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Profile ZAIM
DURULAMAN ADDRESS
: 2-2-50,wisma rampai, taman
seri rampai, setapak, 53300
kuala lumpur, KUALA
LUMPUR
3rd award
painting competition,
yayasan warisan johor,
johor bahru
2nd award
life drawing competition,
the MINES exhibition centre,
selangor
: 2000 3rd award, malaysia
national day,
life painting competition, shah
alam gallery,
selangor :
1997 2nd award painting
competition, kraftangan, kuala
lumpur RADIO / TELEVION INTERVIEWS :
2004 Tampan TV
programme fo RTM,
channel 1
VTV (vietnam television)
channel 1
Radio Vietnam
NAME
: Zaim bin Durulaman ADDRESS
:
Setapak, 53300
Tel/Fax
: 603 41491593(studio)
: 012 2635664(mobile)
: e-mail
: duzaim@yahoo.com DATE OF BIRTH
: 20TH.
Sept. 1966
Sex
: Male
Race
: Malay
Nationality
: Malaysian
Religion
: Islam
NRIC
: 660920-08-6729 EDUCATION
: Bachelor in Art and Design(Graphic Design)
Shah Alam, Selangor
(1984-1988) PROFESIONAL EXPERIENCE
: Present
Fulltime Artist/Painter
: 2005
Part-time Lecturer
subject - Drawing Skill
- Illustration
RM 100.00 per hour
MIIM (Akademi TV3)
: 2001
Part-time Lecturer
subject - Illustration,
RM 100.00 per hour
MIIM (akademI TV3)
: 1992 Present
Freelance Illustrator / Painter
: 1988
- 1991
Illustrator International : 2005
MAIL ART – Yesterday and Tomorrow Exhibition
The International Art Colony – DEBRCA
Belchista,
: 2004
ASEAN Art - Tradition and Modernity
Creative
Ha
Solo Exhibition : 2005
Poem of Destiny
Main Lobby NST
: 2004
Recent Work
Gallery Citra
Selected Group : 2005
Rain Forest Art Festival Exhibition
Galleria,
Kuching,
: 2004
Exhibition(charity) for Tsunami
Malaysian Renowned Artist
Colour of Thought
Maju Junction
An Assembly of Asian Art Exhibition
MCC Art Garden
: 2003
Muse - Inspire to Aspire
International Contemporary Art Exhibition
Gallery Tangsi
Pameran Terbuka 2003
Gallery Shah Alam
Shah Alam
Philip Morris
Below 2000
Group Exhibition
Art Case Gallery
(History) Saksi
Art Exhibition & Competition
Bold & Beautiful
Group Exhibition
: 2002
Private Exhibition
Galleriizzu
Side by Side by Side
(3 man Show)
Art Case Gallery
Poem On Canvas
Group Exhibition
ARTalk Gallery
: 2001
Terbuka
Philips Morris Group of Companies
Manusia (open show)
NN Gallery,
Seni Khat, Arca dan Lukisan (competition &
Exhibition)
Yayasan Warisan Johor,
Johor Bahru, Johor
Open Show
Galleriizzu
Cigard 2
: 2000
Pameran Terbuka
Pekan Seni Ipoh,
Tanpa Tajuk
Shah Alam Gallery,
Shah Alam, Selangor
Art For Nature (WWF)
Forests for Water, Water for Life
Islamic
Bank Negara
: 1999
Anugerah Gallery,
Pulau Langkawi, Kedah
Pameran Seni Rupa
Pekan Seni,
In Different Being Different (3 men show)
W.S Art and Gallery,
Open Art Show,
Shah Alam Gallery,
Shah Alam, Selangor
: 1998
APEC Submit Art Exhibition,
PWTC,
Image of Sports,
Shah Alam Gallery,
Shah Alam, Selangor
Art for Nature (WWF)
NN Gallery,
Art Exhibition,
Kraftangan,
: 1997
Painting Competition & Exhibition,
Kraftangan,
: 1988
Degree Show,
Shah Alam, Selangor. ACTIVITY
: 2005
The International Art Colony – DEBRCA
Art Workshop
Belchista,.
: 2004
ASEAN Creative Camp
Coodinator / Curator for Group Exhibition
(Colour of Thought)
Maju Junction
: 2003
Curator for group exhibition
(Bold & Beautiful)
: 2001
Orchid Festival (Life Drawing Competition)
The MINE Exhibition Centre,
Seri Kembangan, Selangor
: 2000
National day (Life Drawing Competition)
Shah Alam Gallery,
Shah Alam, Selangor
Orchid Festival (Life Drawing Competition)
Shah Alam Gallery,
Shah Alam, Selangor
: 1999
Panel of Judges for National Day 1999
(Poster Competition)
Together Into The New Millennium
DBKL,
: 1998
A Day In A Life Drawing
Shah Alam Gallery,
Shah Alam,Selangor AWARD/HONOR : 2005
Consolation Prize Citra Terengganu
– Painting Competition Museum Terengganu Kuala Terengganu Honorarium
The International
Art Colony – DEBRCA
Art Workshop,
Consolation Prize
Life Drawing Competition
: 2004
Honorarium
ASEAN Culture Week and Creative Camp
: 2003
Honorable Mention
Philip Morris
: 2001
Honorable Mention
Philip Morris
3rd. Award,
Painting category,
Pertandingan Seni Khat, Arca & Lukisan
Yayasan Warisan Johor,
Johor Bahru
2nd. Award, Orchid Festival
Life Drawing Competition,
The MINES Exhibition Centre,
Selangor
: 2000
3rd. Award, National day
Life Drawing Competition,
Shah Alam Gallery,
Shah Alam
: 1997
2nd. Award, Kesenian Budaya Kraf,
Painting Competition,
RADIO / TELEVISION INTERVIEWS
: 2004
Tampan
TV Programme for RTM
Channel 1
VTV(
Channel 1
Radio COLLECTIONS : Ministry Art & Culture Vietnam, R. Macedonia, Museum of Terengganu,
Ministry of Foreign Affair Malaysia, Balai Senilukis Negara, Malaysian Embassy(Cuba,China,UK), British American Tobacco Group,
Citi Group / Citi Bank, Bank Negara Malaysia, Scomi Berhad, Australia High Comission, Swiss Reinsurence, PKNS, WWF, Yayasan
Warisan Johor, Oscar Advertising, WS Art & Gallery, APS Gallery, Galleriizzu, Gambar Tanah Licin Sdn Bhd, Prima Resort,
Tun Dr Mahathir Mohammed s(Former PM), Dato Seri Ramli Ngah Talib, Toh Puan Mahani, Dato Param, Tan Sri Wan Azmi and Private
Collections(New York, UK, Australia, Singapore). Artist Statement Rows of fishing boats by the sea and river mouth against a picturesque
view often captivates an artist. Serenity, the breeze and swaying palm trees
create a certain mood that touches the innermost feelings of the artist. All
these aside, the artist is also awed by the grit and determination of the fishermen who brave the unpredictable sea with all
its lurking animosities. They would face the fiercest storms, crushing waves
and the burning heat of the sun for the sake of their loves ones and the hope for a better future. With empathy, the artist feels how small and insignificant he
is in the world above and realizes that live is never without sacrifices. From
this, he chooses boats as the subject and metaphor in communicating the unseen feelings and meanings through his paintings. The artist is of the opinion that paintings and poetry are synonymous. With the mention of poetry, the artist paints a broader picture in his mind than the
words themselves. These paintings of boats are of no exception in harbouring deep messages, perhaps even deeper than the oceans. Within this trail of thought, the artist was influenced by Syair
Perahu(Poem of Boats), a poem by Hamzah Fansuri that has similar implied meanings as those in these paintings. In their overall concept, these boat paintings describe man journey
of life towards the eternal hereafter. The flat backgrounds symbolize a huge
stage for the journey, so huge that they seem endless. However, the truth of
the matter is that the journey does not end at the four corners of the canvas as they transcend beyond the boundaries of time
and space. The tools depicted in the boats are preparations to withstand
the stormy sea and the long journey. Dwelling and believing in Islam, the artist states these tools as representations to
the five-pillars of the faith. The floorboards are the recitement of the syahadat’, the mast is solat or prayers, the
ropes are fasting, the anchor is giving alms, and the rudder is pilgrimage to the holy land. The smaller equipment represents
other deeds prescribed for mankind to perform on this earth. Not unlike the poet, the artist tries to bring the audience to
level where all could grasp these implicit meanings. The technique used by the artist is of realistic approach even
though tactile texture is found on the surface of the paintings. Zaim Durulaman Zaim Darulaman One cannot but admire Zaim work even by the sheer laborious and intricate details in his pieces
that synergize figurative and abstract elements in perfect harmony. The inner dialogue he develops within himself is seem
personal and esoteric but yet inviting others to interpret and share the journey, a term he affectionately uses when referring
to his exploration. The journey according to Zaim is his manifestation of life. A perpetual journey without destination,
like the daily fishing trips fisherman make to sea. Embarking and embracing challenges life has to offer, where courage, skill,
preparations, timing and luck all play a part in determining the final outcome. The strength of his work is in the absence of life, but yet so evident through careful choice of
elements and objects portrayed. The messages conveyed by these objects are subtle, like the lamp signifying life, light and
illumination, the jetty, for a comfort zone to rest and recuperate, compass for direction and guide, the anchor and ropes
for restrain and control, numbers for identity and individuality. All of which are part of the powerful cycle of life. Zaim sees his work as a living art form, where it can be fragmented, rearranged and viewed separately
or as a whole. He wants his viewers to freely interact to his pieces and even formulate their own interpretation, which is
perhaps why his paintings are slowing evolving into installation. His paintings are well composed with an inapt sense of scale
and proportion. The use of bold color and texture to compliment the serene and tranquil setting of the sampan in the dock
create an irony and a sense of adventure, signifying the danger and violent state, as the sampans would be at sea. Zaim ability
to imply and suggest life, conflict and chaos without portraying them has become a trademark of his work. The honest, straight forward and almost nave approach adopted, creates a profound dialogue, which
draws the viewers into the debate, inevitably coaxing and forcing one to questioning one own existence and destination. By Syed Osman Syed Yusoff Senior Lecturer (Universiti
Perguruan Sultan Idris), Writer 2003 FOREWORD (2004) - For Solo Exhibition The visible world was made to correspond to world invisible and
there is nothing in this world but is a symbol of something in that other world. Algazel, Ihya, in Margeret Smith, al-Ghazali, the Mystic. What drives Zaim Durulaman to be obsessed with images of fishing
boats? Zaim was inspired by a Malay syair created in the early 17th century by a famous Indonesian Islamic scholar,
Amir Hamzah Fansuri from Barus, Sumatera. The poem entitled, Perahu has affected Zaim so much
that he created images of boats as a homage to the poet and as a form of personal recognition towards the educational value
of this poetry. It is an act of preserving the traditional religious values by depicting boats as to transcend one self -discovery.
“A boat or a ship is a symbol of destiny”, explained Zaim. In his
statement, there is no denial on part of the artist to create paintings with a flavour of the Malay/Islamic centric world
view. The ingredient of his paintings comprised of interplay forms in
a graphical approach. The selected subject matters such as the fishermen’s gasoline light, a stack of rope, and other
fishing accessories or gadgets were among his early iconographic images. These images
were organised in a harmonic organic unity. Later, he has developed his
subject matters by the inclusion of a stack of bananas and a swivel chairs in his recent paintings (created since January
2004). In tracing his artistic development, the artist attempted to create
his visual manifestation by blending his selected subject matters with a multi-layered structural semiotic representation
to convey his underlying meaning and significance. This preoccupation has flourished for the last decade and has resulted
into a series of interesting formation of symbolism. The quest for a personal creative identity in Zaim artwork was
further extended into a personalised stylisation.. His attempt to collaborate with the Malay literary world was to reflect
a parochial approach toward image making. It is evident that the usage of Malay pantun as a source of his inspiration
becomes a complementary issue. In enriching the realm of Zaim’s art, he uses the image of a modern office swivel chair
to symbolise the middleman syndrome. Every object is used to signify a symbolic representation of the reality that Zaim encountered
in his daily life. This idea is not a new idea. Throughout the years, many Malaysian Malay/Islamic artists had pursued this
line of thought and direction. What moves men of genius, or rather what inspires their work,
is not new ideas, but their obsession with the idea that what has already been said is still not enough.
Eugene Delacroix by Rahime Harun -
Art Writer / APS Gallery Artist
Statement Experiment Series
Chronology (experiment TWO) Sampan, perahu(boats),
more sampan, more perahu. So be it! After all, it is sampan and perahu that take me sailing exploring my fantasy. And although
the inference may be obscure and complex, I am nevertheless, proud to share the experience with the public, fellow artists
and art lovers. Inspired by the
famous poem of Sheikh Hamzah Fansuri, Syair Perahu, I aim to manifest the space in the four corners of the white canvas with
my seasoned and weary sampan. All in the hope of stirring up emotion, or perhaps my imaginations intoxicate myself and force
others to agree with me? For me, the journey
is still far, there is much I must learn, explore, and experiment. Paintings do not contain words, but a composition can be
vivid with just a stroke of a brush on canvas. Each artist has his/her own visual vocabulary and grammar. Perahu for me is
a metaphor for journey, life. It may be just means of transportation for others, God only knows. A follow up from
the miniseries experiment 12 x 12, now experimenting again with larger format, a more comfortable. The same theme but different
approach, more spontaneous and with diversified colors. The new series uses monochromatic background colors, as if implying
that life is always gloomy. But the night will end giving way to daybreak. The sun will shine again. Each problem must have
a solution and failure is the turning point to success. Every human will
inevitably leave a mark in the universe, some are obscured by time, others transcend and immortalized. Some leave behind their
love and brilliance, others leave their pain and sorrows. An artist will leave a piece of their existence on a rectangular
canvas, which the originality may later be questioned and value doubted. Zaim Durulaman Zaim Darulaman One cannot but admire
Zaim work even by the sheer laborious and intricate details in his pieces that synergize figurative and abstract elements
in perfect harmony. The inner dialogue he develops within himself is seem personal and esoteric but yet inviting others to
interpret and share the journey, a term he affectionately uses when referring to his exploration. The journey according
to Zaim is his manifestation of life. A perpetual journey without destination, like the daily fishing trips fisherman make
to sea. Embarking and embracing challenges life has to offer, where courage, skill, preparations, timing and luck all play
a part in determining the final outcome. The strength of
his work is in the absence of life, but yet so evident through careful choice of elements and objects portrayed. The messages
conveyed by these objects are subtle, like the lamp signifying life, light and illumination, the jetty, for a comfort zone
to rest and recuperate, compass for direction and guide, the anchor and ropes for restrain and control, numbers for identity
and individuality. All of which are part of the powerful cycle of life. Zaim sees his work
as a living art form, where it can be fragmented, rearranged and viewed separately or as a whole. He wants his viewers to
freely interact to his pieces and even formulate their own interpretation, which is perhaps why his paintings are slowing
evolving into installation. His paintings are well composed with an inapt sense of scale and proportion. The use of bold color
and texture to compliment the serene and tranquil setting of the sampan in the dock create an irony and a sense of adventure,
signifying the danger and violent state, as the sampans would be at sea. Zaim ability to imply and suggest life, conflict
and chaos without portraying them has become a trademark of his work. The honest, straight
forward and almost nave approach adopted, creates a profound dialogue, which draws the viewers into the debate, inevitably
coaxing and forcing one to questioning one own existence and destination. By Syed Osman
Syed Yusoff Senior Lecturer (Universiti Perguruan Sultan Idris), Writer 2003 Pisang emas dibawa belayar # 02 & 09 Pisang
emas dibawa belayar, Masak sebiji di atas peti, Hutang emas boleh dibayar, Hutang budi dibawa mati. The above verse literally means -
a debt in gold may be repaid,
good deeds will be rememberred forever. ‘Budi’ or good deeds are recurring
theme found in Malay pantun(poem) - handed down from generation to generation. It is a testimony about how the Malay
society regards the relationship between their fellowmen. Therefore it is only natural for the artist
- being a Muslim and a Malay trying to convey the same devotion in his paintings about his society dominant values. The perahu(boat) in his paintings
are metaphor for life itself. Burden with responsibility one must continue to strive - gliding towards the unknow sea of life. The artist choose to paint in monochromatic
as a reminder of the sacrifices made by the older generations to ensure our survival. The bananas widely regarded as the sustainer
of life on this part of the world represents family. The bunch of bananas tells about a close knit family. Together striving
through thick and thin. The single bananas with the exposed skin tells about a family member or a generation that are receptive
of new ideas through education or otherwise. It is hope the knowledge he gaving will eventually be beneficial to his family
or generation. It is a simple and natural expression of
the artist on what life is all about and what being humans really involves - it is responsibility towards your family, society,
country and God. Zaim Durulaman Translated by Hazimie Malik -Artist
Artist potret |
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What's New? Here I might add an entry whenever I make an update to my web site. Where appropriate, I'll include a link to the change.
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Please get in touch with any comments or reactions to my site.
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