FINE ARTS MAJOR | datoshow

Pastel on Plywood

122 cm x 80 cm each

DRAWING | MIXED MEDIA | SCULPTURES

FINE ART MAJOR

Adibah Azri Zulkifli

Vanity

, 2014

Adibah's series of works depicts self-admiration through close-up beauty shots of herself. In Malay culture, it is believed that having a nosebleed has connotations of having sinned in the past. By spoiling the beauty of the self-portraits with a nosebleed, "Vanity" invites the viewer to contemplate, rather than just admire the attractiveness of a portrait.

Adibah Art Major

Ang Li Ping June

With food as the theme for her artworks, June was inspired by local delicacies such as Ice Kachang and Curry Fish Head in an attempt to tingle the viewer’s taste buds by reproducing the sensation of spiciness and sweetness. To make the work more interesting, she created textures by using thicker paints and mediums, as well as different splattering techniques. Colours not only play a significant role in translating this notion of taste, it also aids with the use of intense colours to create a mood of artificiality.

Sensation 1

Oil on canvas
122cm x 152.5cm

Sensation 2
Oil on canvas
76cm x 101.5cm

Sensation

, 2014

Sensation 1

Sensation 2

June Art Major

Fara Lisa Bte Suati

, 2014

Lapis

Acrylic on Canvas

Series of 16

30 x 30cm each

Lisa experiments and explores with colour and form to create works heavily concentrated on texture. Various paints and mediums caress the canvases in a variety of colour schemes, ranging from the vibrant to the muted, under white vertical stripes that are applied as a guide for the eye to read the visuals.
In addition, the riotous colours are used to break the stability of the square canvases upon which they lay.

Lisa Art Major

Jesselyn Ng

Jess Art Major

Influenced by oriental art, Jesselyn’s works take advantage of muted, warm colors, and the translucency of the paper. Having no identifiable subject matter, her series of works expresses chaos, and at the same time, tranquility. Textures are overlapped, creating an endless space, which requires a limit to contain its ambiguity. Through her spontaneity in handling the art mediums, nothingness is conveyed.

Ink on Chinese paper

30 x 40cm each

Tranquility

Liu Liling

Ling Art Major

, 2014

Compound (1)

Oil on canvas
120cm x 90cm

Compound (2)
Oil on canvas
91cm x 91cm

Compound

, 2014

Compound (1)

Compound (2)

Seen either as individual works or together as a series, Liling’s works are made up of textures, surfaces and non-figurative forms. What sets her apart from the rest is the ability to create from scratch with painterly mediums instead of using ready-made materials. Constituting progressive growth, which holds the best experience, she has also achieved depth, rich aesthetics and a successful portrayal of colours, making it prominent but comfortable.

Lokman Mohamad

Lok Art Major

To make way for new roads, a total number of three thousand four hundred and forty-two bodies will be exhumed in a period of three years, leaving only part of the ceremonial Bukit Brown Cemetery still existing for family members to visit their lost loved ones. This triptych conveys personal thoughts on the consequences of exhumation. In creating the works, spontaneity was key. Using solvent transfers and minimal colours, the work is set to entice its viewers with textures created in multiple layers.

Solvent transfer on paper

100cm x 70cm each

Exhumation

Exhumation (1)

Exhumation (2)

Exhumation (3)

, 2014

Vanity (1)

Vanity (2)

Vanity (3)

Tranquility (1)

Tranquility (2)

Tranquility (3)

Tranquility (4)

Samantha Lee

Sam Art Major

Shapes are a universal language that transcends limitations in human communication. By reducing the visual language to the simplest of fundamental shapes, Samantha’s work takes a purely aesthetic stance where no narrative is necessary. Combining two-dimensional and three-dimensional elements in this installation, the work draws a comparison between how a single shape can look the same yet different when placed in different spaces. The work uses only rice and charcoal to represent some of the natural resources that are essential to living. However, the rice is polished and the charcoal, compressed. These man-made processes give it a human touch that shows how we rely on nature and draw inspiration from it.

Rice sculptures and charcoal on watercolour paper

Dimensions vary

, 2014

Being

Sara Png Xue Yunn

Sara Art Major

Night Walk

A Corrupt Nature

Rather than just re-creating a landscape on a canvas, the artist expresses its essence by applying a washed-out effect over the subject matter. She uses turpentine and swift brushstrokes to create a deliberate blur of her landscape, which exudes an array of less specific and intense moods, leaving the viewer in a state of fogged emotions. It expresses how the artist subconsciously wishes for the moment to pause, even though time and motion carries her forward in life. With the neutral tones and natural colours used, a peaceful, melancholic air is created in that particular moment, which cannot be relived.

, 2014

Night Walk

Oil on canvas

120cm x 200cm

A Corrupt Nature

, 2014

Oil on canvas

78cm x 400cm

Seri Hannah Aminuddin

Seri Art Major

Displacements

Just a Distance

Frenzy Disposition

Oil on canvas

122cm x 152.5cm

Displacements

Oil on canvas

90cm x 60cm

Just a Distance

Oil on canvas

76cm x 61cm

Frenzy Disposition

Hannah’s work is a series of chance, which reflects the subconscious mind at play and is also an exploration of the callous attitude people have adopted towards their surroundings. Her works emphasise the contrast between arbitrary lines and colours. The artist reconstructs the structures that are left abandoned, giving it new life and significance. The thoughts and conversations of daily life expose hidden metaphors through her process of reconstruction.

Sim Jia En

Jia Art Major

Whats Left

Expired

Oil on canvas

152.5cm x 122cm

What's Left

Oil on canvas

90.5cm x 120cm

Expired

Fascinated by expiry dates on food products and inspired by a Chinese expression used to wish people prosperity, “年年有余" (nian nian you yu), Jia En uses fish as her subject matter. The character "余" (surplus) shares the same pronunciation as fish. She experiments in ways to execute messiness with paint, letting go of reservations. The painting is created with the desire to stop time and prevent ageing. This breaks the idea of perfection given by the society; as man favours beautiful objects, they often forget the notion that everything will eventually age and expire. The painting shows impermanence, that everything works by the
law of nature and will eventually come to an end.

Tan Kuay Yong

Kay Art Major

Found (1)

Found (2)

, 2014

Found is a series inspired by construction sites. The occasional clash of muted colors highlights the various textures found on the work. Created using bandages and gauze, the textures depict the safety amongst chaos found in such environments. The charcoal and pencil marks visibly seen on the work are an abstract form of landscape. Through her works, Kuay Yong wishes to express that no matter how chaotic the world is, there will always be somewhere safe.