dusun

Malaysian e-Journal of the Arts

December 2011/ January 2012
Ridiculously Free

photography issue

yusuf martin

ismail hashim kamal sabran samsul said dennis lau amir zainorin eric peris alan quah

ismail h

father of Malaysia

hashim

an photography

. Amirul B Ruslan.Best of Asian Erotica 1 By Stephen Leather. O Thiam Chin. Malaysia. Lee Ee Leen. Stephen Leather and others.Yusuf Martin. A welcome addition to the growing list of erotic literature in this most erotic corner of the world. Singapore and the Philippines. Hari Kumar. Alison Jean Lester. but they all celebrate the sensual in the sure voice of firstrate writing.The nineteen stories presented here examine the topic from varied angles.Thailand. Erich Sysak Monsoon Books Pte. Monsoon Books Pte Ltd 2011 ISBN : 9789810854362 . Jonathan Lim.Yusuf Martin. Chris Mooney-Singh. Dawn Farnham. Includes Amir Muhammad. 2011 eBook release: June 2011 ISBN: 9789814358156 Best of South East Asian Erotica 19 stories from well-known authors in Indonesia. John Burdett. Meihan Booey. Ltd. Christopher Taylor.

roti man short story eric peris images penang little india on the street installation alan quah comic art .the photograph short story samsul said charcoal workers dennis lau images of borneo amir zainorin Pop collage yusuf martin .com Dusun TM dusun is a not for profit publication page 6 page 8 page 17 page 21 page 31 page 35 page 47 page 51 page 55 page 58 page 61 page 69 editorial ismail hashim father of malaysian photography malaysian photography essay kamal sabran new photography yusuf martin .contents december/january 2012 cover editor email ismail hashim yusuf martin yusufmartin51@googlemail.

.... Welcome back Dusun is rapidly becoming established as THE place to go for insights into Malaysian Art and Culture....on the page and on the street..... Dusun seeks to promote modern and contemporary Malaysian Art and Culture. From antiquity to modernity...... Malaysian photography is the lead in this issue of Dusun.... Now read on....... from Eric Peris and Ismail Hashim to Kamal Sabran and fresh ways of looking at photography in Malaysia....on Malaysian Art and Culture.. highlighting the origins of modern Malaysian photography and recalling some of Malaysia’s photographic ‘heroes’. poems and short stories which have a Malaysian connection...... Each issue we bring a different aspect to our eager world wide audience. and in this issue Dusun excites and delights with a brand new theme.editorial Ed. . Dusun is open to article contibutions ..... this issue reveals some of the very best that Malaysian photographers have to offer . from Singapore to Penang.. trying to bring the very best to you in the spirit of a NOT FOR PROFIT e-magazine (e-zine)....

tel: (603) 2284 4837. malaysia. 59100 kuala lumpur.silverfish books. 28-1 jalan telawi.com . bangsar baru. fax: (603) 2284 4839 email: info@silverfishbooks.

. into modern Malaysian photography. Working in Universiti Sains Malaysia (USM) 1979 until 1995. unconscious of exploding bomb Ismail Hashim has been a leading light in Malaysian photography from the 1970s onward.ismail hashim continued Sleeping uncontrollably. He ushered in concerns about ‘social realism’ and the ‘vanishing scene’. 2 – 30 Nov 2010. There was a major Ismail Hashim Retrospective at Penang State Art Gallery. enabled Ismail Hashim to influence several decades of designers and photographers. on the island of Penang.

After having ‘nasi kandar’ with a glass of water .

enviroment graphics .

bicycle seats .

dapur gas. goreng cucur . jerang air.dapur minyak.

post boxes along bagan serai – taiping road. .

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UP 201307.Divya Dubey D-220.com .com marketing@gyaanabooks. Noida. India Email: divya@gyaanabooks. Sector 55.

called Sachtler & Co. Many believe that the physical studio had pre-existed the setting up of Sachtler & Co but the facts are uncertain. Kristen Feilberg soon followed with a photographic studio in Penang (1867) partnering E. Gaston Dutronquoy appeared in Singapore and set up his studio. however incorporating the mechanics of photography into an Art form rather than a Craft has been somewhat tardy. in all its beauty. in the beginning of the 21st century.5” of farm buildings) was made sometime in 1826 by Joseph Nicéphore Niépce. Hermann Sachtler (thought to be August Sachtler’s brother). in Vision and Idea Re-looking Modern Malaysian Art ed.K. Malaysian photography is slow to catch up with printmaking. painting. Munshi Abdullah (The Daguerreotypes in Hakayit Abdulla 1849. on which was all the landscape without flaw. sculpture et al and yet. Singapore (1864). It is evident that Malaysian photography has been around since the late1800s. when at once we saw a picture of Singapore fixed to the plate exact tonature. Sabapathy & Redza Piyadasa) gives a quick mention to Nirmala Shanmughalingam’s Statement III (1975 – 79) (p36 -37) then follows up with four pages on this one artist using photography in her work (p156 -159). And as to the plate on which the picture was fixed. he lifted the plate off. like ‘Digital Art’. to all intents and purposes. one of the earliest recollections of photography is by Munshi Abdullah (father of modern Malay literature). in 1849 (Hikayat Abudullah). around 1839. France. In Malaysia. By T. photography as a medium pre-dates Malaysian painting by at least 80 years. Modern Artists of Malaysia (T. a relatively newcomer to the Art world party. curiously named London Hotel. when he mentions seeing an early daguerreotype view of Singapore – possibly in 1841. when he used a camera obscura to burn a permanent image on pewter plate in Le Gras. In Malaya. The first stable photographic print (8”x 6. Vision and Idea Re- kristen feilberg dyak women borneo 1860s august sachtler 1864 portrait of an upperclass chinese man . Some years later photographic studios were opened by Danish Kristen Feilberg and German August Sachtler. Little is mentioned of Fine Art photography in the major Malaysian Art tomes. Even now.K. Sabapathy -1994) Malaysian artistic activity may only be traced back to the 1920s. when the time was up. Fine Art Photography has been.article malaysian photography Then. he put it in front. According to Redza Piyadasa (On Origins and Beginnings. and with the greatest case. trans 1874).

From his early years Lau developed a deep love of the surrounding countryside and its peoples. Syed Ahmad Jamal’s Crafts and the Visual Arts (vol14 The Encyclopedia of Malaysia) is a little more generous with its two pages of text on Malaysian photography (p122 -123). Eric became one of the most revered ‘Art’ bidayuh . Sabah and Brunei in his photographs. Kenyah. treatment of background.looking Modern Malaysian Art (ed. A selftaught photographer.Man Ray etc had used photomontage. It was a trend continued in Malaya by expeditions and British government agents including James W. Sabapathy) gives a bare mention of Ismail Hashim (p74). revealing the commonplace as well as the strangely exotic to excitedly interested eyes. While the Dadist groups. Penan or Bidayuh. Malaysian art was still grappling with the art of painting. Holland and Germany. were interested in capturing exotic. Early photographers in Malaya (later Malaysia). when Malaysian Arts photography began to emerge.2008) produced by National Art Gallery Malaysia seems to overlook photography except for a very brief mention of more the contemporary work of Masnoor Ramli Mahmud’s Journey II (2007) (p257) and Yee I-Lan’s Horizon Series (2003) (p259) – in picture form only. man ray . T. with little thought of further experimentation. Despite being overlooked. Many of the early photos concentrated on tribes and aboriginal peoples in Malaya and the Dutch East Indies. Dennis Lau made it his life’s work to cover as many aspects as possible of Sarawak.rayogram From 1960.several decades after Western innovations. As the young artists were returning during the 1970s. There is little doubt that being born part Chinese and part Melanau (an ethnicity from central Borneo) not only guided Lau’s love for his environment. detailing and composition used primarily for salon type photography.K. USA. Melanau. whether they be – Iban. and the more recent Susurmasa (Timelines – celebrating 50 years of Malaysian Art 1958 . France. drawing away from the ‘craft’ and more towards and ‘Art’ . Lau developed his ‘eye’ and was encouraged in his art by K. but also his love of the individuals peopling it. alluring ethnicities. Interests in photography in Malaya tended to be practical – lighting. Eric Peris was working as a photojournalist for the New Straits Times. the Surrealists .F Wong himself a master photographer. It was from the1970s onwards.W. solarisation and rayograms (photograms) and others exercised experiments in photography from approximately the 1920s to 1945. well known in Sarawak. along with Hannah Höch and Raoul Hausmann. Birch – the first British Resident in Perak (1873) who was also an amateur photographer. His many stunning representations of Borneo tribe peoples has continued that ethnographic trend begun by the foreigners to his shores. Lau’s black and white imagery gives us glimpses of daily life in the equatorial rainforests of Borneo. Malaysian photography has prospered in its own way since those early pioneers back in the 1800s. Wong was also celebrated for his work with Sarawak’s ethnic groups and encouraged Lau in his love of photography. as the young artists returned from their studies in Britain. for the land and inhabitants.

artist/photographer/ musician/academic Kamal Sabran re-interprets life around him. Unconscious of exploding Bomb (1983) – where a television shows an unexploded bomb embedded in a riverbank.Kamal Sabran. and social realist. revealing new directions. would fit the bill. Dapur Gas. In a way Samsul Said’s work is both ethnographic – revealing the exotic. Dapur Minyak. Eric Peris and Ismail Hashim became prominent figures in Malaysian ‘Fine Art’ photography. heat and low wages which force some into lives which are far from romantic though romantacised by their images’ inclusion into magazines and papers extolling the exoticness of Malaysia. On the floor sleeps a figure.. Still thinking in moments. and upon his return from studies abroad went back to teach in Penang from 1979 to 1995. Samsul Said’s camera does just what cameras are good at – capturing ‘the simultaneous recognition. feed into his photographic image making. photographing the commonplace and ‘revealing’ it to the world with images such as Sleeping Uncontrollably.photographers in Malaysia. Perakian Renaissance man. On the television sleeps a cat. studied in Penang. If there ever was such a trend as Malaysian Neo-Dada . new angles.the tropics are less exotic. in a fraction of a second. Kamal Sabran remains one of the few artists in Malaysia whose creative energy bursts into whichever medium he chooses to express himself – he is a latter day Jean Cocteau or Salvadore the good years exhibition 1996 claude levi-strauss tristes tropiques kamal sabran fish . Jerang Air. but plunged full tilt into a stark social reality with only but a hint of nostalgia. new slants on that life going on with him as participant-observer. The contrast in those charcoal-burning images capture both the essence of the moment (augenblick – blink of an eye) and the social circumstances in which those images were taken – amidst charcoal dust.’ (Henri Cartier-Bresson). Through the body of his works he ‘talks’ about everyday situations familiar to most Malaysians. Claude Levi-Strauss once wrote (in his little green notebook) ‘ . producing highly evocative Black & White images with strong features and high contrast and atmosphere enough to make the viewer gasp. 1964) Ismail Hasim was born in Penang. The glitz and the glamour of the big cities still cannot deny the existence of the humble working person. of the significance of an event. With Kamal Sabran’s work we are no longer in the ethnographic exotic reality. The very same careful observations which fuel his sound-making (with Space Gambus Experiment).. Ismail Hashim took a more social realist stance to photography than Peris. blinks of the eye. far from them in both physical and mental distance. Yet Malaysian photography is never far away from the ethnographic as can be seen in Samsul Said’s images of charcoal burners. than out of date’ (also found in Tristes tropiques – 1955). Goreng Cucur (1990) and After having ‘Nasi Kandar’ with a glass of Water (1991) which seem to continue this theme of the ordinary expanded into the realms of Art – maybe a Malaysian extension of Henri Cartier-Bresson and Marcel Duchamp. their head is covered with a towel and body covered with a sarong – bom meletup pun tak bangun (not even a bomb would wake him). or is it simply a case of ‘How I Learned to Stop Worrying and Love the Bomb’ (Dr Strangelove.

to a dying culture and to that nation’s obsession with replacing antiquity with the brashness of modernity.Dali (when both were in their prime and working across different mediums). The curious juxtapositions of Dada and Surrealism fed into Pop Art with artists such as Kurt Schwitters (For Käte. In his work Amir Zainorin has de-colourised that painting and added various objects – a black and orange bath duck. and used Penang as source for his social photography. though painstakingly captured by the marvel of photography those images point. Ismail Hashim was head of graphic design and photography at Universiti Sains Malaysia (USM) for a number of years. taken from the exhibition and placing them on a street in Penang – in-situ as it were. As we saw at the beginning of this piece. Penang became a focus for photographers in the late 19th C. In one collage. Amir Zainorin uses photomontage.with his long legged girls and stiletto heels. nevertheless. That installation. entitled Portraits of Penang : Little India. so Appealing. In WyethBillboard Amir Zainorin takes a much referenced work by Andrew Wyeth – Christina’s World. More recently a photographic exhibition was held at Galeri Seni Mutiara. Penang. with artists such as Amir Zainorin exploring those foreign climes. and continues to be so. though there is also the vague shadow of the quirky world of Monty Python lurking in the distance. and point to the artist’s desire to be seen as part of the Pop Art movement. and Mrs. a billboard hording and a reclining man in a Malay yellow costume. a dead bishop. That exhibition featured photographs by photographer Dr Ooi Cheng Ghee. has a tinge of sadness. Malaysia has not been immune to these ideas. 1947) and Richard Hamilton (Just What Is It that Makes Today’s Homes so Different. and in that sense the installation is a resounding success. although a wonderful hymn to the art of photography and to the diligence of photographers. Clark and Percy. Amir Zainorin references David Hockney’s painting Mr. the back of a Mohican style youth in the foreground. mr and mrs clark and percy little india poster . mixed media and collage to juxtapose images in creating his desired effect. At times reminiscent of the British Pop Artist Allan Jones . 1956) using photomontage and collage to create worlds of surprise and fresh meaning. two tins of Campbell’s Tomato Rice Soup (with a reference to Andy Warhol). and ads the bathroom duck. Those large black and white images are a reminder of the ambience that Penang has lost.placing larger than life-size black and white images. From that exhibition came the idea of an installation . They are in keeping with the referential trend in Fine Art. two large pictures of ethnic persons and what appears to be an ice cream sundae. aptly named After Hockney. an old wood saw. 1947) Eduardo Paolozzi (I was a Rich Man’s Plaything.

kamal sabran oud .

remains the leading light behind Space Gambus Experiment . poets and musicians creating contemporary music. video art. He works with painting. short films. and has created some of the most influencial and original images within the last decade. He is as at ease with still photography as he is with short film making.patung Kamal Sabran is an artist with a poet’s soul. while an academic. sound art and installations as well as photography. Kamal Sabran is currently working towards his PhD. Kamal Sabran. .a lose knitted assembly of artists.

fish .

girl .

ipoh padang .

ipoh padang 2 .

self portrait .

ipoh old town .

bunga .

bunga kertas .

the image nevertheles In the photograph I am twenty years. the child is placed back in the buggy. We are glad that the child is well wrapped. bought as a birthday present from the sales in a local leather store. safe from the elements and.at a home for the aged. the child. selling fresh yeasty bread in the mornings from the home bakery whic mence her working life as a domestic helper. or the through. Although the photograph suffers a little yellowing from age and one corner of the 6x4 print has become creased revealing the paper beneath the photographic coating. The three of us turn and walk back towards our newly rented council house. The child’s mother had given up her job in the bakery. but a little sadness too thatofamtallish. after the photograph is taken. between the decorative and the fu not thinking to protect this image from time’s ravages and the future yellowing of the paper from the sun as it frequently brus We were a young couple caught up in the living of life. printed brings back the child from about forty years ago. It on Kodak paper. and hold my first child of a few months. revealing the paper beneath the photographic coating. short story It is the tail end of winter and we are all a little fresh faced from the cool of the wind. strapped in for safety and comfort newly rented council house. strapped in for safety and comfort. with small clumps of snow relentlessly clinging onto the wool of the gloves. The photograph is unable to depict the smallness of the lives we lived then. Behind. the slightly cloudy sky reveals a pale chilled blue. as the job entails split .and in remembering consider what is lost from memory and what little still remains of that ph and remember. It is I a unable to reach out and a long ness in the recalling. The fact that this photograph never had a frame perhaps indicates choices we had to make. a prop fo from the elements and. I wear a newly purchased two tone leather jac daughter a little towards the camera so that her mother can take the photograph. Times are a little lean. to see that she is fine and once again struggling to her feet and tasting snow on her face with her pink tongu cence of the child. take her.a prop for the image. I ha week cleaning and caring for the men whose relatives prefer the dirty work done by others. twice daily. unless the observant viewer can see captured resemblance of father and daughter. is a colour photograph. the image nevertheless remains clear – that of a proud father with his first born child. once more. She slips a parental concern. I rest against a wooden gate. and clearly see her puffy cheeked daughter. I have recently accepted an appointment as a carer to eleven elderly men . Times are a little lean. It is the tail-end of winter and we are all a little fresh faced from the cool of the wind.at a home for the aged. I wear a newly purchased two-tone leather jacket. now growing beyond her years in the photograph would attempt to catch snow and meld it into a sno mitten covered hands as she does so. The small canopy is rearranged to protect the child from the chilling wind. I fix the plastic protection over the front of the buggy. out of fatherly concern. the child is placed back in the buggy. because growing older is a messy business.one corner of the 6x4 print has become creased. I rest against a wooden gate . Perhaps some of this is evident in the leanness of my face. He is holding a well-wrapped infant in his the photograph by yusuf martin arms. thin man with touch that child. I hold the young child firmly in my grip. she in her buggy and I push snow giving us both cause for a smile until. unable to afford a thought for the future. I have recently accepted an appointment as a carer to eleven elderly men . cleaning in a residence sheltering nurses and enabling them to continue to care It was not an easy time and the white frame surrounding the photographic image puts a neat boundary around that image of f in the 1970s. I have bought a bicycle to help me travel the two miles to work. tilting my daughter a little towards the camera so that her mother can take the photograph and clearly see her puffy cheeked daughter. wrapped in the present and s On days other than that depicted in the photograph I would enjoy the company of my small child. In the photograph I am twenty years and hold my first child of a few months. But it is anotherThere The photograph is an aide memoir. taken thirty eight years in the past and del time. shaving and bathing the ex-husba dren’s children. in my arm I can only look goatee beard. sh Alternatively. after the photograph is taken. the camera holder.

drawing you into her moment and sharing the joy and inno- livers her to my sight. would have to recomfor the sick and the injured. memories and emotions in a way that little else can. or maybe in the smiling. We are glad that the child is well wrapped. I rush out of ue and laughing in that endearing way a very small child has. in time. We were a couple with a small child. in time. father and daughter. tilting my or the image. twice daily. would have to recommence her working life as a domestic helper. as the job entails split shifts. hotograph. yet somewhat distant eyes that look towards and through. because growing older is a messy business.denying the complexity of our lives lived in the 1970s. struggling to have a future. owball. It was not an easy time and the white space surrounding that photograph puts a neat boundary around that image of father and daughter. of my memory and bathing the ex-husbands. but nevertheless laughing and clapping her and falls in the snow. walking behind. to place upon our mantelpiece. denying the complexity of our lives lived e from the size of the photograph that we were unable to purchase a larger size. others. The child’s mother had given up her job in the bakery selling fresh yeasty bread in the mornings. to look after the child she had borne but. There is much happithe men whose relatives prefer the dirty work done by ms and pose for a photograph. fathers and grandfathers who are tucked away. shaving and of the bond we had when she was young. cket. yet somewhat distant eyes that look towards and ch scented Head Street with its satisfying essence.ss remains clear – that of a proud father with his first born child. I spend most of my week cleaning and caring for grandfathers who are tucked away. to admire the captured resemblance of father and daughter. safe t. and constantly winning out. bought as a birthday present from the sales in a local leather store. slicing but a fragment from the reality of life beyond the lens . and out of sight of their children and their chile trimness of the cut of the leather jacket I wear. the slightly cloudy sky reveals a pale chilled blue. I hold the young child firmly in my grip. the camera holder. unless the observant viewer can see from the size of the photograph that we were unable to purchase a larger size. glancing through infrequently cleaned windows. from the home bakery which scented Head Street with its satisfying essence. failing as the loose white frozen water falls apart and onto the ground. Behind. laughing but with a slight quiver to her lip as the surprise of the fall gives her a shock. The fact that this photograph never had a frame perhaps . hing. I spend most of my ands. to admire the unctional with the functional. and out of sight of their children and their children’s children. Perhaps some of this is evident in the leanness of my face. fathers and shifts. inevitably. out of harm’s reach. out of harm’s reach. making sounds and noises I expected a small child to recognise or appreciate. cleaning in a residence sheltering nurses and enabling them to continue to care for the sick and the injured. The photograph is unable to depict the smallness of the lives we lived then. The three of us turn and walk back towards our ave bought a cycle to help me travel the two miles to work. shed our mantelpiece. or maybe in the smiling. to look after the child she had borne but. The small canopy is rearranged to protect the child from the chilling wind. the slight feathering of heltering the child from the weather and also from the connection we had. to place upon our mantelpiece. slicing but a fragment from the reality of life beyond the lens. as long as the future was there. or the trimness of the cut of the leather jacket that I wear. any kind of future. living in the now. stirring my recollections.

failing as the loose white frozen water falls apart and onto the ground.I always remember Saadi visiting his rose garden traversing the songs of the universe indicates the choices that we had to make between the decorative and the functional. but nevertheless laughing and clapping her mitten covered hands as she does so. On days other than that depicted in the photograph I would enjoy the company of my small child. any kind of future. unable to afford a thought for the future. living in the now. We were a young couple caught up in the living of life. We were a couple with a small child. I rush out of parental concern. wrapped in the present and struggling to have a future. to see that she is fine . with small clumps of snow relentlessly clinging onto the wool of the gloves. making sounds and noises I expected a small child to recognise or appreciate. the child. the slight feathering of snow giving us both cause for a smile until. not thinking to protect this image from time’s ravages and the future yellowing of the paper from the sun as it frequently brushed our mantelpiece. walking behind. with the functional inevitably and constantly winning out. sheltering the child from the weather and also from the connection we had. as long as a future was there. Alternatively. glancing through infrequently cleaned windows. she in her buggy and I pushing. laughing but with a slight quiver to her lip as the surprise of the fall gives her a shock. now growing beyond her years in the photograph would attempt to catch snow and meld it into a snowball. I fix the plastic protection over the front of the buggy. She slips and falls in the snow. out of fatherly concern.

once more. stirring my recollections. of my memory and of the bond we had when she was young. I can only look and remember. in my arms and pose for a photograph. . But it is another time. There is much happiness in the recalling.and once again struggling to her feet and tasting snow on her face with her pink tongue and laughing in that endearing way a very small child has. but a little sadness too that I am unable to reach out and touch that child. The photograph is an aide memoir. It brings back the child from forty years in the past and delivers her to my sight. and in remembering consider what is lost from memory and what little still remains of that photograph. take her. drawing you into her moment and sharing the joy and innocence of the child. memories and emotions in a way that little else can.

samsul said .

charcoal workers .

He currently works with The Malay Mail. . a local Malaysian newspapers .that special second when the perfect picture appears. especially documentaries and photojournalism. Samsul Said specialises in providing high-quality photographic images. He enjoys capturing ‘the moment’ . He has a strong interest in his countries’s culture.as a photographer.Samsul Said is a Photojournalist based in Malaysia.

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dennis lau images of borneo .

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That interest has spanned over forty years.. is all the greater”. The Far Eastern Economic Review “An entrancing collection of photographs of the Sarawak Penan people taken over the last 20 years by Dennis Lau.. At 19. His years of releasing the shutter in the far-flung interior of Sarawak have made him an acute social observer whose subjects seem to respect him as he does them.. the sense of empathy..F.1998) Sarawak’s premier photographer. he won second prize in the Borneo Photographic Competition and met his mentor . Journal of South-East Asian Studies. Lau is an unobtrusive photographer. Hence.the pictures speak mostly loudly in and for themselves”.K. (1916 . Singapore .Dennis Lau received his first camera when he was 12 .a gift from his father. Wong. as one looks at the pictures. an award winning photographer. It was Wong who encouraged Lau in his interest in photography.

ISBN 7887 Amir Zainorin .

Amir believes that these influences are shaping his art and provide the base upon which his work is realised. the internet and the art world. families. He studied Business Administration in Malaysia and the United States but started making art in 1995 after meeting Pop artist Jeri Azhari in Kuala Lumpur. daily speech and the mass media. Amir believes that humour is a powerful tool to get his message accross. He states that ‘ I like using ready mades images and objects in my work to channel my thoughts and ideas. and most often humor comes along with it to make things a bit lighter. In his work. He is moved by music and movies. his friends. He now lives and is based in Denmark and Malaysia. he likes to urge the viewers to challenge the traditional notions of religions and identity in relation to globalisation.’ . He finds inspirations from the activity in his surroundings. Malaysia and grew up in mixed societies of different cultures. beliefs and religions.after hockney Amir Zainorin was born on 1st September 1963 in Johor. He is also greatly affected by popular culture.

askepot .

mind my hat. .

now so precious to her memory. the flat and the wardrobe.short story roti man by yusuf martin Rose scooped to pick up the old photograph. back before May 13th. As the equatorial sun shone. scratched with the passage of time. resting on a worn Axminster carpet. he was holding onto his already ancient black Hercules bicycle. long before she had moved to London. let alone the country. She hadn’t noticed its subject until she turned it over. It had fallen as she moved her battered leather suitcase from off the top of the dusty and cobweb clustered wardrobe. racial riots. The man’s smiling face reminded her of those early times . It was taken before she had even thought to move out of her kampong. middle-aged Indian man. A small. It was a little dusty. Rose had long since forgotten about this photograph. Then she gave out a squeal of joy. stood wearing a short sleeved white shirt.but greying hair. rearranging her belongings time and time again as her life changed from single to married . But there it was. The photograph. In the turmoil of moving. with some old Eastern German camera. thin. But she had. but still a poignant reminder of how life was back then. while the other was resting. and pale green shorts. One hand was holding the slightly rusted chromium plated handlebar. had fallen face-down. somehow this picture had followed her from the kampong to Roman Road. back when life was still relatively simple.to divorced. with crinkled dark . holding onto . It was taken by her brother-in-law. How could she have forgotten this photograph.

gentling chastising her for buying sweet rolls when there was food on the table. were regimental ranks of uncut. manipulating the air vent for the right heat. in hand painted capital letters. The Roti man posed. but still keeping one eye on her daughter . witnessed through the slightly grubby glass windowpanes. The box was firmly affixed to the rear of his cycle by a makeshift wooden carrier. her brother-in-law and sisters all had moved back to their homes and away from the kampong where the photograph was taken. He held the camera steady. The man. That day. turning the lens for focus. Rose could remember her mother tending the charcoal stove. Rose could hear her mother’s soft voice calling in Tamil. Looking into that image of the man with his bicycle. his bread. Inside the box. checking the light meter. her dear mother. who was staying in Malaysia for the very first time. trying to capture the everyday in his exotic. and maybe to remind Rose of gentler times amidst the stress and upheaval of modern city life.red sheeting atop of a wooden box. the day of the photograph. That house and that kampong could only now exist in her memory for as long as she looked at that picture. cautioning her against standing in the hot afternoon sun for too long. was the legend – Roti. smile as if to ensure his place in history. He gave a broad. A variety of soft rolls nestled on the lower. in a soft blue. seated on the upper-most shelf. but wrapped bread. Painted on the side of the pale yellow box. the Roti Man had turned his face to her brother-in-law. almost toothless.

about midway between the kitchen and the large windows. without fail. keep it safe. She wanted to get some fresh air into that musty room. But Rose and her siblings liked to gossip with the man. man who had arrived daily. Rose turned. another time and much had changed in that time – her life had never been so simple since and. a time before her guilt. She told herself that she really must buy a frame for the photograph. play with him. older.and the white man she was with. to bring the family its bread. on that gust. in many respects. like her in Roman Road. Rose carefully placed the photograph on the living room shelf. But that was another country. out into the cool air of London. but mostly just requested his wares and paid. nor see her family again. . to be lost. tease him about his bicycle and his age. and her ephemeral memories away. The mid-morning air was stuffy. her divorce. in the way that children and young women are prone to do. the affair. not wanting to be seen gossiping. The roti-man had been a gentle. Sometimes Rose’s mother would pass the time of day with him. that photography represented a golden age to her. secretly calling him names behind his back. full of dust and the aroma of fish curry. as she did so. and never to taste that roti. In so doing she allowed a small gust of wind to lift and carry the fragile photograph. It could stay there between the wooden crucifix and the small framed print of Our Lady. opened the French windows to her thirteenth-floor flat. taking a little piece of herself with it.

Johor.eric peris O Don Eric Peris is one of South-East Asia’s leading black-and-white photographers. Malaysia in the 1920s. He retired as the newspaper’s Photo Editor in 1994. he started his career as a journalist with Malaysia’s New Straits Times. Malaysia in 1939 and introduced to art by his painter-sculptor father O Don Peris (1893-1975) who was the Royal Artist of Johor. programmes. He has been involved in various photography exhibitions. At the age of 24. He was Born in Johor Bharu. competitions and courses. general post office series .

matrix series images of zen .

sukhothai1 .

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Penang in the late 1970s..penang little india on the street . played in the streets’. With compelling immediacy and intimacy Ooi’s images provide a unique vision of people as ‘they worked. Over the course of a year. in 1979. Penang. The result is a portfolio of 160 outstanding black-and-white plates. Original photographs by Ooi Cheng Ghee. Some of these images were installed in a street in Penang as a social commentary..is a unique collection of fine art photographs taken of Little India. Ooi Cheng Ghee created a unique and remarkable photo essay on the life of Little India. these by Gareth Richards who worked on the text with Himanshu Bhatt . slept.

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a comic art and coloring company. Alan received a degree in Advertising in 1992 and opened a design shop in 1997. . In 2006. In 2008 he was chosen into the top 50 finalist in Marvel’s CHESTERQUEST. Putrajaya. Later that year. with Adam Chong. In that same year he was among 10 other local talents who were awarded grant to produce his own book named Badang Phenomenon by MDec. His art was awarded the best inker of the book by readers of Daniel Chan’s Friday comic newspaper. which has produced a few projects for DDP and Heroverse. Later that year he won the 24hr CEDKO Comic Challenge. Alan won the Devil’s Due talent search competition and was brought on to pencil MERCY SPARX. Alan founded Komikaki Studio . but he abandoned the project prior to publication due to deadlines. he joined Heroverse to produce art for the title ANYWHERE. In 2005 he returned to illustration and was hired by California based Comics Conspiracy to draw the black and white series THE ELDRICH.APAzine from Berita Publishing.comics alan quah Alan Quah is an artist from Malaysia whose first comics pages were published in a 1984 fanzine .

green hornet cover-pitch .

silverwolf pinup .

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roachman pg10 .

pg 1 coloured by jorge masse .anathema.

pg 2 .anathema.

anathema. pg 3 .