Ilham Gallery

Novia Shin (b.1989) is a Kuala-Lumpur based artist and illustrator. Passionate about documenting Malaysian culture and history, her works are an exploration on storytelling through various mediums, spanning illustration, paper art, and miniature installation art.

The pop-up installation, 'Disitu Gudang Yee Seng', was produced as part of 'Di Situ', a site-specific exhibition organised by Japan Foundation at Kongsi KL in 2021. It depicts the social history around Gudang Yee Seng 2, a warehouse enclave located on Old Klang Road, which runs parallel to the Klang River, with the oldest major road in Kuala Lumpur. Through her highly detailed and layered drawings, Novia has illustrated the daily lives of residents, business owners, and workers who have been living in the area for generations.

The work is placed on a round table, inviting members of the community to kongsi (share) their stories with one another.

——

Featured work:

Shin, Novia. 'Disitu Gudang Yee Seng'. 2021.
95cm (diameter) x 72cm
Artist's collection.

Join 'Titik Garis Bentuk' participating artist Syarifah Nadhirah, author of 'Recalling Forgotten Tastes', as she shares the process of making the book and takes us on a show-and-tell on edible plants.

Joining the programme is special guest Lisa Koyok who will demonstrate the preparation of a Temuan dish, 'ubi kacau'.

This programme will touch on the ecological knowledge and lived experiences of the Orang Asli community, based on their relationship to the land and food security. Some plants are native and embedded in their palate, while others such as 'ubi kayu' have been adapted—opening up a conversation about the evolution of tastes and eating what’s available in a given place, season, and time.

The programme will take place at the newly opened Forest Learning Centre at Taman Botani Perdana. Spaces are limited, so please reserve your spot in advance by emailing [email protected]!

Thank you to for the review on our exhibition, 'Titik Garis Bentuk: Drawing as Practice'!

'Titik Garis Bentuk' is on view at Level 5 of ILHAM Gallery.

Read the full article via our link in bio. 🔗

In 'Jungle Jungle' by Zhang Xu Zhan (@.zhangxu_zhan), the use of 'huzhi (糊紙)', a traditional Taiwanese paper craft commonly used in ceremonial festivities, can be seen throughout — from walls to paper puppets, in video, and a site-specific paper installation.

Hailing from generations of 'huzhi' craftsmen, Zhang Xu Zhan's practice marries its traditional techniques with digital technology and stop-motion animation, producing multidisciplinary works such as the Golden Horse Award-winning animated short, 'Compound Eyes of Tropical', also part of the exhibition.

Learn more about the artist's use of paper craft here:
https://www3.nhk.or.jp/nhkworld/en/shows/2105121/

The exhibition 'Zhang Xu Zhan: Jungle Jungle' is on view at Level 3 of the gallery from now til 6 October.

——

Images courtesy of Kenta Chai (@.kenta.works)

Nadiah Bamadhjaj (b. 1968) is based in Yogyakarta, Indonesia. Trained as a sculptor at the Canterbury School of Fine Arts in New Zealand, her practice spans sculpture, site-specific installation, digital video, and print.

In the 'Pessimism is Optimism' series of works, charcoal drawings depict crumbling 'cungkup' structures, a type of architecture used to shelter gravestones that the artist came across during her travels to small villages on the southern coast of East Java.

In her exploration of its design, the artist became interested in the diverse worship practices surrounding this simple structure, which mirror the historical shifts in religious and animistic practices in Central and East Java. These gravesites become sites in which diverse religious and mystical practices converge into and oppose one another, sites that speak to a wider political tug-of-war that has been developing in Indonesia since 2016.

For the artist, this development poses a threat not only the amalgamation of mystical culture and religious practice, but to the great tolerance such an example embodies. Her crumbling structures respond to this conflict; she chooses to depict an upright cungkup that eventually disintegrates further and further into a pile of rubble.

——

Featured work:

Bamadhjaj, Nadiah. 'Pessimism Is Optimism III'. 2017.
110 cm × 150 cm (9 pcs).
Artist’s collection.

We are delighted to share that ILHAM will be embarking on a curatorial collaboration and exhibition exchange with KADIST in the coming year. We have selected writer and researcher Sheau Yun Lim as guest curator for an exhibition which will take place at ILHAM in 2025 and at KADIST San Francisco in 2026. Sheau will track plantation narratives across its varied geographies, exploring the affective and political economies birthed, damaged, and arbitrated by plantations and their (non-)logics.

Sheau is the co-founder of cloud projects (.onl), an independent publishing and curatorial initiative in the fields of art, architecture, and their histories. She is also a team member at Malaysia Design Archive (). Sheau holds a BA in Architecture from Yale, and is currently pursuing a MArch at the Massachusetts Institute of Technology.
--

Kindly take note that our Titik Garis Bentuk exhibition on Level 5 of the gallery will be closed this Sunday, 23 June, from 11AM to 5PM for the following programmes:

Who Wants to Remember a War?
Art Collecting from A Historical Lens.
11:30 AM

Yueh-Siang Chiang, curator at the National University of Singapore (NUS) joins us in conversation with Sharmjn Parameswaran (@.p_sharmin), in conjunction with the launch of The Dato’ N. Parameswaran Collection of Wartime Art from Vietnam (1954-1975) publication by NUS Museum.

——

Artist Talk with Zhang Xu Zhan
3 PM

A special artist talk with Zhang Xu Zhan, moderated by artist and curator Yap Sau Bin (@.yapsau), for the opening of our latest exhibition, 'Zhang Xu Zhan: Jungle Jungle' at Level 3.

——

Do RSVP for the above talks by emailing [email protected]!

Selamat Hari Raya Aidiladha!

Today, we look at the works 'Zohor II' and 'Sacrifice Day' by Chang Fee Ming (@.changfeeming), part of our exhibition 'Titik Garis Bentuk: Drawing as Practice'.

Made in loving tribute to his home state of Terengganu, Chang's beautifully rendered drawings offer a look into faith, culture, and ways of life.

The gallery and exhibition will resume normal operations from tomorrow, 18 June.

——

Featured works:

Fee Ming, Chang. 'Zohor II'. 2014.
11.7 cm x 17 cm
Artist's collection.

Fee Ming, Chang. 'Sacrifice Day'. 2009.
14 cm x 19.5 cm
Artist's collection.

We are delighted to announce our upcoming exhibition at Level 3, 'Zhang Xu Zhan: Jungle Jungle', on 23 June.

'Jungle Jungle' marks the first time that the work of Taiwanese artist Zhang Xu Zhan (), recipient of Deutsche Bank’s Artist of the Year 2021, is being shown in Malaysia.

The exhibition features the film 'Compound Eyes of Tropical', which won the Golden Horse Award for Best Animated Short Film in 2022. Other works include video animation and mixed-media sculptures, as well as paper puppets and a site-specific paper installation, inspired by Taiwan's traditional cultural technique 'huzhi (糊紙)' (papier-mâché), commonly used in ceremonial festivals.

In 'Jungle Jungle', Zhang adapts the Southeast Asian folktale 'Sang Kancil and the Crocodiles' with elements borrowed from other, similar stories, such as 'The Mouse and the Buffalo' from his native Taiwan and China's 'The Rabbit and the Crab'.

——

Do join us on Sunday, 23 June, for the following programmes in conjunction with the exhibition:

Traditional 'Huzhi' Papier-Mâché Workshop
10:30 AM — 1:30 PM
ILHAM Gift Shop, Level 5

Learn about the cultural background and process of making traditional Taiwanese 'huzhi' papier-mâché art, guided by the artist's production team.

Limited places. Kindly reserve by emailing [email protected].

——

Artist Talk with Zhang Xu Zhan
3 PM — 4 PM
Level 5

A talk with the artist, Zhang Xu Zhan, moderated by artist and curator Yap Sau Bin ().

Foo May Lyn began her artistic journey in theatre at the age of 13. Following roles in acclaimed theatrical works, she shifted her focus to producing drawings, jewellery, toys, and books. May Lyn’s work captivates audiences with its exploration of profound human experiences, with exhibitions such as ‘Crowds’ in 2005 and ‘Coming Home’ in 2010 garnering praise for their allegorical depth and spontaneous detailing.

These works by the artist, from her exhibition '10,000 Mosquito Hearts', at OUR ArtProjects in 2019 were inspired by the legend of 'Puteri Gunung Ledang', a mystical princess living on Mount Ophir who, when wooed by the Sultan of Malacca, laid down near impossible tasks in order for him to win her hand in marriage. One of the tasks was to present her with the hearts of 10,000 mosquitoes.

In her essay in the exhibition catalogue, artist-curator Sharon Chin writes, 'Stories have their own imperatives. Happening to us seemingly at random; they guide, and make demands. If we allow them to
make a space in us, they can show us how to make our space in the world. In return, they ask for blood! Accepting the bargain, May Lyn tries to deliver the 10,000 mosquito hearts the princess ordered as part of her bride-price. At cafe tables and her little studio-
shop on Lebuh Penang, she spends hours, days, years, putting an unimaginable number of marks to paper. And since she’s started on the hearts, she might as well do the others. She fills pages with gold and silver marker; crochets vessels for the tears and the juice. Unlike the Sultan, who whips his slaves and his virgins, and bankrupts Malacca—he doesn’t even
ask the princess for her hand in person, he sends
emissaries!—May Lyn gives only what she has to give:
herself.'

__

Featured works:

May Lyn, Foo. 'Mosquito Hearts #26'. 2018.
101.2 cm × 76 cm
Private collection.

May Lyn, Foo. 'Mosquito Hearts #17'. 2018.
76 cm × 101.2 cm
Private collection.

May Lyn, Foo. 'Mosquito Hearts #13'. 2018.
101.2 cm × 76 cm
Private collection.

In his practice, artist Jalaini Abu Hassan () is constantly in search of new processes and ways of working towards presenting a Malaysian visual vernacular, one firmly rooted in identity and culture.

A process painter, Jalaini, better known as Jai, is interested in the exploration of the act of creating a work, the exploration of materials and mediums, and the marks that form a drawing.

Next Saturday, 15 June at 3pm, join us to catch Jai in action as he creates a series of large-scale drawings in-situ while sharing some insights into his work.

Walk-ins are welcome!

Jalaini Abu Hassan (b. 1963), better known as Jai, is a Malaysian painter and lecturer whose training in drawing lies at the heart of his approach to art-making. He began his studies at MARA Institute of Technology (UiTM), before furthering his practice at Slade School of Fine Art, London and the Pratt Institute, New York.

In 'Bomoh Hujan', Jailani styles himself as a 'bomoh', or medicine man. The bomoh hujan continues to be in demand as the person engaged to prevent rain during important events, be it weddings, public launches, or performances. The painting introduces some of the more mystical aspects of Malay culture—the world of bomohs, spells, and incantations—that continue to exist in contemporary Malaysian life.

On Saturday, 15 June, join us and Jai for a special programme at Level 5. From 3 to 5 PM, the artist will be performing large scale drawings in-situ, outlining the material processes, form, and meaning for each respective piece throughout. Do not miss out on this!

——

Featured work:

Abu Hassan, Jalaini. 'Bomoh Hujan.' 2004.
165 cm x 153 cm

Chong Siew Ying (b. 1969) is a Malaysian painter who trained at the École des Beaux-Arts de Versailles, France and the Paris-based printmaking studio Atelier 63. Since her return to Malaysia in 1998, she's exhibited her works extensively throughout Asia, Europe, and the United States.

Known for her dynamic, gestural brushstrokes and expressive compositions, the beautifully dense '300 Years' is testament to the artist’s commitment to process and technique.

Combining charcoal and acrylic emulsion, the work marries Chinese brush ink painting with European painting sensibility. The lush foliage of trees, older than our nation itself, evokes memories of the vanishing Malaysian landscape. Siew Ying’s poetic landscapes go beyond geographical locations, serving as a space for contemplating the natural world, and our own place within it.

——

Featured work:
Chong, Siew Ying. '300 Years'. 2012.
138 cm x 260 cm
Artist's collection.

CC Kua (b. 1991) is a Kuala Lumpur-based visual artist from Sungai Petani, Kedah. With a focus on contemporary drawing and painting, her artworks are inspired by the mundane moments in daily life as well as her dreams.

For CC, drawing is utilised as the perfect medium for capturing the day-to-day. Many of her drawings begin intuitively and spontaneously, serving as a sort of daily visual journal or to capture emerging ideas.

Despite the childlike appearance of the drawings, her works display a mature control over the paper and chosen materials. The artist often experiments with techniques and mediums, such as engaging with negative space, combining multiple materials, strokes,
and line styles in a single drawing.

——

Featured works:

Kua, CC. 'To Wear or Not to Wear.' 2022.
50cm x 70cm
Artist's collection.

Kua, CC. 'Dating Night'. 2023.
25cm x 25 cm
Artist's collection.

Kua, CC. 'Living Room'. 2022.
29.7cm x 42cm
Artist's collection.

Haslin Ismail (b. 1984)

Haslin is a Johor-born, Kuala Lumpur-based artist. His works encompass fantasy, sci-fi, and surrealism, bridging the gap between traditional drawing and contemporary mixed media.

Echoed throughout his works here is the notion of men transforming into animals, as a manifestation of the curse of human desire.

Grotesque and anthropomorphic bodies feature prominently. Often, the visuals are deliberately open-ended—fantastical hybrids in which a compound of body horror, organic plants, creatures, and industrial machines interweave into one other.

——

Featured works:

Haslin Ismail. 'I Got You'. 2023.
29cm x 22cm
Artist's collection.

Haslin Ismail. 'Risikan Sulit Durjana'. 2023.
59cm x 42cm
Artist's collection.

Haslin Ismail 'Gelora Lautan Durjana'. 2023.
59cm x 42cm
Artist's collection.

Our popular Ilham Kids’ Art Discovery Tours are starting again on 16 June 2024 in conjunction with our latest exhibition: Garis, Titik, Bentuk:Drawing as Practice

More than just another art class, this gentle first encounter with art focuses on cultivating art appreciation and creativity in children. Perfect for locals and visitors looking to connect with contemporary Malaysian art together with their kids, our play date styled tour is designed to give 7 to 12 year olds a chance to engage with the Malaysian and larger regional art scene, interpret ideas, and even create their own art works in a facilitated environment.

To register, please drop us an email at [email protected] with your child’s name and age. Fee is RM60 per child (must be accompanied by a parent); limited to 12 children per tour. This fee includes the tour of the current show, discussions on key selected artworks as well as a related art making activity at the end.

The tour dates are as follows:
1. 16 June (Sunday) 2.00pm to 4.45pm
2. 28 June (Friday) 1030 to 1.15pm
3. 3 July (Wednesday) 10.30am to 1.15pm
4.17 July (Wednesday) 10.30am to 1.15pm
5. 27 July (Saturday) 10.30am to 1.15pm

Last Saturday we had the pleasure of having writer-researcher Ong Kar Jin () present his talk M̶a̶y̶ 1̶3̶, in another illuminating session of ILHAM Conversations.

How do we shed light on a story that many are still reluctant to tell? Our speaker proposes that we look to the margins to fill in the gaps.

Through his personal archive of receipts, tickets, letters, and pamphlets, all dated 1969, he reminds us of ordinary lives impacted by the event through objects that serve as powerful vessels of memory and meaning.

Thanks to all of those in attendance, and do stay tuned for more public programmes coming up at ILHAM!

In Ong Kar Jin ()'s essay, 'Di Pinggiran May 13', published by the Malaysian Design Archive (), memories of the day and its aftermath are told through marginalia.

A letter, stamps, tickets to a horse race, an electricity bill—all born on a day which began like any other.

This Saturday, 18 May, at 5 PM, join us for the talk M̶a̶y̶ 1̶3̶, in which Ong examines the day's enduring power on our collective consciousness, contending with ideas of the value of truth, and reflecting on the incident now in a time of Gaza and social media.

Kindly RSVP by emailing [email protected].

——

Featured:

Ong, Kar Jin. 'Di Pinggiran May 13'. 18 October 2019. Malaysian Design Archive.

The ILHAM Student Council sat with Jo Kukathas for the first session of a 2-part writing workshop! The students were questioned and challenged with prompts that pushed them to think beyond the conventions of writing and storytelling, delving deep into the creative thought processes behind expressing an idea from pen to paper. Inspired by the current exhibition, the students reflected on the intersections of creative writing and the visual arts; by the end having gained a different perspective of the artworks and their meanings, they were able to catch a glimpse of how stories are not only told but shown.

A host of exciting programmes and workshops are in store at ILHAM, in conjunction with our exhibition 'Titik Garis Bentuk: Drawing as Practice'!

——

ILHAM Conversations: M̶a̶y̶ ̶1̶3̶ by Ong Kar Jin
Saturday, 18 May
5 PM — 6 PM

Kindly RSVP by emailing [email protected]

A letter from a father to a son studying in boarding school. First day issue stamps commemorating National Unity Week. A ticket to horse races at the Penang Turf Club. An electricity bill—excavated detritus from junkyard sales, old keepsakes, and chance findings that were all born in a fateful year.

In this special talk, Ong Kar Jin () explores the whispers of these objects; through their creases lie a space revealed by shadows, witnessed by marginalia.

——

Langkasuka Cooking Class
Saturday, 1 June
10:30 AM — 1:30 PM

Fee: RM250 per pax.
Kindly register by emailing [email protected]

This is your chance to learn how to make some of the dishes featured in Roslisham Ismail (Ise)’s 'Langkasuka' drawings! Artist and chef Azzaha Ibrahim (.varna) takes us through how to make traditional Kelantanese dishes which can be traced back to the ancient Langkasuka kingdom.

——

Jalan-Jalan Ilham: Zine Making Workshop with Bang Bang Zine
Saturday, 18 May
11 AM — 1:30 PM

Fee: Teen / Adult RM120 per pax. Child (aged 4-12) RM80 per pax.
Kindly register by emailing [email protected]

Join us for an exploration of zines and get inspired! During this 2.5-hour session, you will be introduced to the concept of zine making while looking at various zines from Bang Bang Zine () library collections. You will learn to create an accordion zine, themed around things that inspire you while walking around ILHAM. The hands-on experience covers the zine making process including ideas, design and folding.

——

Charcoal Drawing Workshop
Saturday, 25 May
10:30 AM — 1:30 PM

Fee: RM140 per pax.
Kindly register by emailing [email protected]

Get inspired by the life-size charcoal drawings in 'Titik Garis Bentuk' and learn to draw your own!

——

Hasanul Isyraf Idris (b. 1978)

Hasanul Isryaf Idris was trained at Universiti Teknologi MARA, Perak, and is based in Penang.

Influenced by comic books, street art, and British sci-fi writers such as HG Wells, Hasanul is known for his fantastical colour filled works, steeped in myth and storytelling.

His 'Valley' series depicts a dream-like universe where strange hybrid peacocks and exotic birds roam, policed by an army of virus-battling cats armed with thermometer guns.

Made at the height of the Covid-19 pandemic, Hasanul was inspired by the Sufi poem 'Mantiq al-Tayr (The Conference of the Birds)' by Farid al-Din Attar, an allegory about the soul’s journey to the divine which resonated with him during this particularly difficult time when he lost three family members.

In 'Quarry', which also deals with loss, Hasanul takes drawing off the page to create an installation. As he was driving home to attend the funerals of his three family members, the passing landscape reminded him of the granite quarry where his father used to work.

Sheets of paper were coloured by graphite sticks, countless layers of pencil giving the work material texture. At the foot of the hill lies three heads made of resin and coated with graphite, made in the image of the artist, symbolising the separation of body from mind, memory and thoughts.

——

Featured works:

Isyraf Idris, Hasanul. 'Valley of Quest.' 2021.
Watercolour, ink, and colour pencil on cotton paper.
153 cm x 153 cm
Artist's collection.

Isryaf Idris, Hasanul. 'Valley of Love.' 2021.
Watercolour, ink, and colour pencil on cotton paper.
153 cm x 152 cm
Artist's collection.

Isryaf Idris, Hasanul. 'Quarry'. 2022.
Graphite on cotton paper & fiberglass sculptures.
Dimensions variable.
Artist’s collection.

——

Gain more insight into Hasanul and his work with ILHAM Artists in Conversation (beginning at 11:43):
https://youtu.be/CIr4g7uukss?si=HLIvvkGoN64h6Vuo

Agnes Lau (b. 1990)

Born and based in Kuala Lumpur, Agnes is a multidisciplinary artist.

She is known for her minimalist, process-orientated works which often incorporate simple geometrical, repeating shapes. Her manipulation of shape and line creates a spatial illusion, and a sense of vibration.

Living and working in a fast-paced city, her works are an outlet for meditative contemplative practice, where the process of making is as important as the result.

Through her work, Agnes invites the viewer to cast an eve inwards, rather than externally to the work itself, in an active exploration of the objects and activities from our daily lives that make up the 'essence of living'.

——

Agnes' work is on view as part of our exhibition, 'Titik Garis Bentuk: Drawing as Practice' at Level 5.

——

Featured works:

Lau, Agnes. 'Soul that repeats V.' 2022.
Pencil on acid free paper
50 cm x 50 cm
Artist's collection.

Lau, Agnes. 'Soul that repeats II.' 2022.
Pencil on acid free paper
50 cm x 40 cm
Private collection

Lau, Agnes. 'Soul that repeats III.' 2022.
Pencil on acid free paper
80 cm x 80 cm
Private collection

Last Saturday at ILHAM saw another full house for 'What is ritual?', the second in a series of talks held in collaboration with PUSAKA () by Eddin Khoo (.isatsea).

Earlier in the afternoon, members of our Student Council got the chance to tour 'Titik Garis Bentuk: Drawing as Practice' at Level 5, culminating in a free-drawing session guided by the themes and ideas of the exhibition.

Elsewhere, inside , a leisurely afternoon was spent with illustrator Gladys Simpson (), who gave a workshop on travel journaling.

Thank you to those who attended the day's programmes! Be sure to stay up to date on events and happenings at ILHAM by subscribing to our newsletter at [email protected].

Our exhibition 'Titik Garis Bentuk: Drawing as Practice', on Level 5 will be closed this Saturday, 20 April, from 3 PM to 6 PM for the talk 'What is ritual?' by Eddin Khoo (.isatsea), founder and director of PUSAKA ().

In 'What is ritual?', Khoo offers reflections on the power of ritual within the context of the Malay Archipelago. Delving into the ways in which ritual ceremonies and mythology inform character, creativity, and connection to one's community, memory, and lineage, Khoo draws parallels between ritual practices and those of contemporary artists in Malaysia, referencing works from 'Titik Garis Bentuk.'

——

'What is ritual?'
A Talk by Eddin Khoo

Saturday, 20 April 2024
4:00 PM — 5:30 PM
Level 5

Kindly register via: [email protected]

——

Featured work:

Anwar, Ahmad Zakii. 'Orang Perempuan.'
2015. Charcoal on paper.

Today on International Slow Art Day, we invite you to look at the work in our exhibition 'Titik Garis Bentuk: Drawing as Practice' slowly and with intention.

Slow looking encourages us to take our time when viewing a piece of art. Rather than rushing through an exhibition, choose a few works for a longer look.

A few minutes spent truly taking in a work, observing all the details within it, can reveal its true depth and complexity. Slow looking offers deeper contemplation and understanding of art, encouraging well-being and academic recall.

'Titik Garis Bentuk' is on view at Level 5 of the gallery til 28 July.