Millennium changed...

In the new millennium, the major liberating change in my work was when I switch to wire mesh as the basic material in creating my artworks. I was fascinated with the fine weaving grid of wire mesh and that it had an interesting effect of creating ' moire ' patterns, which bring a sense of ambiguity and optical illusion when viewed from different angles. Looking at these moire patterns is like looking at vibrations of air in space. The rhythm and contours move as the mesh floats gently in space.

" Echoes of Dream " was my first solo exhibitions and it then marked my most significant body of using wire mesh as a medium. Conceptually, it was about adaptation and self-mutation during my stay in Australia, where I pursued my Master's degree in Creative Arts. The installation, which consisted of more than thirty transparent pillows that had "Jawi" inscriptions on each pillow, was suspended mystically in space casting a pattern of shadows underneath.

Dr Khatijah Sanusi once comments in her articles cited from the art journal "Art Corridor"issue 8 .2001,

" Her installation piece "Echoes of Dream", is best expressed by her respond to new environment confronted while pursuing her studies abroad. The formal elements chosen such as the pillow-like form ,the use of wire-gauge, shadows and lights ,suspended like hammock and use of stenciled calligraphic form have been consciously selected to express various concepts and experience that Australia has given her.This include consciousness of being an immigrant ,the feeling of alienation ,estrangement and the need to be critical and selective new values that can contribute towards enriching her as a woman as well as an artist. For instance ,her use of the floating pillow like form symbolizes her dream of her past life in her country. Similarly ,the significance behind her choice of black mesh material or fly screen that Australians use to protect from flies functions as a "metaphor to filter or sift elements or values which are not compatible to her religion and cultural values".

1998-2000 series

Detail of 'PesanNenda'.1998


In early 1998,I went to Prague with a group of young artists where I showcased my work entitled"Pesan Nenda", which means 'Message from Grandma'.This installation was presented in a dark room,with five hanging boxes and shadow drawings on the floor.In this work , I recalled back my granparents advice and through this work I try dispensing these advises visually to perhaps, my own children and my fellow contemporaries along with those who may appreciate such work.The floating boxes symbolized the memories that are now forgotten.

Most of my other works are usually related to the bygone days. I picked up images and forms from old traditional Malay functional objects and utensils and use them as metaphors in my artworks. I again used copper to coat and reconstruct the original forms and added my own designs to present them in an alternative way. Sometimes ,I would even bury these forms in order to get the ageing result.These objects that I employed in my artworks provide feeling of survival ,nostalgia, joy ,heritage, routines and beliefs in the life of every female through motherhood and family ties.They represent the roots and origins of my identity.They are important to me because I feel that the values and cultural traits of our heritage is slowly losing its significance as we find ourselves looking ahead and disregarding the past.

Retrospect & other Journey Series

Tragic Journey.1996
Tragic Journey II
Behind Memories.1996
Retrospect .1995
Retrospect .Details.Collection of National Art Gallery Malaysia

Early works:Journey Series

I was born in Taiping ,the first town which had a railway station in Malaya.In 1885 the British built it from Taiping to Port Weld.I lived near the station where i was brought up my grandmother. Living near by the train station we'd hear the sounds of the train and sometimes the sound of the train meant it was time to go to sleep,time to be in the house,time to stop playing outside. That is my nostalgic view of my childhood days. Most of those memories were my inspirations that I transform into forms of my sculpture.

Journey series was a series of railway tracks/tunnel/carriages like forms.The forms represents symbols of separation, migration,obligation,direction and ambition.


"Retrospect " is a significant work that rewarded me with a prize in the Young Contemporary Art Competition.It is a wall installation which consists of little boxes or "carriages "forged from patinated copper and scrap metal.It was the continuation of my Journey series ,based on my childhood memories of living in the historical railway town of taiping.

Curriculum Vitae

Name : Sharmiza Abu Hassan
Born : 11/22/1972, Taiping , Perak, Malaysia.
Address : 69 Gallipoli Parade, Pascoe Vale South, 3044 Victoria, Australia.
Telephone : +603-9354 0991
E-mail: mizasan@yahoo.com
S3208815@rmit.edu.au

Education

1999 - 2000 Master of Creative Arts, University of Wollongong, Australia.

1991 - 1994 Bachelor of Fine Art, Faculty of Art & Design, MARA Universiti of Technology (UiTM),
Shah Alam, Selangor, Malaysia.

Designation

2008 - Present Post Graduate Studies- DFA, RMIT, Melbourne, Australia.

2004 - 2008 Head of Fine Art Department, Faculty of Art & Design, UiTM, Shah Alam, Malaysia

2000 Full time lecturer in Fine Art Department, UiTM, Shah Alam, Malaysia

1997 - 1999 Part time lecturer UiTM, Shah Alam,Selangor, Malaysia.

1997 - 1999 Part time lecturer One Academy Art College, Subang Jaya, Selangor, Malaysia

1995 - 1997 Apprenticed under Malaysian renowned sculptor Ramlan Abdullah.

Awards

2001 Finalist (Malaysia level) Marquette stage for 6th Oita Asian Sculpture Competition.

1997 Young Lecturer Scheme Scholarship, UiTM, Shah Alam, Selangor, Malaysia
Honorable Mension, Philip Morris Art Competition, National Art Gallery, Kuala Lumpur, Malaysia
Finalist (Malaysia level) Marquette stage for 3rd Oita Asian Sculpture Competition.

1996 Minor Award, Young Contemporary Art Competition, National Art Gallery (NAG), Kuala Lumpur, Malaysia
Best Student awards, Fine Art Department, Faculty of Art & Design, UiTM, Malaysia
Dean's List, Fine Art Department, Faculty of Art & Design, UiTM, Malaysia

2003 First Prize Sculpture Category, Johor Art Competition, Johor, Malaysia.

2004 Juror's Award - Young Contemporary Art Competition 2004. NAG, Kuala Lumpur, Malaysia

2005 - 2006 Project Manager for Building UiTM Sculpture Park, "LAMAN ARCA MIM".


Selected Exhibition / Activities.

2008 New Collectable, First Site, RMIT Gallery, Melbourne, Victoria.
Semangat Chandan: Galeri Chandan, Damansara, Kuala Lumpur.
WWF For Living Planet: Rimbun Dahan Gallery, Sungai Buloh, Selangor.

2007 Out of The Mould - The Age of Reason: Malaysia Women Artist Exhibition, Petronas Gallery, KLCC.
Welcome to Malaysia - Selamat Datang: 4AGallery, Sydney, Australia.
Domestic Bliss - The Myth of Happy Home, Sculpture Square, Singapore.
Triangle - SOKOGAKAI, Kuala Lumpur.
WWF for Living Planet: Rimbun Dahan Gallery, Sungai Buloh, Selangor.
50th Anniversary of UiTM, UiTM Gallery, Shah Alam, Selangor.

2006 10th Year Anniversary: NN Gallery, Ampang, Selangor.
Pameran Pelukis Wanita Malaysia, - National Art Gallery, Kuala Lumpur.
Sculpture Show: Gema Rimba Gallery, Jalan Duta, Kuala Lumpur.

2005 Garden International Art Workshop, Jackowo, Warsaw, Poland.
Contemporary Metal - Maya Gallery, Bangsar, Kuala Lumpur.
A Closer Look - Miniature Show - Maya Gallery, Bangsar, Kuala Lumpur.

2004 Warisan Melayu: Tradisi & Inovasi, Kongres & Ekspo Warisan Melayu, UiTM Shah Alam.
ILHAM: NATURE INSPIRATION, Faculty of Art & Design, UiTM Shah Alam.
Young Cotemporary Competition 2004, National Art Gallery, Kuala Lumpur.
WWF: Paradise Lost Found, Rimbun Dahan Gallery, Sungai Buloh, Selangor.
Symbolism & Spirituality - National Art Conference, Faculty of Art & Design, UiTM Shah Alam, Malaysia.

ALEGORI LEDANG, 1ST SOLO EXHIBITION - Maya Gallery, Jalan Telawi, Bangsar, KL, Malaysia.

2003 WAHANA - Malaysian & Singapore Artist - National Art Gallery, Kuala Lumpur, Malaysia.
VERSI JOHOR - Galeri Seni Johor, Johor Bharu, Malaysia.
ALAMI - Science Inspired Art Exhibition - National Art Gallery, Kuala Lumpur, Malaysia.
FORMATIVE - Contemporary Sculpture Exhibition - Willie Valentine Gallery, Kuala Lumpur Malaysia.

2002 Science Inspired Arts Camp, Mount Kinabalu, Sabah, Malaysia.
Jejak Seni, Taiping Art Track Workshop, Taiping, Perak, Malaysia.
'Resource person' for 'Sonneratia' Malaysian Youth Art Camp, Kuala Selangor, Malaysia.
Committee member of Academic Research for Royal Tombstone Projek, Malaysia.

2001 Open Show, National Art Gallery, Kuala Lumpur, Malaysia.
Dialogue of Civilizations, Metro Fine Art, Kuala Lumpur, Malaysia.
ILHAM, Faculty of Art & Design, UiTM Shah Alam, Malaysia.

2000 Young Contemporary Art Review, National Art Gallery, Malaysia.
Echoes of Dream, Spark Gallery, Faculty Creative Arts, University of Wollongong, Australia.
Volume and Form, Chijmes, Singapore Art Festival, Singapore.

1999 Perspective & perception 1 - Malaysian Eyeview, Hot Bath Gallery, Bath, United Kingdom.
Light and Reflection, Contemporary Malaysian Art, The Atrium Gallery, London.

1998 Islamic Art Exhibition, Maybank Art Gallery, Kuala Lumpur, Malaysia.
Resonance, Manes Gallery, Prague, Chezh Republic.
Recent Acquistion, National Art Gallery, Kuala Lumpur, Malaysia.

1997 Young Contemporary Winner 1996 Exhibition, PAPAHAYAG, National Art Gallery, Malaysia.
Journey, Art and Nature, Pekan Seni Ipoh, Perak, Malaysia.
Inside, Stofweschel Project, Kassel, Germany.
Art For Nature, WWF, NN Gallery, Kuala LUmpur, Malaysia.
Echoes of Infinity, Faculty of Art & Design, UiTM, Shah Alam, Malaysia.
Malaysian First International Art Fair, Renaissance Hotel, Kuala Lumpur, Malaysia.
Crates Classified - Wan Gallery Ampang, Kuala Lumpur, Malaysia.

1996 Young Contemporary Competition, National Art Gallery, Kuala Lumpur, Malaysia
'Rupa Kata', Pekan Seni Ipoh, Perak, Malaysia.
Philip Morris Competition, National Art Gallery, Kuala Lumpur, Malaysia.
From Tradition to Modernity, Contemporary Malaysia Sculpture, National Art Gallery, Malaysia.
"X=PRO + Form,"Creative Centre, National Art Gallery, Kuala Lumpur, Malaysia.
Islamic Art Manifestation Exhibition, Petronas Gallery, Kuala Lumpur, Malaysia.

1995 The Young Ones, Nan Yang Art Gallery, Kuala Lumpur, Malaysia.
2nd Oita, Asian Sculpture Competition (Preliminary), Creative Centre, Kuala Lumpur, Malaysia.
'Lembaran 95', Petronas Gallery, Kuala Lumpur, Malaysia.

1994 Degree Show, FineArt Department, UiTM, Shah Alam, Selangor, Malaysia.
Sculpture Preview, FSSR Gallery, UiTM, Shah Alam, Selangor, Malaysia.
Japanese Woodblock Print Workshop, Japan Embassy, Kuala Lumpur, Malaysia.
The River Project - Central Market, Kuala Lumpur, Malaysia.
Kenyir Ecofest, Kuala Terengganu, Terengganu, Malaysia.
Culture in Context, Australian High Commissioner, Kuala Lumpur, Malaysia.

1993 Higher Institutional of Learning Exhibition, Bank Negara, Kuala Lumpur, Malaysia.
Earthwork, Wan Gallery, Ampang, Kuala Lumpur, Malaysia.
Open Show, Shah Alam Gallery, Selangor, Malaysia.


Collections

Faculty of Art & Design, UiTM, Shah Alam, Selangor, Malaysia.

National Art Gallery, Kula Lumpur, Malaysia.

Australian High Commissioner, Ampang, Kuala Lumpur, Malaysia.

Perak Arts Foundation, Perak Darul Ridzuan, Malaysia.

Mr. Pakaruddin & Mrs Fatimah, Malaysia.

Mr. Hamid Ibrahim - Petronas, Malaysia.

Datin Soraya - (RHB)

Mr. Paul Johnson, Wanganui Polytechnic, New Zealand.

Mrs. Cole Adam, ANCA, Canberra, Australia.

Uwei Shaari - Film Director

Datuk Syed Ahmad Jamal

Raja Azmi Raja Yaakob - Film Director

Mr. Osman Bakarudin

Redza Piyadasa - Artist


Recent Articles / Publications

1. Off The Edge: December 2007, Issue 36
Art Review by Carmen Nge - The Edge Comm. Sdn. Bhd.

2. The Encyclopedia of Malaysia: Art & Craft. - Edition Didier Millet Sdn. Bhd. K.Lumpur

3. Craft Arts International Issue 52: ISSN 1036-846X
Echoes of Dream - Ken Lockwood & Jenie Thomas Craft-Art Pty Ltd.

4. Art Corridoor Issue 8: KDN PP 1178/10/2002.
Labyrinth search for Identity
Review on Artist by Assoc. Prof. Dr. Khatijah Sanusi - Arttext Publishing Sdn. Bhd.

5. Dewan Bahasa, April 2005, ISSN 0126-8473
Review on Solo Exhibition Alegori Ledang by
Assoc. Prof. Dr. Muliyadi Mahmood.
Kiasan Dalam Arca Sharmiza - Dewan Bahasa & Pustaka.

6. The Edge. Option July 5, 2004. ART: The High Cost Pride
Review on Solo Exhibition by Laura Fan - New Straits Times

7. City Focus. The Star. 2004. Sculpturing Stunning Allegories.
Review by Meena Srevanivasan - The Star

8. Infokreatif: Issue 2, FSSR, UiTM. 2005, Review on Award
Bakat Muda by Jamil Mat Isa. - FSSR, UiTM.

9. NadZalewam: ISSN 1506-1590 (2005)
Jackowie Dolnym, Nad Bugiem Review on workshop
by Barbara Polak - ZALEWEM, Poland.

10. New Straits Times. Life & Times: Thursday July15, 2004.
Subtle dig at selfish leader by Ooi Kok Chuen - New Straits Times.

11. The Egde, Option. (2003) Taking its place. Review On Solo
Exhibition by Laura Fan. - The Edge.

12. Utusan Malaysia. July 2004, Alegori Ledang 2004
Papar Karya Hebat Sharmiza - Utusan Malaysia.

13. METRO. Tuesday 1st June 2004. Legend carved in lesson
that make viewers think deep. By Dharmender Singh - Berita Harian.

Reflections

Biographical Notes - July 2004

By Sharmiza Abu Hassan

I was born in the small historical town of Taiping, once the capital city of Malaya, on the 22nd of November 1972. Taiping is particularly nostalgic to me as this is where I was brought up by my grandparents, living and growing up with my teenaged uncles and aunts until I was six years old.

My childhood days in my old hometown are still vivid in my mind and have been such great source of inspiration to me. They fill me with sweet memories especially since I had everybody around me at that time and all the thoughts that have brought me to be what I am today.

In my childhood days, I remember we lived near the railway station. We would hear the train everyday and there were times that the sound of the train signaled that it was time to go to sleep, time to be in the house or time to stop playing outside.My grandfather was very artistic, energetic and had a humble personality. He was a railway worker until he changed his job to a hospital attendant when his 8th child, my youngest uncle, was born. He did a lot of Islamic calligraphic decorations and carvings that most Muslims display in their houses. Sometimes, he would also make his own tools like knives, chisels, axes and carving tools. He built a large wooden house for us to live in before he passed away. I was five years old when he passed away and after that, I returned to live with my parents. I think I drew my artistic talent from him and consider myself very fortunate to have inherited his artistic disposition.

My grandmother used to take me everywhere. She was a traditional midwife and I sometimes helped her to search for herbs. Her medications were made of plants, dried fruits, roots, seeds and even stones that we got either from the market or from the nearby bushes. In Malay tradition, people believed in magic and talismans, they used incantations to cure illnesses but my grandmother used invocations and Quranic verses to perform her healing. There were a few special utensils including bowls and knives that my grandmother employed and were inscribed by my grandfather with divine words of God, sacred verses and symbols. Some of them, like the jars, nutcrackers and the Kris, were inherited by my grandmother from her grandparents. All these tools were kept in a special container and are still in good condition today.


Recollecting on my childhood experience has made me believe that I have been exposed to the process of becoming an artist since I was young. I still practice the old charms, tips and abstentions learned from my grandmother, although we are living in the scientific and technological advancements of today. I feel that it is unique and nostalgic although it may sometimes be deemed as supernatural. I was also fascinated by the old traditional utensils that she used because for me those materials and objects represented a feeling of survival, spiritual heritage and beliefs. That is why I love making my art with physical objects as it reminds me of my childhood days and provides me with more space and opportunities to enhance the whole creative process experienced.

Nostalgia, childhood memories and personal experiences are the themes that I have developed through my artworks since 1995. Constructing the forms and images of these themes using patinated copper, found objects and assemblage has been my favourite style of working.

Agony.

Agony.Aluminium Wire-Mesh.93cm x196cm x100cm

This work was exhibited in "Out of The Mould:The Age of Reason" in Petronas Gallery ,Kuala Lumpur in December 2007 and in Malmo Museum,Sweden in March 2008

Artist statement:

Issues that highlight crime scenes ,war and natural disasters are more dominant nowadays,leaving us in a very fragile state and uncertain about our life and environment.The more technology is developed,the more warfare arises.This work represents a situation of how fragile life is for the victim of war and how fortunate we are to be living in a peaceful country,where we can sleep comfortably while listening and watching the news of people in the middle east becoming war victims and living in desperation.

This work is a reflection of the fragility of life and the uneasiness of our bedtime,hoping to trigger awareness to stop war in our own way and be alert and thankful for the peaceful life that God has given us in this country.

The bed form is made of wire mesh to portray fragility and desperation.Inscribed on the wire are form, patterns and motifs of missiles and bullets ,but been decorated nicely to appear as a common bed setting.

Shireen Naziree ( the curator) wrotes in the catalogue:

"The simplest of visual expressionism is often the most complex.Sharmiza Abu Hassan is a sculptor for whom everyday objects and events have become symbols of her expressive narrative.Agony ,as the title to her body of work, is loaded in its meaning as the work operates on many levels of understanding and interpretation.The unconventional use of wire-mesh ,typically associated with fencing or containment,also appears as another possibility of reference.The use of the word Agony is a conscious statement by the artist or may also be reinterpreted within another framework in reference to the destruction of the social environment as a result of the ongoing war in Iraq and the ongoing conflicts in the middle-East that have resulted in the breakdown of societies and the displacement of innocent citizens. The work also engages on the language of form and the way we experience a particular physical space in relation to the mental associations related to the object.This two fold dynamic of the work raises the question" What do you think about when you go to bed?"