작품 상세

There's always excitement when Tari comes into the market, and this is from Yusof Ghani's second tranche of the iconic series. There's certainly more flow, with the forms less defined and a lot of overlapping play, more riotous, more like a carnival. Even the obfuscated human forms coalesce with the ebb and tide of counter-flows or blots. A restraining ameliorating element can be traced from the general absence of strong colours. There is no sign whatsoever that he was laid down for three months after suffering a mild stroke in 1990, though one get the back-and-forth, back-and-forth rhythm in this work. Yusof Ghani's Tari Series started in 1985 and the first exhibition on this was at Galeri Citra, Kuala Lumpur, in 1989. Yusof Ghani is one Malay artist who did not go through the Mara Institute of Technology (ITM) mill. Without formal education at first, he was doing art-related jobs for 10 years. Like artist-illustrator at the Agriculture Ministry (1967), instructor in the Fisheries Institute, Penang (1971) and a graphic artist at Radio-Television Malaysia (1977). Then, he got a scholarship to study for his BFA at the George Mason University in the United States (1981), and MFA at the Catholic University in Washington, USA (1983). He then went on to lecture at ITM. In 2016, he organised the Shah Alam Biennale, and in 2017, he made his London debut with a solo, Segarak VI — Transcendent Figures, at the Asia House.