This blog was created as a venue for printmakers in Malaysia to come together and share ideas, information and facilities.
We also would like to create awareness, spread the love for printmaking!

Wednesday, 8 October 2014

Letterpress printing

What is Letterpress? 
Letterpress printing has become the go-to printing technique for wedding invitations, greeting cards, and business cards for anyone hoping to make an impression (pun intended) on the recipient.  Today’s cottage industry of letterpress printers has been built on the shoulders of 100 years of printing industry, starting around the late 1800s.  It’s easy to forget that what we treasure today as an artisan product, made by a well-trained craftsperson, was once known simply as printing.
What began with hand-set wood and metal type (read more about this from Jen of Starshaped Press here) has become an industry centered around the photo polymer plate.  Designing for letterpress today begins on a computer, and as such, new fonts, embellished ornaments, graphics, patterns, and complicated multi-color designs can be produced with relative ease.  The printing part is still by hand, one at a time.

Friday, 26 September 2014

Congrats to Long Thien Shih..

Please Note :
Dukacita dimaklumkan bahawa Encik Liao Shiou-Ping terpaksa membatalkan perjalanan beliau ke Malaysia atas sebab yang tidak dapat dielakkan. Manakala Encik Long Thien Shih akan menjayakan demonstrasi seni cetakan tersebut. Harap maklum.

We regret to inform that Mr. Liao Shiou-Ping had to cancel his trip to Malaysia due to unforseen circumstances. The demonstration of print making will be conducted by Mr. Long Thien Shih.

Tuesday, 9 September 2014

How to write an Artist Statement

Many artists have significant problems when it comes to talking or writing about their work, primarily with reference to conceptual matters. Let’s look at a few ways to overcome the challenge of writing a great artist statement.

1, Become a salesperson

Often creators don’t think of themselves as sales-people and forget that the best pitch always comes from the source. And let’s be honest; without concepts and fiscal goals, it is nearly impossible to become a professional artist. Hobbyists don’t need to sell, but if it’s a livelihood, a creator must promote his or her ‘product’. But beware! The sleazy hard-sell doesn’t work very well anywhere nowadays, but it’s even less effective in the art world. People hate to feel they are being pushed into something. The more advantages and benefits you can highlight, the better.

2, The meek don’t inherit

Another situation that can lead to problems in the initial creation of an artist statement is a lack of bravado. There are many shy individuals in the creative world, but this must be suppressed in the discussion of an artist’s work. If you don’t seem confident in your work, it will be much harder for a potential buyer to get excited about it.

3, You do NEED an artist statement

A third type of artist simply doesn’t see the need for the statement; they feel that their work speaks for itself. This can only be the case if you are solely a decorative creator, without a vision or cohesion to these pieces. Otherwise, it always helps to better inform your viewer of your intent. More engagement can only lead to a personal connection, which always produces better sales (and more esteem).

4, Answer questions

When you see others interacting with your work, they have a significant advantage, as you are there to answer questions in a free environment. But most of the time, viewers do not get this opportunity. The artist statement serves as a de facto answer to common questions about your body of work, as a whole or in a series, and it allows for more in depth conversation about your concepts. It can be useful to brainstorm the types of questions you might be asked about your work as a way to start writing your statement.

5, Don’t baffle your audience with jargon

A common misconception about the artist statement is that it must be written in International Art English, that jumbled mess of lofty jargon used in press releases and criticism books (I have written more about thishere). This is not the case, and an overly ostentatious statement can lead the viewer to be more confused at your work than before. Leave that language to critics, bloggers, and academics. You don’t want to limit your audience.

6, Don’t bore your audience with drawn out copy

An artist statement doesn’t need to be very long. If you lose the reader’s concentration, the writing is of little use. Optimally, the piece should be no more than 20 total sentences, broken up into 3 or four paragraphs. The first paragraph can be about why you make your art, and then delve into why you create in the medium. Once again, be clear and concise. This is an essential introduction to your work.

7, Be yourself

Be sure to write from your point of view. There is a reason it is called an artist statement. It is from you to new viewers. There’s no need to give them your whole life story; think of this as a movie trailer to your entire body of work. Draw viewers in.

8, Consider getting help

If you aren’t the most confident writer, don’t worry. You can hone this over time, or if you wish to outsource, there are many resources online (Like Elance) in order to reach out to hungry art writers. Art writers are out there, always looking for this type of work. They should be able to handle your project with ease, in a timely manner. This could save an uninitiated writer some time and worry, and could also serve as a foundation for a future statement. As your goals and concepts develop, simply adjust those aspects of the piece.

9, Don’t show off

It is also best to avoid using any self-congratulatory language in your piece. This is like a movie trailer, not a movie poster. If Roger Ebert gave you two thumbs up, it is of no importance. You are laying the groundwork for interest, and testimonials can turn viewers off. Also, artists want their work to speak for itself, so why would you want to give up your space so someone else can talk about your art?

10, Join the dots and tailor-make your statement

The most important aspect in describing your work is to show the connection between the concept (what you’re saying) to the physical structure. In the textile world, as with many others, this can be the most difficult aspect of the statement. Try to pick out a few examples to engage the viewer. If the fabric or weave evokes certain cultural topics, state them. Even for the most experienced viewer, these nuances can easily be lost without explanation. It isn’t a fault of the artist; those details are what created your individuality. To lose those is to lose it all.
Galleries may ask for specifically tailored statements to engage for their shows. Depending on the show, especially in group shows, this may be written by the gallery itself. Their job is to show correlation between all of the involved artists, and might focus on only one aspect of your work.
If you are asked to craft and artist statement yourself for a solo show, you need to show the relation between your works to each other, the show, and the space itself. Describe how these pieces fit together, with no more than one sentence relating to work outside the show. Optimally, only the work in the show should be referenced; write about outside work only if it differs from that in the show significantly.
The title of the show is so essential, yet rarely truly accurate. Critics and viewers respond to a title, so if you can relate your works to the show in an understandable way, the show will be heads above others. In that vein, it helps to expound a bit on the reason you chose that space for your show. Viewers can decipher if you simply picked the gallery because they had space, so make sure they know it was a merger that made sense for both parties.

A well-written artist statement can help cultivate an informed audience and one that is intrigued by your work. It’s a good idea to constantly revisit yours to ensure it appropriately represents you as you now!

Friday, 14 March 2014

‘STORIES FROM THE SOIL’ - Solo Exhibition by Faizal Suhif

Faizal Suhif, born 1984 graduated from UiTM with his Master degree in Fine Art last year is having a solo exhibition entitled Stories From The Soil at the G13 Gallery from 1st March to 22nd March 2014. Exhibiting 25 pieces of new works including oil paintings and transfer printings, the artist will also complete the exhibition by installing nature elements to enhance the visual communication.

Spending plenty of time while making art and has developed from the conventional printmaking, Faizal invented his very own printmaking skills to create artworks. “I like to wander around my living area with my tool kit, whenever I see interesting texture, the ground the cement, I will start doing the transfer print", said Faizal during an interview. To him the time consumed is not merely a process of art making but also a conversation with the nature and meditation to the artist himself.

Growing up from a farming family, Faizal's concern is about Mother Nature and he believes in the effort of seeding. "Seeds can grow into trees, they are the food and oxygen supplier, but people don't normally appreciate seeds", Faizal finds people often running after velocity and achievements but neglected the basic elements that breed us, he hopes his artworks can ease the pace and calm the soul, at the same moment convey his theory to the audiences.

‘STORIES FROM THE SOIL’ - Solo Exhibition by Faizal Suhif
Opening Reception                : 8pm, Saturday , 1st March 2014

To be officiated by 
        :  Mr.Juhari Said

Exhibition period                         : 1st March – 22nd March 2014
Gallery opening  hour                  : Monday - Sunday, 11am – 5pm (Closed on Public Holiday)
Venue                                         : G13 Gallery, GL13,Ground Floor, Block B, Kelana Square, 
     Jalan SS7/26, 47301 Kelana Jaya, Selangor. (behind Paradigm Mall)

Email                                          : info@g13gallery.comFacebook                                    :

To view the latest updates of the artworks availability, log to: http://g13faizalsuhif2014.blogspot.comTo view more about the exhibition, log on to :

For all inquiries please contact :
G13 Gallery
Tel: 03-7880 0991 / 012-211 4697 (Kenny Teng)

Wednesday, 8 January 2014

Painting & Printingmaking Exhibition in Bali

Foreign/er - Painting and Printmaker Exhibition

Artists   :   AmmarinKuntawong (Arm) and Christopher Stern
Opening Ceremony : January, 18, 2014
Duration                : January, 18 until January 31. 2014
Venue                   :  Paros Gallery , Jalan Pantai Purnama Banjar Palak Sukawati Gianyar Bali
P.   0361-298120. 


What does it mean to be a foreigner? Who determines what is foreign, and how different is the foreign from the local? This exhibition features works by two foreigners – one, a Westerner, fluent in Indonesian, and knowledgeable about many aspects both Balinese arts and culture, and the other, an Asian, but with no experience of Indonesia aside from the friendship of two Balinese artists. Each artist works in a completely different style to the other, and utilizes different media and techniques. But whose work will appear more ‘foreign’, or rather, foreign-er, to Indonesians?

AmmarinKuntawong (Arm) is a printmaker and professionally trained artist. While Arm is expert in many different styles of printmaking, his technique of choice is hard ground etching. He produces dreamlike landscapes, entirely devoid of figures, yet somehow extremely alive. His work evokes feelings of the ancient Lanna kingdom, today the northwest region of Thailand, from which he comes.

Christopher Stern has no formal arts education, but has enjoyed sketching and designing for most of his life. With a background in Industrial Design, Chris came to Bali in 1998. In 1999 he opened galeri sembilan in Lodtunduh, Ubud, and through this experience became familiar with the work of a great many Balinese artists. He began painting full-time one year ago. Although still exploring style and subject matter, most of the work for this show consists of solitary figures of unusual attitude and demeanor.

Perhaps the only thread that ties the work of these two artists together, aside from their ‘foreign’-ness, is a degree of introspection and an uncanny access to unconscious thoughts and feelings. Both artists, Arm, through landscape, and Chris, through figures, present interior worlds which it is hoped will resonate at some deep level with the public. 
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