Sidang Genting explores ideas of tension, interdependence and how human life is deeply intertwined with nature. Could you elaborate on how this installation builds upon what you have been exploring in your practice; and also your choice of juxtaposing industrial, manmade materials with organic ones.

Sidang Genting can be roughly translated as "Precarious Meeting." Essentially, the initial point of departure is simple: I just want to create a meeting space. Nature has always been my favourite subject. In fact, Malay art is a creation of the soul, mirroring the harmony between man and nature. The concept of divine essence constitutes the foundation of Malay culture; everything in this universe possesses this essence. As a Malay, I consistently explore this concept in my works.

When discussing our intertwined relationship with nature, elements such as fragility, tension, contradiction, harmony, order, interdependence, and balance are frequently Issues that come into the discussion. My work is a literal attempt to translate and create situations or conditions embodying these elements through a set of installations. These serve as conduits for dialogue between the elements. The presentation is literal in one sense, but also open to poetic or symbolic interpretations.

I engage with the physical attributes and phenomenological aspects of nature and human intervention. Nature consists not only of physical, tangible materials but also of non-physical forces. I aim to integrate this immaterial aspect of nature as well. To do this, I use the force of gravity as an integral part of the work. My goal is not to create freely invented forms but rather to create forms within the restrictions of a set of boundaries. I want to work within certain rules and develop pure plastic forms through a scientific translation of reality. In this case, the law of gravity serves as the central restriction. It is a way for me to understand how nature behaves. It reminds us that life is governed by rules. The natural phenomena we observe are part of a set of rules that nature imposes on us. If we break them, we risk causing imbalances with troubling repercussions. This concept emphasises that the performance and stability of the entire system depend on the harmonious functioning of its parts. Any disruption in one part can affect the whole system.

Industrial and natural materials are combined in my work to highlight the invisible forces of nature that intersect with human existence. Carved wooden pillars are precariously balanced on a steel structure, connected by the tensional pull of strings as gravity exerts its force on the weight of hanging rocks. This alludes to the idea of interconnectedness and the mutual reliance of components within a single system.

Manufactured materials represent human intervention in natural resources, made through industrial processes. Meanwhile, raw materials are those that exist naturally as a result of nature’s processes. Things made by machines are innovations of the advancing human mind, while raw materials are shaped by environmental processes. Though these materials seem to contradict each other, they somehow complement one another. The pursuit of human industrial advancement creates tension, leading to natural pollution and disasters. Therefore, it is crucial to find the right balance between the two.

Each material in my work carries its own connotations. For example, steel is a core material of the industrial revolution, while soil symbolises a return to nature. Old, abandoned wood that is revived reflects the shift in material culture, representing a continuum between the past, present, and future. Meanwhile, the strings symbolise the spreading energy that links everything together.

Nature exists in my work not as an illusion or imitation but as the real thing itself. By using organic materials that retain their original character without manipulation, I reject my own desire to choose based on aesthetic preference. For instance, the rocks were chosen solely based on the weight needed to balance the structure, not because I liked their shape or colour. This creates a tension between self-acceptance and resistance.

That said, I don’t want people to interpret my work solely based on this explanation. A work of art cannot exist within a single, one-dimensional view; it should be open to discussion. Audiences are free to relate my works to anything they choose, beyond the artist’s intention. Their interpretations, based on their own feelings and experiences, shape their own consciousness of reality. For me, the artist’s intention and the audience’s interpretation are always equally valid. I believe art should inspire others to become more aware of their own perceptions.

Natural processes or forces like corrosion, gravity and the use of fire are a defining feature in your works. They can lead to some unpredictable results. How do you accommodate or balance these in your works?

i always believe that the laws of nature are fixed and consistent, but our ability as humans to predict or control them is often limited, which makes the outcomes sometimes appear unpredictable. Rather than saying that the unpredictable result occurred because of a natural process, I prefer to think that it is I (as a human) who made it happen.

In my practice, I always explore the dynamic between personal and impersonal forms. During the making process, I aim to work with something beyond myself. By allowing nature to be an active agent in the creative process, my forms become non-anthropocentric. They are not solely about me but also about something greater than myself. i believe we should acknowledge we are bounds by others. We are always part of of something bigger than ourselves.

Personally, working with something predictable isn’t fun; unpredictable elements excite me more. Unpredictable outcomes are always welcome in my work. I work in a way that allows chance to intervene. Since much of my work involves repetitive forms arranged in a certain order, the results could easily appear rigid and monotonous. Unpredictable elements break this rigidity, introducing variation and contrast. The process itself is a manifestation of the concepts of deformation and transformation. In nature, to create something new, something else must be destroyed; elements constantly interpose and interact with one another, like the cycle of birth and death. Opposites are fundamental to how nature operates, reflecting the relationship and harmony between contradictory forces.

Contrast is part of our natural reality, and to ignore it would be to overlook the complexities of life. In this process, whether the outcome is balanced or not is not my main concern. My primary focus is sharing the creative process with nature itself. If the result happens to be balanced or unbalanced, it should happen naturally. I fully embrace and accept whatever the outcome may be.

Geometric compositions and the use of intricate systems or schemes are a striking feature of your works. Could you share how you developed these for the works in the exhibition, and the ideas or principles that undergird the works.

Visually, the work is composed of geometric patterns, taking references from Malay and Islamic design. This has had a profound influence on the philosophical and axiological aspects of my creative practice. I love bridging traditional and contemporary approaches in my work. Much of it is based on the six fundamental characteristics of the aesthetic expression of Tawhid (the oneness of God), as discussed by Ismail and Lamya Al Faruqi: abstraction, modular structure, successive combinations, repetition, dynamism, and intricacy. I see this as a way to find harmony between innovation and the preservation of my traditional values.

Geometric expression is the simplest representation of unity, favouring aniconism. It reflects the order, harmony, and unity of the universe, echoing the Islamic concept of Tawhid. For Malays, the central importance of nature lies in its essence as a theophany

-a mirror reflecting God’s divine names and attributes. Art is created as an act of remembrance and contemplation of these divine attributes.

The compositions, minimal yet intricate, often incorporate systematic and rhythmic geometric patterns. Even though the designs are personal and not reproductions of traditional motifs, they still embody the principles and aesthetics found in traditional Islamic and Malay art. A geometric or mathematical approach favours logical forms that stress intellectual and rational engagement, rather than expressionistic forms that emphasise emotion and feeling.