali pada tahun 2003 dan pameran solo di New York pada 2004.

Sementara itu, karya-karya Suzlee yang dipamerkan di Spring Award Bled 2002 merupakan siri terbaru Movement Series yang menggunakan media akrilik dan cat minyak di atas kanvas.

Karya ini bersaiz sederhana dan mempunyai ukuran 80sm x 100sm. Namun, unsur yang paling ketara ialah terlihat beberapa percubaan baru Suzlee untuk memantapkan lagi siri ini.

Pihak penganjur pada pameran ini misalnya telah menetapkan beberapa kriteria sesuai dengan kedudukan sebagai salah sebuah pameran berprestij di Eropah. Ia terbahagi kepada tiga genre tampak, iaitu art on paper, catan dan arca dengan saiz yang telah ditetapkan.

Melihat karya-karya Suzlee pada pameran ini akan ditemukan teknik terbaru yang ingin diketengahkan kepada khalayaknya.

Thames River misalnya banyak menggunakan warna biru secara keseluruhannya, sesuatu yang agak berbeza dengan karya-karya awalnya yang menekankan warna-warna merah, biru dan hitam.

Penggunaan biru ini memperlihatkan karya-karya ini lebih harmoni dan tenang tanpa gejolak emosi yang sering disuarakan dalam karya-karyanya.

Begitu juga dalam karya Grey yang menyuarakan ketenangan dan harmoni. Namun, sedikit berbeza dengan Day & Night yamg memaparkan warna kontras, iaitu gelap dan terang.

Komposisi warna pada Thames River dan Day & Night sedikit berbeza dengan kerana ia diolah dengan sekata, berbanding dengan Grey yang diberi ruang kosong menggunakan warna kelabu sehingga terlihat gerakan emosi pelukis.

Karya ini diimbangi dengan penggunaan warna terang dan cerah, iaitu warna merah di sebelah kiri untuk memberi impak yang baik biarpun penggunaan warnanya sedikit.

UTUSAN MELAYU (M) BHD., 46M, Jalan Lima Off Jalan Chan Sow Lin, 55200 Kuala Lumpur.


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Utusan malaysia (31 Januari 2005)
Suzlee sertai EMAAR International Art Symposium

PENSYARAH dari Fakulti Seni Lukis & Seni Reka, Universiti Teknologi Mara (UiTM), Shah Alam, Suzlee Ibrahim terpilih menyertai EMAAR International Art Symposium di Dubai, Amiriyah Arab Bersatu (UAE) yang sedang berlangsung dan akan berakhir 7 Februari ini.

Suzlee dari Jabatan Seni Halus mewakili negara bagi menyertai The International Painting Workshop yang merupakan sebahagian daripada pengisian simposium tersebut.

Penganjur telah memilih 30 pelukis dari seluruh dunia untuk menyertai bengkel itu. Peluang mendapat tempat bagi menyertainya sebenarnya adalah sukar kerana terpaksa bersaing dengan pelukis ternama dari seluruh dunia.

Suzlee agak bertuah kerana terpilih mewakili negara menyertai bengkel ini. Jangka masa dua minggu yang diberikan untuk menyiapkan sekurang-kurangnya tiga buah karya sememangnya sesuatu yang mencabar.

Beliau berharap bengkel ini dapat menjadi jambatan atau rangkaian baru untuknya berhubung dengan pelukis-pelukis ternama dari luar negara.

Pengalaman teoritikal dan amali yang dipungut sewaktu perjalanan bengkel tersebut boleh dikongsi bersama pensyarah mahupun pelajar sekembalinya ke tanah air kelak.

Menurut Timbalan Dekan Akademik, Fakulti Seni Lukis & Seni Reka UiTM, Prof Madya Ponirin Amin, pemilihan Suzlee menyertai bengkel tersebut merupakan satu pengiktirafan pihak luar kepada kakitangan UiTM.

``Jemputan ini juga secara tidak langsung membuktikan karya-karya Suzlee mendapat pengiktirafan di peringkat antarabangsa dan setanding dengan pelukis-pelukis terkenal dunia.

``Sudah pastilah art collector yang memiliki karya pelukis ini berbangga kerana karya yang mereka miliki mempunyai artistic value dan semakin tinggi nilainya,'' katanya di sini baru-baru ini.

Bagi peminat seni visual tanah air, nama Suzlee sememangnya tidak asing lagi.

Beliau telah mengambil bahagian pada lebih 100 pameran berkumpulan termasuk 10 pameran perseorangan di dalam mahupun di luar negara.

Sebelum ini, Suzlee juga pernah terpilih menyertai 10 International Workshop for Visual Artists di Brande, Denmark pada tahun 2002 dan juga 10 World Artists Show di Noosa Gallery, Australia.

EMAAR Properties selaku pihak penganjur simposium berhasrat menjadikan EMAAR International Art Symposium ini sebagai acara tahunan dan memilih Dubai sebagai tempat himpunan seni budaya dari pelosok dunia.

Simposium itu juga memberi penghargaan dan pengiktirafan di peringkat antarabangsa kepada insan-insan seni kreatif yang terpilih dan perhubungan serta pertukaran budaya antara pelukis yang mengambil bahagian juga dapat dibentuk melaluinya.

Pihak penganjur menyediakan segala kemudahan bahan, peralatan melukis dan persekitaran yang sesuai bagi keselesaan peserta untuk berkarya.

Pada akhir bengkel karya-karya akan dipamerkan di The Burj dan di The Dubai Marina Sales Centre, Dubai untuk tatapan khalayak.

Setelah kembali ke tanah air kelak, Suzlee akan berkongsi pengalaman sewaktu di Dubai dengan mengadakan pameran ke 11, Recent Paintings di Galeri Seni Maya, Bangsar pada 8 hingga 27 Mac depan.

 

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UTUSAN MALAYSIA
Sastera: 12 Mac 2007 (22 Safar 1428)
Menjengah estetika Mail Art di Galeri Shah Alam

SUZLEE Ibrahim (dua dari kanan) memberi penjelasan tentang salah satu karya Mail Art yang dipamerkan di Galeri Shah Alam, Selangor hingga 7 April ini.

DI RUANG pameran Galeri Shah Alam, terpamer lebih 100 karya Mail Art. Ia merupakan satu aliran baru dalam seni tampak di Malaysia walaupun telah lama wujud di negara-negara Eropah.


Tidak ada karya-karya bersaiz besar. Ia hanya karya yang berukuran antara satu hingga tiga kaki persegi yang sesuai dihantar melalui perkhidmatan pos atau perkhidmatan pengiriman.

Selain karya-karya pelukis tempatan, terdapat karya oleh 74 pelukis asing termasuk dari Amerika Syarikat (AS), Austria, Belarus, Belgium, Canada, Perancis, Mexico, Jerman dan Lithuania.


Menerusi karya-karya yang dipamerkan selama sebulan yang akan berakhir pada 7 April depan itu, khalayak diberi pendedahan secara visual makna daripada Mail Art yang masih terlalu baru di Malaysia sedangkan sejarah genre seni tampak itu dikatakan telah bermula sejak zaman Cleopatra di Eropah.

Antara pelukis asing yang terlibat dalam pameran tersebut ialah Wilhelm Schramn (Austria), Karena Kharaneka (Belarus), Bernd Reichert (Belgium), Fabrice Fossie (Perancis), Lucia Polanco (Sepanyol), Dorothea Fleiss (Jerman), Cohen Ryosuke (Jepun) manakala antara pelukis tempatan pula ialah Fawwaz Abdul Aziz, Adlan Aman dan Jasara Awang Adek (Malaysia).

Bagaimanapun masih tercatat beberapa nama pelukis tempatan yang bergerak aktif dengan aktiviti Mail Art. Antaranya ialah Abu Bakar Idris, Asliza Aris, Danny Hilman, Mohd. Suhaimi Tohid, Nizam Radzaly dan Rasfan Abu Bakar.

Secara konsepnya, karya-karya Mail Art bersaiz kecil dan sederhana, seperti poskad, kertas atau kanvas bersaiz A4 ataupun A3. Dalam pengertian ringkas, Mail Art ialah satu karya seni yang melalui proses penghantaran melalui pejabat pos atau perkhidmatan pengiriman. Ianya mungkin satu lukisan, lakaran atau apa sahaja yang dianggap karya seni yang melalui proses tersebut.


Karya-karya yang dipamerkan adalah hasil dari koleksi Suzlee Ibrahim yang juga seorang pelukis abstrak yang terkenal dengan Movement Series. Beliau sememangnya aktif dengan aktiviti-aktiviti mail art sejak tahun 1999 lagi.

Suzlee juga mengasaskan satu kumpulan Mail Art iaitu International Mail Art Artists Group (I-MAG) yang telah berjaya mengumpul karya-karya Mail Art dari 51 buah negara.

“Pengumpul karya yang terlibat dalam Mail Art menggunakan medium ini bagi menambah koleksi seni mereka seperti lukisan, lakaran, ilustrasi, sampul surat, setem dan apa sahaja bentuk karya seni yang melalui proses penghantaran menggunakan pengiriman pos.

“Sesetengah pendapat mengatakan jika seketul batu diposkan dan seseorang menerimanya ianya juga boleh dianggap Mail Art,’’ katanya.

Prinsip yang paling penting dalam Mail Art ialah seseorang yang menghantar sesebuah karya seninya, harus juga menerimanya dari pengirimnya.

Dalam erti kata lain seseorang yang terlibat dalam aktiviti Mail Art mestilah seorang yang aktif menghasilkan karya seni Mail Art.

Percuma


Penghantaran karya Mail Art melalui pos dilihat sebagai pertukaran karya secara percuma daripada seorang artis kepada seorang artis yang lain yang membentuk persahabatan dan keakraban. Dalam sejarah Mail Art, pelukis legenda Vincent Van Gogh juga menghantar lakaran-lakaran beliau melalui pos kepada temannya, Theo yang akhirnya menjurus kepada penghasilan karya-karya agung beliau.

Aliran seni itu berkembang secara meluas pada tahun 1940-an dan bertambah pesat pada tahun 1960an dengan adanya kumpulan seperti Fluxus, Le Nouveau Realisme, Gutai dan Ray Johnson’s New York Correspondence School.

Dikatakan isteri kepada penyanyi legenda, John Lennon, Yoko Ono dan Christo juga pernah terlibat dalam aktiviti-aktiviti Mail Art.
Kini beratus-ratus kumpulan Mail Art bergerak aktif di seluruh dunia dengan pelbagai aktiviti Mail Art yang dianjurkan oleh pelbagai kumpulan. Nama-nama seperti Dragonfly (USA), IUOMA (Netherlands), Braincell (Jepun), Green Cat (Switzerland) dan Independent Arts Festival (Belgium) tidak asing bagi peminat Mail Art.

“Saya percaya bahawa aktiviti Mail Art merupakan sesuatu aktiviti yang sihat yang bukan sahaja membentuk jaringan kenalan, malah lebih dari itu. Kita dapat mengenali budaya dan cara hidup manusia dari pelbagai negara melalui Mail Art yang dikirim.

“Sebagai seorang pelukis, teknik pengolahan, idea dan media yang digunakan pada setiap Mail Art yang diterima mempunyai nilai artistik yang tersendiri yang tidak mungkin dapat dicapai dengan nilai wang ringgit,’’ tambah Suzlee.

Sementara itu, Pengarah Galeri Shah Alam, Prof. Madya Mohd. Said Abu berkata, di Malaysia Mail Art tidak ramai dikenali atau diketahui oleh khalayak kerana ia masih terlalu baru.

Bagaimanapun beliau berkata, sesetengah penggiat seni tampak di negara-negara Eropah seperti Jerman, Perancis serta Itali terlibat secara aktif dalam aktiviti seni tersebut dan mereka sering mengadakan pameran.

Dalam sejarah Mail Art di Malaysia, pameran pertama telah diadakan di Galeri Seni, Fakulti Seni Lukis & Seni Reka, Universiti Teknologi Mara (UiTM), Shah Alam pada bulan September hingga Oktober 2006.

Ianya menggabungkan beberapa kumpulan Mail Art yang bergerak aktif di Malaysia di mana Suzlee bertindak sebagai kurator pameran.

 

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Menelusuri warna dan makna karya Suzlee di UKM
 
UTUSAN MALAYSIA/ 26 Mac 2007
7 Rabiul Awal 1428

 
PELUKIS terkenal Indonesia, Raden Salleh Sjarif Bestaman (1807-1880) dalam sebuah catatan kecilnya menulis; warna bagi seorang pelukis adalah lentera tentang dirinya.

Kesimpulan mudah pendapat Raden Saleh itu ialah, bagi semua pelukis di dunia, warna, catan dan imejan pada kanvas adalah sebuah catatan visual bagi seseorang pelukis. Ia menghimpun kisah duka, rasa gembira, kekaguman dan apa sahaja yang berada di sekitarnya.

Menjenguk pameran solo pelukis abstrak ekspresionisme Suzlee Ibrahim, Suzlee Ibrahim: Koleksi Pelukis, selama sebulan, hingga 31 Mac ini, di Galeri Pusat Kebudayaan, Dectar, Universiti Kebangsaan Malaysia (UKM), ia bertepatan dengan kenyataan Raden Saleh tersebut.

Sebanyak 23 buah karya lukisan yang menggunakan medium akrilik dan cat minyak di atas kanvas dipamerkan. Karya-karya Suzlee merupakan seni visual yang berbentuk abstrak keseluruhan yang tidak mempunyai apa-apa imej yang dikenali.

Karya-karya tersebut merupakan seni visual terbaik koleksi peribadi pelukis setelah berkecimpung di dalam bidang seni lukis selama 20 tahun.

Dalam perjalanan panjangnya, Suzlee merupakan seorang pelukis yang aktif berkarya, bukan sahaja di dalam negara malah juga di peringkat antarabangsa. Karya-karya beliau pernah dipamerkan antaranya di Denmark, Perancis, Jerman dan Itali termasuk pameran solonya di The City Gallery, Leicester, England pada tahun 2000.

Secara umumnya karya-karya Suzlee menampilkan catatan tentang gejolak emosi, pengembaraan psikologi atau sebuah ekspresi yang sukar diungkapkan dengan kata-kata.

Jika diperhatikan dengan teliti, sesebuah karya Suzlee memerlukan masa yang agak lama untuk disiapkan. Ini dijelaskan dengan lapisan demi lapisan dan warna yang agak tebal kelihatan pada kanvas, disokong dengan palitan warna tersebut yang berubah menjadi tekstural kasar.

Kesan berus yang berulang di tempat yang sama kadang-kadang diubah diatasnya dengan warna yang berlainan.
Ini menunjukkan emosi pelukis sentiasa berubah mengikut waktu dan keadaan. Karya-karya beliau benar-benar menunjukkan luahan emosi pelukis abstrak ekspresionisme.

Dalam konteks ini, Suzlee tidak memikirkan pembaziran warna dengan menggunakan sapuan warna yang berulang di dada kanvas yang sama. Tidak penting bagi beliau berapa lama untuk menyiap sesebuah catan. Apa yang penting untuk pelukis aliran ini ialah luahan emosi pelukis semata-mata. Tidak ada yang lebih penting dari itu.

Pendekatan dan gaya Suzlee khususnya dan pelukis aliran tersebut umumnya berbeza dengan karya-karya pelukis aliran Pop Art. Tokoh terkenal aliran Pop Art seperti Andy Warhol misalnya, menggunakan teknik silk screen.

Karya terkenalnya, Marilyn (1967) hanya menggunakan satu lapisan warna sahaja kerana ia menggunakan imej wajah manusia yang dikenali iaitu Marilyn Monroe.

Ini berbeza dengan karya-karya Suzlee, beliau menolak penggunaan imej sama sekali. Cuma luahan emosi beliau semata diluahkan ke dada kanvas dengan palitan dan percikan warna dan jalinan di atas ruang pada kanvas.

Pengolahan karya abstrak ekspresionisme terbahagi kepada dua gaya yang ketara iaitu lukisan yang meletakkan banyak ruang kosong pada kanvas. Ia mengingatkan kita kepada nama-nama seperti Mark Rothko dan Paul Newman. Karya-karya mereka juga agak ringkas dengan warna-warna yang rata atau sekata.

Manakala satu gaya lagi dinamakan unsur pergerakan menerusi catan pada kanvas. Seseorang pelukis menggambarkan karya yang penuh dengan luahan emosi yang digambarkan melalui kesan berus, gestural dan percikan warna yang bersahaja seperti yang kelihatan pada lukisan Jackson Pollock dan Willem De Kooning.

Sesetengah pendapat mengatakan karya-karya mereka inilah abstrak dalam erti kata sebenar.

Bila diperhatikan pada karya-karya Suzlee Sunset Batu Buruk (2003) kita akan dapat melihat dengan jelas kekuatan pergerakan berus yang digunakan.

Kesan gestural dari berus yang besar dan bersahaja yang sesekali berubah menjadi kecil dan terus hilang bersama permukaan latar karya. Warna-warna yang digunakan juga warna kontras, namun diolah menjadi harmoni dengan bantuan kedudukan komposisi warna yang diletakkan di tempat tertentu.

Gaya yang Suzlee gunakan agak jelas menggabungkan gaya yang kelihatan daripada catan hasil karya Pollock dan De Kooning.

Bagaimanapun, beliau mengolah karya-karyanya dengan gaya dan cita rasa seorang pelukis tempatan dengan mesej tersendiri yang menunjukkan jatidirinya sebagai orang timur.
 


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UTUSAN  MALAYSIA

 

SUZLEE bersama pelukis veteran Jepun,  Yasumichi Fukawa di pameran Arts For Earth Aid di Taito Hall, Tokyo, Jepun 

Imej seni Malaysia di Tokyo
RITUAL keagamaan (Buddhisme dan Shintoisme) merupakan salah satu daripada faktor estetika yang mendorong terjadinya perubahan corak dalam seni lukis tradisional dan sebahagian kontemporari Jepun.Nilai-nilai agama tersebut menjadui acuan untuk mengatur tingkah laku kehidupan sosial, pembentukan nilai serta etika yang seterusnya menjadi elemen utama kerja-kerja seni para pelukisnya.

Oleh itu, karya-karya lukisan tradisional pada asasnya memuatkan ajaran moral, nilai-nilai spiritual, dasar metafizik, ekspresi dan kualiti material yang terdapat di alam ini.

Oleh itu, dalam setiap karya tradisionalnya mempunyai keseimbangan tujuh karateristik iaitu fukinsei (asimetri), kanzo (sederhana), kokou (esensi), Shizen (kewajaran), yuugen (bermakna), datsuzoku (bebas dari ikatan) dan seijaku (keheningan).

Masyarakat Jepun tradisional telah meletakkan seni lukis sebagai medium untuk memenuhi keperluan integriti untuk mengungkapkan rasa keindahan, bersifat universal dan tidak mengenal status, waktu serta tempat.

Nilai-nilai ini menimbulkan kekaguman tersendiri terhadap karya-karya lukisan Jepun yang sarat dengan nilai falsafah dan spritual. Lukisan-lukisan pelukis negara itu pada abad yang ke-19 misalnya pernah menjadi inspirasi kepada ramai pelukis terkenal dunia.

Salah seorang daripadanya inilah pelukis agung Belanda, Vincent van Gogh (1853-1890). Beliau melahirkan beberapa karya yang dipengaruhi oleh karya-karya cetakan kayu dan gaya lukisan Jepun yang mengkagumkan.

Karya-karyanya seperti Potrait of Pere Tanguy (1887) dan Japonaiserie: Oiran (1887) oleh Van Gogh jelas menunjukkan pengaruh gaya seni itu yang menebalkan.

Negara Jepun sememangnya terkenal dengan karya-karya cetakan kayunya, sehingga memberi pengaruh yang besar kepada perkembangan seni lukis dunia pada suatu ketika dahulu.

Karya-karya seni yang dihasilkannya sangat halus dan tinggi mutunya, ini terlihat pada seni visual oleh Utagawa Hiroshige yang bertajuk Great Bridge (1857) ataupun Katsushika Hokusai, The Great Wave (1820an).

Untuk memberi pendedahan kepada pelukis Malaysia, Japan Malaysia World Arts & Culture Exchange telah membawa lapan pelukis terkenal Malaysia dalam satu satu pameran yang berlangsung di Taito Hall, International Trade Centre, Tokyo, Jepun, baru-baru ini.

Pameran Arts For Earth Aid tersebut dirasmikan oleh Duta Malaysia ke Jepun, Datuk Radzi Abdul Rahman. Sebanyak 650 buah karya telah dipamerkan pada pameran selama lima hari tersebut. Ia merupakan kerja oleh 300 pelukis Jepun dan tujuh pelukis Malaysia.
Pelukis-pelukis Malaysia yang mengambil bahagian dalam pameran tersebut ialah Suzlee Ibrahim, Amirudin Ariffin, Aris Aziz, Azmi Aris, Abu Bakar Idris dan Zaim Darulaman dan Jack.

Suzlee, pelukis abstrak negara yang sinonim dengan Movement Series iaitu Suzlee Ibrahim mempamerkan tujuh buah karya yang dihasilkan khas untuk pameran ini iaitu siri Waiting for Sakura yang menggunakan médium akrilik dan cat minyak di atas kanvas.

Sesungguhnya, Waiting for Sakura mempunyai makna yang tersendiri. Ia sebuah simbol dan keterujaan Suzlee sebagai pelukis menyelami keindahan bunga sakura yang belum pernah dilihat secara dekat sebelum ini.

Gejolak rasa dan keterujaan yang memenuhi jiwa itu diluahkan dengan garisan gestural yang spontan dan bersahaja yang menghidupkan watak pada setiap karya.

Kekaguman dan keterujaan terhadap sakura diberi makna yang tersendiri melalui gerakan-gerakan berus yang kasar dan kadang-kadang mencipta ruang melankolik tersendiri pada kanvas.
Wujud kesimbangan yang luar biasa antara romantika dan keghairahan yang luar biasa dalam menanggapi persoalan mengenai keindahan sakura yang digambarkan pada kanvas tersebut.

Keindahan sakura itu juga akan menjadi subjek utama pada pameran solonya yang ke-15 yang akan diadakan di sebuah galeri di Kuala Lumpur, tidak lama lagi.

Abu Bakar Idris pula mempamerkan karya siri terbaru iaitu Cap Sai Cin. Sebanyak 6 buah karya dari siri tersebut yang menggunakan medium akrilik di atas kanvas dipamerkan.

Karya semi abstrak tersebut menggabungkan imej tumbuhan ubat-ubatan tradisional Melayu sebagai motif penting yang mengisi komposisi dalam ruang pada dada kanvas.

Warna malap dan kelam digunakkan bagi menghidupkan suasana mistik dalam karya. Sedikit tekstura dimasukkan pada komposisi tertentu karya agar permukaan kanvas tampak pelbagai dan tidak terikat pada permukaan yang rata sahaja.

Seperti kebiasaannya, Zaim Darulaman pula menggunakan imej perahu atau bot sebagai subjek utama karyanya yang didasarkan pantun bahari Melayu tradisional.

Karya beliau mempunyai warna yang menarik dengan kepelbagaian warna. Penggunaan warna terang seperti merah dan hijau menjadikan setiap karyanya sebagai titik tumpuan untuk berkomunikasi dengan khalayak.

Sementara itu, Arts For Earth Aid merupakan lanjutan kepada pameran Japan-Malaysia World Arts & Culture Exhibition for Friendship in 2007 yang telah diadakan di Balai Seni Lukis Negara pada 28 Julai 2007.

Ia antara lain merupakan kerjasama antara World Arts & Culture Exchange Malaysia-Japan Malaysia Association, Tourism Malaysia, Persatuan Seni Lukis Kotemporari Malaysia (MCAA), Persatuan Homestay Malaysia, Persatuan Bulan Sabit Merah Malaysia dan Balai Seni Lukis Negara.