Malaysian artist creates more than colourful paintings in a political age

'Just because something looks beautiful on the outside, doesn’t make it beautiful on the inside,' says Hisyamuddin. Photo: Sareng Gallery

For an art exhibition titled Distopia, at first glance, Hisyamuddin Abdullah’s pieces look quite the opposite of dystopic. But his use of light colours and tones belie a deeper meaning.

“The title of a show plays a pivotal role, because to me, it is what piques the interest of visitors and draws them in to view the artwork within. For this show, I decided to go with Distopia. But it is by no means meant to provoke – it’s more of me questioning how one’s view of something can be the opposite of what it really is,” says Hisyamuddin, 34.

Distopia, the artist’s third solo exhibition, is showing at Sareng Gallery in Kuala Lumpur until Jan 13.

“I also wanted to invite people to imagine and examine what is hidden behind the layers of bright and harmonious colours in my work. Just because something looks beautiful on the outside, doesn’t make it beautiful on the inside,” he points out.

'Don’t Point The Ball At Me! 2' (acrylic on canvas, 2023). Photo: Sareng Gallery

Born and raised in the small coastal village of Marang, Terengganu, Hisyamuddin says that politics act as a narrative for his works.

“One of the biggest inspirations for my artwork comes from Malaysia’s oft-tumultuous political scene, which tends to be a roller-coaster of surprises. It was able to capture my attention and was translated into my work through symbols and metaphors,” he shares.

“For example, a recurring symbol that I used in my pieces is a transparent pyramid, which is meant to represent transparency in administration. I also used animals such as mules, turtles and snakes as metaphors – not to portray any particular individuals, but to highlight certain characteristics as a form of criticism towards the prevalent practices of our society that go against the values of a civilised society.”

A balancing act

In his essay “Politics Subdued”, Dr Zakaria Ali comments that there are two ways to paint politics.

“One is direct, as we have seen in Hisyamuddin’s earlier artworks. The other is indirect, as we see in his current body of artworks.

'Throne Of Glass' (acrylic on canvas, 2023). Photo: Sareng Gallery

“There are threads of decorum, courtesy and respect in the way Hisyamuddin weaves his composition. (His) artworks call for the return to true governance, one as trustworthy as the pinks and blues of his colour spread,” writes Zakaria.

And indeed, Hisyamuddin says that in his latest works, he focused on a new concept that is something of a departure from his previous works.

“In this series, I focused more on the concept of ‘balance’, most noticeably in the use of harmonious colours.

“I also applied new skills and techniques that I’ve acquired, such as the way I handled the paintbrush to get an even effect on the surface of the canvas and applying a more accurate use of visual measurements.”

According to Hisyamuddin, as an artist, one of the biggest challenges he faces is in maintaining the quality of his work over time, particularly in technical and creative aspects.

“An artist should also always be aware of the current state of the world if they want their work to grow in pace with the changes in society and remain relevant. That is another major challenge that I always try to consider,” he concludes.

Distopia is showing at Sareng Gallery, Menara Chan, Jalan Ampang in Kuala Lumpur until Jan 13. The gallery is open Monday to Saturday, 10am-5.30 pm. It is closed on public holidays. Admission is free.