New Phase New Face I

Group Exhibition:-
Auji Azmi
Clarissa Soo
Danielle Lin
Veina Loo
Zharfan Rashidi

Asmawee Karee
Panuwat (Pay) Kamdee

21st May – 16th June 2024

Core Design Gallery, SJCC Gallery

*Click on images to zoom in

Welcome to an exciting journey of artistic discovery as we unveil the ‘New Phase, New Face’ exhibition. This remarkable event shines a spotlight on the dynamic talents of young artists from Southeast Asia, offering a fresh and invigorating perspective on contemporary art. Each piece in this collection is a testament to the vibrant creativity that defines this new generation, infusing the art world with their unique visions and boundless energy.

The ‘New Phase, New Face’ exhibition celebrates these emerging artists who seamlessly integrate their personalities, cultures, thoughts, and fresh perspectives into their work. The title itself is a clever play on words, using alliteration to emphasize both a new era (‘New Phase’) and the introduction of new and upcoming talents (‘New Face’). This exhibition aims to uncover and promote new talents, providing a crucial platform for aspiring artists to gain recognition and establish their presence in the industry. Join us in experiencing this celebration of innovation and diversity, as we usher in a new wave of artistic expression.

  • Asmawee Karee

Asmawee Karee (b.1999), an artist from Betong, Thailand currently pursuing his master degree in visual arts from Silpakorn University, Bangkok. In 2022, he was selected as the Bronze winner for the inaugural art competition, UOB Painting of year under emerging artist category. Since 2019, Asmawee has been quite active participating art competitions as well as art exhibitions. He also received an art education scholarships from the Statesman Foundation General Prem Tinsulanonda, Thailand to pursue his passion in arts.

In his latest concept, Asmawee talks about the beauty of simplicity where he paints the scenery of unstable structure houses that was built using overlapping scraps and different objects near the riverside of Thailand. These symbols of people trying to create a living space reflects the imperfection of life, the unbalance side of development area.

  • Auji Azmi

Auji Azmi (b.1997) is a self-taught Johorean artist exploring creative expression through abstraction. She finds beauty in interpretation, striving to leave a unique lasting impact on each individual. With a BSc in architecture, diploma in fine art, and 3 solo exhibitions under her belt, she has future plans to exhibit in Malaysia and abroad again in the near future.

The artworks of this series delve into the enigmatic realm of the subconscious where raw emotions and unfiltered thoughts reside, each in dynamic context with each other reflecting the fluidity of the subconscious minds where time operates on a unique set of rules. This piece is a visual representation of Auji’s subconscious mind, an exploration of a grand mystery through a new visual landscape, one filled with pink. The fluorescent pink hues indicate that this work is from a hidden existence that can only be found inside our mind, as unlike natural hues, this color doesn’t exist readily in the world around us. Its stand-out nature due to its unnatural vibrancy also calls for attention to confront the present moment, just like a sudden electrifying jolt. It seeks to illuminate the hidden reality within, provoking thought, inspiring imagination, and engaging viewers’ interpretations to transcend a singular perspective. This call for active participation is what allows the artwork to morph and generate endless realities and possibilities.

  • Clarissa Soo

Clarissa Soo was born in Bukit Mertajam, Penang in 2001. Graduated with a Diploma in Fine Arts at The One Academy, Sunway in 2022. Clarissa practiced her artmaking process by exploring different materials especially the unconventional ones such as beads, quart sands, crafts idealist products and etc. Clarissa has always infatuated by romantic tales with historical background and most of her art pieces are heavily influenced by the ideology of the theme.

In ‘It Will Never Be Our Last Meeting,’ Clarissa interprets the theme of love, depicting the emotions felt by separated lovers. She projects a theatrical drama mimicking a historical war ending scene where soldiers, back in the World War days, yearn to return to their loved ones but must prioritize the country’s safety and well-being. Through this piece, Clarissa aims to convey the enduring power of love and how, despite distance and separation, people can hold onto the hope of being together despite the challenges and hardships that lie upon their undefined destiny.

  • Danielle Lin

Coming from Ipoh, Perak, Danielle Lin (b.2001) graduated from the Malaysian Institute of Arts (M.I.A) with a Diploma in Fine Arts in 2021. She has participated in numerous competitions, exhibitions, and projects, also gaining experience as a curator for several exhibitions. In the same year of her graduation, Danielle was awarded the grand prize in ‘Bakat Mahasiswa,’ hosted by M.I.A and the National Art Gallery (Balai Seni Lukis Negara). Danielle’s art features an allegory of indirect, cynical yet humorous puns towards the reality of life, using cute characters or subjects to project a visual contradiction.

“Table for Two” was inspired by the well-known local cake or kueh, ‘Kek Bahulu’ in Malay and ‘Ji Dan Gao’ in Mandarin, which translates directly as ‘chicken cake.’ This painting depicts a girl and a bear sitting at a table, looking at the chicken-shaped cake, wondering or perhaps suggesting something about it. “Table for Two” is a light-hearted visual pun that illustrates how differences in language can sometimes create perplexing misunderstandings that lead to humorous scenarios

  • Panuwat Kamdee

Panuwat Kamdee (b.1999) or known as Pay currently pursuing a master’s degree in visual arts from Silpakorn University, Bangkok. Since 2020, Pay has participated many exhibitions, art projects and was also selected as one of the receiver in one of the well-known creative art scholarships from the Statesman Foundation General Prem Tinsulanonda in 2021.

Pay’s visuals are quite unique as he relates his concepts to mythology, legendary folk tales, and folklore history that have been passed down through generations. He interprets various ideas of legendary belief from different perspectives through art. In ‘Tiger Cry,’ Pay illustrates an animal character, a tiger in tears, as a contradiction to the traditional meanings or symbols indirectly bestowed upon it. Tigers are usually symbols of courage, strength, and fearlessness. But what if the character we associate with greatness is actually the exact opposite? Such a twist turns courage into cowardice, strength into weakness, and fierceness into anxiety. Perhaps, to Pay, some people use this character as a mask to conceal their fears and weaknesses so they will not be looked down upon.

  • Veina Loo

Veina Loo (b.2000), A Johor-born artist graduated in 2023 with a Diploma in Fine Arts from The One Academy, Sunway. Veina’s way of glistening her comfort is by painting a serene and soulful sensitive aesthethics that romanticizes her surrounding as such giving an Edward Hopper kind of surreal feeling.

In her latest piece, Veina interprets the concept of staying within the confines of home and one’s comfort zone, assuring us that humans have an inability to yield to search for answers, yet the fear of taking even one step outside persists. It is paradoxical to long for the outside world while being afraid of it. This emotional turmoil, when met without empathy from others, can lead to a sense of loneliness even in the presence of people.

  • Zharfan Rashidi

Zharfan Rashidi, born in Pendang, Kedah on 2001, recently done his bachelor’s degree in fine art from UiTM, Shah Alam in 2024. Zharfan or known as Apan, participated several group exhibitions, one of the participant to showcase his art pieces at the International Art Connoisseurship Colloqium at Al Biruni gallery Perak and was selected as Jury’s Choice Award in SPOTLIGHT (art competition) by Penang Art District at China House, Penang.

“Norma Sosialisasi,” or “Socialization Norm,” is what Apan refers to himself as. He finds it tough to adjust to certain environments after entering the concrete jungle, away from home. His soft and feminine character manifests in many forms of social symptoms, albeit still following the rural habits and norms that have always been a part of him. However, due to a strong desire to follow in the footsteps of urban civilization, which is also drawn to Western culture, living without borders and critical socialization has become the norm nowadays. He almost lost himself in the midst of chasing something or someone he believes he is not. As he questions his maturity and character, Apan still strongly holds his beliefs and remains confident that he is who he has always been and hoped to become. Nonetheless, he is still cloaked in obscurity. Has he disregarded his customs and worship only to satisfy his desires?