Description
There are few painters as consistently innovative and prolific as Yusof Ghani. In impressively large formats too. The number and variety of series that he has created put him among the most published artists in Malaysia, with a message that has travelled well beyond the nation's borders. So far, however, his exhibitions have been unrelated parts of the puzzle that make up this enigmatic artist. A more complete picture than ever before is presented with Ombak, which is not only the title of his latest series but also a survey of what has come before. All in one place.
Ombak is about waves. Like every wave, the exhibition represents irresistible movement. Everything about Yusof Ghani's life is a journey, literally and metaphorically. He is a tireless traveller in the real world, as well as in his imagination. Some artists never move from their hometown. William Blake painter, poet and visionary regarded a 50-mile journey from London to Sussex as tantamount to exile, Yusof Ghani was never likely to be confined to small-town Johor. The entire world was, if not his oyster, his ocean. Brought up near the sea, it is no surprise that he should return to those restless roots with Ombak.
The early works on display at this exhibition show the artist's questing essence. Tari is very much about movement, Topeng is not. Dance without action would be a disappointment, while masks are expected to be impassive. Yusof Ghani makes both come alive, and of course both have a message. Young artists are more inclined to messages than their mature counterparts. Now that Yusof has become unquestionably established, the wave is cresting.
The mood of the world is, like a wave, in a constant state of movement. The atmosphere of change and revolt that marked the 1960s is now subdued. Occasional expressions of hope, such as the Arab Spring, tend to wither on the vine of aspiration. Still clinging on is the spirit of angry young men from those supposedly altruistic and unsettled times half a century ago. Not the dead De Koonings and Pollocks, but their heirs in places far from New York. Yusof Ghani is holding that torch and Illuminating his canvas with it. Nowadays it is not the same message, but the feelings behind the paintings are as strong and as visible as before.
Ombak the series, as opposed to Ombak the exhibition, is everything in one bold package. This latest series is in three parts The mood of each is quite different, expressed in a variety of colour palettes. It is his complete journey, although we must assume that there are a few more stops scheduled.
The three parts of this journey are a powerful feat of reflection. They start, in the artist's words, with "destruction, pain disaster and misery- and plenty of red paint. Then he moves on to a more contemplative phase, emphasised with cerebral colours such as grey. The final part of the trilogy is more redemptive, indicating challenges that have been overcome.
It is not solely the palette that distinguishes the three components of his new series. Texture plays a part too. And the massive cascades of colour, there is a place for the more textural consideration of the base material. The element that gives each movement of his project a near-musical character is the subliminal impact of jute, canvas and silk. Each one reflects a different mood, including some occasional optimism. Every now and then, light peeps through the end of the tunnel, or from a more celestial source.
Amid the maelstrom of emotion there are indications of serenity. This is mainly in the third part of his journey, where the going gets a bit less tough. As the artist puts t. "There is energy and the beauty of nature." There is also drama at every stage.
