작품 상세

Nowhere else as in this Gelombang work precludes the literal vehement gestural swirls of waves. Gelombang can hinge on land forms, but more likely this represents an emotive even organically structured manifestation of something raw and of uncertain quality. Infused with chilli red with outlines of brown, it looks fragmented and splintered with an effusive warmth that is somewhat transformative than anything consuming and stripping. Such combustible palette can be found in Semerak Pesisir (1986), Homage To Rimbaud (2004), Baudelaire (2004), Seascape (2011), Indian Summer (2005) and his mid-Voyage series as in, Dark Voyage (2008-2009). Though the feelings are intensified, there is none of the nihilism of say, Night Of Apocalypse 1 (1992). This is an epigram of mood independent of any fixed object or subject. An echo perhaps, without sound. As he posed: "How do you express something that cannot be touched, held or grasped? How do you clarify feelings and non-concrete things?" (LINE: From Point to Point, Dewan Bahasa dan Pustaka, 1993). This work was featured in his second Gelombang solo at the Penang State Art Gallery (Nov 15-30, 1990), his first being in January 1988. Latiff Mohidin straddles on the creative firmament with paint, print, pen and 3D dimensions. He had a rare tripartite tutelage - DAAD German Academy, Bonn (1960), French Ministry of Culture Scholarship in Paris (Atelier La Courier-Frelaut, 1969) and John D. Rockefeller 3rd Scholarship in New York (Pratt Institute, 1969). He won the SEA Write Award (Bangkok, 1984) and the national Hadiah Sastera an unprecedented nine times! His pinnacle as an artist-printmaker-sculptor was when he was selected to show his landmark Pago-Pago (1960-1969) at the Centre Pompidou in Paris in 2018, and he was accorded his second Retrospective at the National Art Gallery, Kuala Lumpur, in 2012-2013.