Artist Information:
Mohd Hairi Yaakub
Kuala Lumpur,
Malaysia
Member Since: Mar 2007
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Artist Statement:
ARTIS STATEMENT
Siri Pemain Wayang
Mohd Hairi B Yaakub
Though it speaks to any
audience, ‘Permain Wayang’ is
deeply rooted in traditional
Malay culture – especially the
Wayang Kulit shadow puppet
theatre from the east coast of
peninsula Malaysia.
The painting speaks eloquently
of two themes: exposure and
alienation.
Hairi comments, “When a Malay
child is born, we dress him up
as what we want him to become.
What I have done is taken the
dress away, leaving the man’s
true self, naked and exposed.
He cannot hide.”
Yet exposure makes us
desperately vulnerable, and
hiding is second nature. This
introduces the second theme:
alienation. The man in the
painting is alienated in a
double sense: alienated from
his environment, and alienated
from himself.
Facing his audience head on,
the man remains wholly
impassive - blank. Moreover,
only half his face is visible,
enabling him to hide himself,
despite his nakedness. We
cannot see his eyes, and he
cannot see us. There is no
communication, no interaction.
The alienation is complete.
But the man is equally
alienated from himself, figure
of Ravana, an evil spirit from
Indian mythology, and a key
figure in Wayang Kulit
theatre. Ravana is a force
both ...
Further Information
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Artist Exhibitions:
EXHIBITION
2007 : ‘ ARTRIANGLE ’ 20
Mei – 30 Mei. Wisma
Kebudayaan Soka Gakkai
Malaysia. Kuala
Lumpur
2007 : ‘ Katharsis ’ Two
Men Show by Mohd Hairi Yaakub
& Syahrulniza Ahmad
Zaini. 07 Feb
– 03 Mar 07. NN Gallery ,
Kuala Lumpur.
2006 : ‘ Mind, Body & Soul
ii ‘ 1 Nov -23 Nov 06.
Wei-Ling Gallery, Kuala
Lumpur.
...
Further Information
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Artist Galleries:
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Artist Reviews:
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Collections:
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Commissions:
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Mohd Hairi Yaakub's Free Artist Portfolio
Welcome to Mohd Hairi Yaakub's Portfolio.
ARTIS STATEMENT
Siri Pemain Wayang
Mohd Hairi B Yaakub
Though it speaks to any audience, ‘Permain Wayang’ is deeply rooted in traditional Malay culture – especially the Wayang Kulit shadow puppet theatre from the east coast of peninsula Malaysia.
The painting speaks eloquently of two themes: exposure and alienation.
Hairi comments, “When a Malay child is born, we dress him up as what we want him to become. What I have done is taken the dress away, leaving the man’s true self, naked and exposed. He cannot hide.”
Yet exposure makes us desperately vulnerable, and hiding is second nature. This introduces the second theme: alienation. The man in the painting is alienated in a double sense: alienated from his environment, and alienated from himself.
Facing his audience head on, the man remains wholly impassive - blank. Moreover, only half his face is visible, enabling him to hide himself, despite his nakedness. We cannot see his eyes, and he cannot see us. There is no communication, no interaction. The alienation is complete.
But the man is equally alienated from himself, figure of Ravana, an evil spirit from Indian mythology, and a key figure in Wayang Kulit theatre. Ravana is a force both ... |
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