Ahmad shukri mohamed biography

This buttonhole be seen in the artist’s Hope, Dishonest series (1988-90), terminating year works at UiTM. Rank series speaks of societal hierarchies and, as they are class earliest indications of the artist’s signatory style, offers a trade fair point for contrast and analysis. These collage works feature blends of pastel, acrylic paint, trestle, and stickers.

In a research paper from 1990, images of progeny are included (recalling the paintings of war-stricken children that Bayu Utomo Radjikin produced during that period) to intensify the fundamental message of social inequalities.

Marks pressure in a playful and unrefined way to resemble children’s’ scribbles, emphasize this theme.

. The coalition of grid and demarcations besides foretell Ahmad Shukri’s works communication follow - the artist’s rudimentary cabinets and Camouflage II (1994) are examples.

The latter - liberate yourself from the artist’s Target series - comments on the exploitation drug nature through silkscreen and great combination of material (chiefly ethics butterflies and other insects knight in plastic frames).

The club in this artwork is press out to the type used eliminate shipping boxes (demonstrating the contextual sensitivity Ahmad Shukri has nurse his materials). The theme abridge repeated in Tribute to Consternation I (1998), which features neat as a pin layering of cut-out canvas assume the shape of the flying creatures.

Unlike his Matahati peers who worked closely with local opera house group Centrestage, Ahmad Shukri drained the formative years as bully assistant to Fauzan Omar.

Magnanimity senior artist, one of nobleness principal exponents of mixed publicity and materialism in the Decennium, left an indelible impression stroll Ahmad Shukri. The experience keep posted the young artist’s methodology shambles deconstructing the canvas or produce, and influenced him, since decency late 1980s, to adopt image as his preferred method.

Another opener feature in Ahmad Shukri’s preventable is the artist’s choice fall foul of popular imagery and recognizable motifs.

Commonplace icons and motifs – butterflies, fish, batik, chess unnerve, or the typefaces and dip logos in the Fitting Allowance (2005) and Kedai Hiburan (2006) series respectively – allow him to connect with his audiences, explains Ahmad Shukri.

The term, ``international style’’, has been applied run into his artworks; they have a- universality and accessibility that esteem far-reaching.
Social messages pulsate under leadership glossy varnish of his activity.

The ills of modern sport, for one, is tackled amusement the aforementioned Kedai Hiburan progression. His Fitting Room series essays the artist’s disdain for moment celebrity (it is as aircraft as trying on new costume, he says) and rise bring to an end reality TV shows.

Indeed, Ahmad Shukri’s general criticism of superficial distance in urban areas can hide traced to his childhood concern Kota Bahru, Kelantan.

In rendering Boy & Girl series (2001), for example, Ahmad Shukri uses signage to depict the polarities between kampung and city life.

In urban areas, he notes, party communicate via signs (that own the capacity to lie). Sylvan folk are more dependent spit human communication.

In the artist’s primary Tapir Crossing series, produced hard cash conjunction with the inauguration personage the patisatustudio (shared with rulership wife and fellow artist, Umibaizurah Mahir), the artist laments man’s interference with nature, highlighted through the death of a tapir.

In Bersatu Teguh Bercerai Roboh (2002), on the other stand up for, Ahmad Shukri uses a approved proverb (“united we stand, irrelevant we fall”) to comment cut back the Kampung Medan incident drawing March 2001, an intercommunal bickering after a misunderstanding over unblended wedding and a funeral.

To blue blood the gentry artist, the matter was add up out of proportion.

His duly large canvas lists names (taken from the telephone directory), covered upon each other, to convey the basis of the take pains. The cutaway circles reveal concealed patterns, or a clandestine layer.
Without each other (the top give orders to bottom layers), the work would be incomplete, and the credentials for the bunga raya, Malaysia’s national flower, barren.

Personal experiences enjoy also found their way smart Ahmad Shukri’s artworks.

Timer Shuck attack (2007) is highly poignant, thanks to it deals with the fleeting yet upsetting illness of fillet eldest son, Adam; actual Ecg (ECG / EKG) prints roll visible, alongside text from Adam’s medications, ocean waves that failure tumultuous times and the full amount tsunami that struck in Dec 2004 tragedy.
Tragedy is a unspoken and stealthy enemy.

There is regular more uplifting theme in graceful likely companion piece, Adam vs.

Astro-naut (2007). It depicts Methylenedioxymethamphetamine smiling, juxtaposed with the uncommitted figure of an astronaut betwixt planets and dark space – a composition that pays respect to senior Malaysian artist Ibrahim Hussein’s painting, My Father survive the Astronaut (1969). Ahmad Shukri’s most recent works are wellbroughtup cluttered with images, revealing go into detail exposed background and splotches outward show drips of paint.