ISMAIL BABA FINALE_AD-compressed (1)

PAMERAN PROFIL

BABA

ESiddiatongrial

Katalog Pameran

PENASIHAT i
Ts. Dr. Nadzri Mohd Sharif (KPP FSSR)

PENASIHAT ii
TEn. Wan Mohd Zulkifle Wan Yaccob (Penasihat GAS)

PENGERUSI
Dr. Rosli Zakaria (Pengurus GAS)

BENDAHARI
Pn. Diana Ibrahim

KURATOR
En. Hisammudin Ahmad
En. Azahari Khalip

PENGURUSAN PAMERAN & LOGISTIK
En. Mohd Shaharudin Sabu
En. Mohd Saharuddin Supar
En. Mohd Ali Azraie Bebit
En. Ahmad Zuraimi Abdul Rahim
En. Shahrul Munir Mohd Kaulan

EDITOR
Pn. Shahariah Mohamed Roshdi

REKABENTUK BUKU
Ilinadia Jamil

PENULIS
En. Azahari Khalip
En. Hisammudin Ahmad

PENGKAJI
En. Musaddiq b. Mohamad Khalil

BICARA SENI
Dr. Sharmiza Abu Hassan

FOTO, VIDEO & DOKUMENTARI PENDEK
En Mohd Hanif Mohd Omar

KIsaindungan

Katalog Pameran

PraKata Rektor 03
PraKata Kurator Pameran 05
Profil Ismail Baba 09
Mengenali Ismail Baba 11
Dari Jendela LIAC#4 13
Koleksi Karya Ismail Baba 22
23
i. Karya Utama 42
ii. Karya Eksperimental 56
Ucapan Penghargaan

PraKata
Rektor UiTM Melaka

Profesor Madya Ts Dr Assalamulaikum WBT,
Mohd Rasdi Zaini
Lorem ipsum dolor sit amet, con-
Rektor UiTM Melaka sectetuer adipiscing elit, sed
diam nonummy nibh euismod
tincidunt ut laoreet dolore
magna aliquam erat volutpat. Ut
wisi enim ad minim veniam, quis
nostrud exerci tation ullamcorper
suscipit lobortis nisl ut aliquip ex
ea commodo consequat. Duis
autem vel eum iriure dolor in
hendrerit in vulputate velit esse
molestie consequat, vel illum
dolore eu feugiat nulla facilisis at
vero eros et accumsan et iusto
odio dignissim qui blandit prae-
sent luptatum zzril delenit augue
duis dolore te feugait nulla facili-
si. Lorem ipsum dolor sit amet,
cons ectetuer adipiscing elit, sed
diam nonummy nibh euismod
tincidunt ut laoreet dolore
magna aliquam erat volutpat. Ut
wisi enim ad minim veniam, quis
nostrud exerci tation ullamcorper
suscipit lobortis nisl ut aliquip ex
ea commodo consequat. Lorem
ipsum dolor sit amet, consec-
tetuer adipiscing elit, sed diam

PraKata Halaman - 03



PraKata
Kurator Pameran

En Azahari En. Hishamuddin
Khalip ahmad
Kurator Kurator

PraKata Halaman - 05

Assalamulaikum WBT, Halaman - 06

Lorem ipsum dolor sit amet, consectetuer adipi-
scing elit, sed diam nonummy nibh euismod
tincidunt ut laoreet dolore magna aliquam erat
volutpat. Ut wisi enim ad minim veniam, quis
nostrud exerci tation ullamcorper suscipit lobor-
tis nisl ut aliquip ex ea commodo consequat.
Duis autem vel eum iriure dolor in hendrerit in
vulputate velit esse molestie consequat, vel
illum dolore eu feugiat nulla facilisis at vero eros
et accumsan et iusto odio dignissim qui blandit
praesent luptatum zzril delenit augue duis
dolore te feugait nulla facilisi. Lorem ipsum dolor
sit amet, cons ectetuer adipiscing elit, sed diam
nonummy nibh euismod tincidunt ut laoreet
dolore magna aliquam erat volutpat. Ut wisi
enim ad minim veniam, quis nostrud exerci
tation ullamcorper suscipit lobortis nisl ut
aliquip ex ea commodo consequat. Lorem
ipsum dolor sit amet, consectetuer adipiscing
elit, sed diam nonummy nibh euismod tincid-
unt ut laoreet dolore magna aliquam erat volut-
pat. Ut wisi enim ad minim veniam, quis nostrud
exerci tation ullamcorper suscipit lobortis nisl ut
aliquip ex ea commodo consequat. Duis autem
vel eum iriure dolor in hendrerit in vulputate
velit esse molestie consequat, vel illum dolore eu
feugiat nulla facilisis at vero eros et accumsan et
iusto odio dignissim qui blandit praesent
luptatum zzril delenit augue duis dolore te feu-
gait nulla facilisi. Lorem ipsum dolor sit amet,

PraKata

IPASMMERAANIPLRBOFAILBA



PAMERAN “Walaupun seni naif
PROFIL dianggap mudah, namun
ISMAIL BABA seni yang berkualiti tidak

Ismail Baba dapat dihasilkan tanpa
kreativiti dan olahan yang
Artis
sempurna. ”

erkumpulnya karya seni oleh
pelukis veteran bernama Encik
Ismail Baba atau lebih dikenali
dengan panggilan Pak Mail di
Galeri Seni UiTM, merupakan satu
penghormatan besar buat Fakulti Seni
Lukis dan Seni Reka dan Jabatan Seni
halus cawangan Melaka. Karya karya
beliau dipersembahkan buat julung
kalinya di Galeri Seni UiTM yang berta-
juk Pameran Profile Ismail Baba adalah
terdiri dari himpunan 13 karya seni
catan dan 14 karya seni arca, dihasilkan
oleh beliau di kediamannya di Ampang
Selangor dan dibawa ke Galeri Seni
UiTM hasil dari inisiatif dan usaha besar
yang dilakukan oleh GAS iaitu Fine Art
Gallery and Art Shop. Gas merupakan
inkubator yang dimiliki oleh Jabatan
Seni Halus cawangan Melaka, berfung-
si untuk mempromosikan karya seni
seniman visual tanah air dan karya-
karya pelajar dalam memupuk minat
budaya berpameran dan juga memu-
puk nilai nilai pengkormesilan. Melalui
pameran ini dapat kita kenali bahawa
Ismail Baba merupakan seorang pelu-
kis yang menjurus kepada gaya seni
naif (Naïve Art). Walaupun seni naif
dianggap mudah, namun seni yang
berkualiti tidak dapat dihasilkan tanpa
kreativiti dan olahan yang sempurna.

Profil Ismail Baba Halaman - 09

Pameran Profil Ismail Baba adalah terdiri dari himpunan 13
karya seni catan dan 14 karya seni arca, dihasilkan oleh beliau
di kediamannya di Ampang Selangor dan dibawa ke Galeri
Seni UiTM

Profil Ismail Baba Halaman - 10

IMsEmNaGEilNABLaIba beliau sangat konsisten memberi nafas baru
terhadap objek- objek tersebut dengan
elalui pameran ini dapat kita kenali mengecat kembali objek dengan warna yang
bahawa Ismail Baba merupakan flat, beliau menguatkan lagi dengan pengu-
naan warna asas yang terang seperti merah
seorang pelukis yang menjurus kuning dan biru dan tidak perlu untuk di
kepada gaya seni naif (Naïve Art). Suka cita pecahkan kepada warna sukender atau tertiari.
ingin saya luahkan dan ceritakan pengalaman Lanjutan dari aktiviti ragam menghiasi studio,
saya bersama rakan rakan sekerja apabila Ismail Baba cuba menghasilkan karya objek
melangkah masuk ke lorong tepian rumah tiga dimensi yang lebih serius dan lebih
kediaman Ismail Baba. Bahagian depan rumah khusus ada potensi untuk dipersembahkan di
sudah tentunya rumah induk atau ruang ruang Galeri, maka lahirlah karya seni tiga
kediaman keluarga beliau. Apa yang menari-
knya apabila melewati rumah induk untuk “Bagi Ismail Baba, melukis
menuju ke studio beliau, bermulalah satu subjek naif tidak semudah
dimensi baru dan khayalan yang cukup mem-
personakan diri saya. Melangkah perlahan yang disangka. Beliau
lahan mengikut tertib diri sebagai tetamu mengambil masa beberapa
yang di undang oleh tuan rumah sudah pasti tahun sebelum mendapat
berasa bangga dalam diri melihat kesunggu- “gaya sendiri” dalam olahan
han beliau mencernakan setiap ruang dan
sudut yang ada pada kediaman beliau dalam seni naifnya.”
usaha membentuk suasana ‘abundant space’
iaitu suasana yang melimpah ruah dengan
susunan- susunan objek jumpaan ‘found
object’ dengan begitu tertib sekali. Sekali
sekala mata saya menerawang ke bahagian
dinding luar kediaman studio beliau, juga dihi-
asi dengan objek jumpaan domestik yang
sangat mempersonakan. Bentukan bentukan
yang disusun dan dilekat merupakan satu
aktiviti atau kegiatan yang sangat jujur lahir
dari jiwa seorang pelukis dalam kesedaran
atau tidak sedar merungkai dimensi gayaan
naif ke bentuk objek 3 dimensi yang tidak
hanya terhasil di permukaan kanvas sahaja.
Objek jumpaan seperti barangan dapur, alatan
permainan sehinggalah ke bahan peralatan,

Mengenali Ismail Baba Halaman - 11

dimensi menggunakan bahan terbuang atau menyamai dengan rupa ringkas imej haiwan
‘junk’ seperti kayu hanyut, objek harian dan seperti ikan dan lembu. Selanjutnya beliau
sebagainya. Sejumlah 14 buah arca dihasilkan mengulangi aktiviti mewarna permukaan
oleh Ismail Baba keseluruhannya mengu- dengan jalinan rupa warna yang diulang
nakan bahan jumpaan dan bahan terbuang ulang dan ditindih tindihkan warna terang
(junk) mendominasi pembinaan karya terse- primari tersebut. Menghayati dan menilai
but. Kebanyakan karya bahan sebenar dibina kecenderungan beliau dalam kerja berkarya
dan dikukuh dengan menggunakan tiang besi seni ini mengingatkan saya kepada hasilan
dan mempunyai base foundation. Beberapa Menara Watts di California yang dihasilkan
karya arca yang terdiri dari kayu hanyut dipas- oleh Simon Rodia, bebas menggunakan apa
ang base dengan potensi diperagakan meng- saja bahan atau medium, dan mewarna
gunakan pedestal. Aktiviti seterusnya beliau dengan tiada peraturan yang harus diikuti.
mula aplikasikan pengunaan warna yang
terang pada permukaan bentuk objek, jalinan PENULIS:
rupa warna yang berbagai dan terang menba- En Azahari Khalip
wa kepada kesan pertindihan pada keseluru-
han permukaan objek, warna warna meriah.
Ada beberapa karya menggunakan bongkah
kayu yang mempunyai base, melalui bongkah
tersebut beliau amati ada bentukan rupa yang

Mengenali Ismail Baba Halaman - 12

Courtesy of Artist 'Nelayan Pekan Kuah Langkawi (2009)' by
Ismail Baba

Diari Jendela LIAC#4 Halaman - 13

Naive Art Exhibition:
Ismail Baba (LIAC#4 UiTM Melaka)

ATE Art Terms defines 'Naive Art' as a Second, in the Western Cannons of Art History,
simple, unaffected, and unsophisticat- between the late 19th to early 20th century,
ed art style, characterised by its childlike Naive Art style was viewed as an informal art
simplicity of execution and vision. As style, outside of the formal Academic Art (Euro-
such it has been valued by modernists seeking pean) context. As in this perspective, Naive
to get away from what they see as the insin- artist were considered self-taught, not because
cere sophistication of art created within the they were unaware of the Academic styles,
traditional system (TATE, 2022) conversely, rather because they were
self-taught outside the context of Academic
Nonetheless, let us unfold the three (3) aspects Art. The formal Academies highlighted several
or perspectives, underlining the concept of established approach towards works of art;
'Naive Art'. first, there were hierarchies of a worthy subject
matter ranging from the mythological, allego-
First, Naive Art from the common perspective, ry, religion, figures, portraits, until landscapes
is viewed as an art style where appearance of and still life, least valued on the bottom scale of
the work of art, renders childlike formalistic such hierarchy. Second, the naturalistic treat-
aspects, in terms of its overall stylistic represen- ment of proportions such as linear perspective,
tation. As in this perspective, Naive art is a which creates illusion of reality on a 2-Dimen-
unique approach which democratise the taste sional surface. Third, the naturalistic treat-
and appreciation of works of art, to which it is ments of colours, as of the subtle brushstrokes
accessible to everyone despite age, gender, which represented realistic outcomes. Howev-
ethnic, education and background. If Naive Art er the Naive artist such as Henri Rousseau,
was edible, it could have been the universal blurred the demarcation between the worthy
'Nasi lemak' or 'Roti Canai' for everyone to feast subject matter to be portrayed, as well as
and enjoy. To an extend, if you don't have kids perspective and proportions of a realistic
to empathise works of Naive Art, you, yourself outcome, not just because he was
was once a kid. Apparently, Naive Art is not just self-thought, but because he did not care less
inclusive in matters regarding its synergy towards the principles of the Academy, which
between art and society, moreover, everyone eventually granted him a unique place in the
own's a childish (archetypal-reality) side in History of Art. Third, Naive art were also consid-
him/her self, represented in hobbies and ered as apart of primitive art. As in this
collectibles some way or another, or perhaps in perspective, spurred by the western theory of
regards to Naive Art itself. evolution by Charles Darwin, the imperial

Diari Jendela LIAC#4 Halaman - 14

powers (western) reflected such ideas as the others insert Primitive reflections, as apart of
'survival of the fittest', in where there were con- their synthesis, on the becoming of their work
cept and ideas, connoting between the of art. In Malaysia, Ismail Baba is one of the
Civilised-Uncivilised, Western-Oriental (Oth- country's celebrated Naive Artist. In regards to
ers), to an extend Matured-Unmatured. In one Naive Art, Ismail Baba has his own stylistic
side, the primitive Naive Art was considered as approach, called 'Mael Art Naive Style'. This
unmatured as compared to the Grand-Narra- Naive Art style celebrates the artist's visions
tives of Academic Art, which were superior, and reflections towards cultural unity as well as
civilised, and more western-oriented. However identity of Malaysia. As an outcome, Ismail
artist who came from the Academic back- Baba has carved his name on the local and
ground such as Picasso, Gauguin, Matisse, global Naive Art scene respectively, through-
Klimt, Klee and many others, which applied the out his Malaysian Naive Art tour, and visits in
same primitive approaches in art were consid- Asia and Europe. Ismail baba's artistic style is
ered 'Pseudo-Naive' or 'Primitivism'. In regards unique in regards to three (3) aspects; Form,
to this situation, Naive Art technically are parts Icon, Style.
and parcel of Modern Art's Avant-Garde. Never-
theless, After the postwar (1945), in the age of First, Ismail Baba's formalistic aspects in his
globalisation, the term primitivism or primitive work of art brings the audience towards newer
arts were later then connoted towards folk arts, collective taste in Naive Art. Unlike, works of art
of the African and Asian region. which address linear perspective as a natural-
ism (realistic) taste on illusions of reality, where
Eventually, from the Meta-Narrative vision of shadows and depths are represented. The
the 'Utopia-Dystopia', Naive Art is one way or artist's treatment on his work of art still has a
another, apart of Modern Art. In 1884, Henri focal point, rather than a rigid controlled of
Rousseau himself exhibited some of his early vanishing point. In approaching this method,
paintings in the Salon des Independants the artist creates memories as well as realities
together with other modern artist, mostly the which are layered between one and another,
impressionist as well as the post-impressionist. through his mediums. In this sense, the artist is
Moreover, there were exhibition and publica- free to articulate the outcome of his artwork
tions where artists such as Matisse, Picasso, through his visions of past, present, or future,
Kandinsky, and many other, would include which is considered a reiterative on going
Henri Rousseau's artwork as apart of the Mod- process. The choice of colours on the subject
ern-Vision. Simultaneously, most of the matters are sometimes exaggerated, which is
Modern Artist sought visions on scientific beyond conventional naturalism, celebrating
progressivism, approaching techniques such vibrance of a vision, in where sometimes the
as Pointillism, favouring the scientific theories figures itself are distorted according to the
on colours and proximity; Newton, Goethe, archetypal-reality the artist intends to portray.
Chevreul, Gestalt, and others. While, others Perhaps this is why most of the artist's artworks
such as Gaugin, Matisse, Picasso, Klimt, and is represented in a wide-angle view, in regards

Diari Jendela LIAC#4 Halaman - 15

to the compressing of the whole scene, com- landmarks, to incorporate a collective contem-
pose in such vibrant as well as harmonious, porary taste, of cultural unity and identity, in
forms and colours. At times, the works of art regards to places the artist visits. As an
invites the audience, in such of a vibrant kalei- outcome, the audience can experience the
doscopic colour excitement.Second, Ismail new spirit of harmony between humankind
Baba's articulation of iconic subject matters, on and nature, on a positive utopian-vision of
material and non-material culture, takes the progress.Third, Ismail baba's stylistic approach
audience towards the artist's art vocabulary, towards his artistic practice, guides the audi-
celebrating cultural unity as well as local identi- ence towards the artist's attitude on funda-
ty. The stylistic approach in where the artist mental principles and process of art making. If
includes natural habitats of lushed trees, or you do have the chance to visit O'Mail Studio,
jungle-of-trees portrays the exoticness of Jalan Kempas, Ampang jaya, KL. You might
Malaysia's natural rainforest wonders. witness how the artist organised, each and
every process of art fabrication, Step-by-Step.
“In regards to Naive Art, Technically, there are areas for sketching, draw-
Ismail Baba has his own ing, painting, colouring, as well as finishing, all
stylistic approach, called taking place in a whole factory of 'Mael Art
'Mael Art Naive Style'.” Naive Style'. The artist shares one of his princi-
ples; it is compulsory for any artist to have
On the other hand, the artist brings the audi- his/her own sketchbook, and to sketch daily. In
ence towards a primitive utopian, to memories doing so, he/she will find more inspirations on
of life before the pre-industrial modern society, originality, identity, and novelty, from his/her
in which society were more honest, in regards daily sketching ideas. By repeating this process
to the relationship between humankind and daily, the artist will find unfolding progress,
nature. As to this perspective, perhaps this is within the overall process. At the same time,
one of the reasons why the artist portray's the ideas generated can be developed into
natural habitat of fishes and birds, living in a concepts, which will be articulated on future or
harmonious ecosystem, depicting the superi- present works of art. Since 2006, it has been 16
ority of the sublime, rather than beauty alone years, of daily sketching for Ismail Baba, even at
through its naturalness. Such approach in the heart of the pandemics (2019-2021), at
Naive Art is identical to the stylistic treatments home. As an outcome to such principle and
by Henri Rousseau, Alfred Wallis, Andre process, the artist's develop tons of personal
Bauchant, Ben Nicholson, and many others. sketchbooks, in where most of the time it acts
Most of the human figures were intentionally as his 'Blueprints' or Visual-Vocabulary, a visual
addressed inferior, towards the superiority of dictionary, or visual archetype serving as the
the landscape's vision. However, Ismail Baba building blocks of his works of art. Sometimes,
builds back some of the interesting modern the artist mentioned that these sketchbooks
iconic subject matters, such as buildings, mon- price are higher in demand rather than the
uments, roads, transportations, as well as artworks itself.

Diari Jendela LIAC#4 Halaman - 16

Hence, this aspect of art direction, elevates the Halaman - 17
value of Naive Art, through genuine process as
well as principles, of artistic practice, produced
solely by the artist himself. Equally important
as three (3) of the mentioned aspects above, in
regards to Ismail Baba's artistic style and
approach. 'Respect' has been the key towards
the success of this celebrated Naive Artist.
Perhaps it has been one of the factors, or
process which shapes the becoming of Ismail
Baba, as a celebrated Naive Artist himself. In his
studio, there are many walls of fame, one of
them are dedicated towards paintings of his
art companions, ranging from different styles,
as well as art approaches. In regards to this
attitude, the artist composed each and every-
works of his art companions, as apart of the
bigger art ecosystem family, with high respect
as evident in figure 6. In a nutshell, as a cele-
brated Malaysian Naive Artist, Ismail Baba con-
tinues to develop his art practice towards
greater heights, celebrating the uniqueness of
his artistic approaches on form, icon, and style.
Inclusive in regards to Malaysia's cultural unity
as well as identity.

Ismail Baba, will be exhibiting his 'Mael Art
Naive Style' show and workshop at UiTM Lendu,
Alor Gajah, Melaka, soon, on the 3rd October
2022. Everyone is invited to experience this
opportunity together, brought by Lendu Inter-
national Art Camp (LIAC#4)!

RESEARCHER:
En. Musaddiq Mohamad
Khalil

Diari Jendela LIAC#4

Diari Jendela LIAC#4 Halaman - 18

ISMAIL





UKTAARMYAA

01

Tanjung Bidara Melaka Halaman - 23

Akrilik atas kanvas
61cm x 61cm (Diptych)
2020

Karya Pameran

02

Ikan ll Halaman - 24

Akrilik atas kanvas
120cm x 92cm
2010

Karya Pameran

03

Sunyi Sepi Di Kala P.K.P Namun Berseri

Akrilik atas kanvas
92cm x 92cm
2021

Karya Pameran Halaman - 25

04

Rona Warna II Halaman - 26

Akrilik atas kanvas
61cm x 61cm
2020

Karya Pameran

05

Rona Warna I Halaman - 27

Akrilik atas kanvas
61cm x 61cm
2020

Karya Pameran

06

Panorama Alam I, II & II Bersiri 3

Akrilik atas kanvas
91cm x 46cm x 4cm
2006

Karya Pameran Halaman - 28

07

Pantai Irama Halaman - 29

Akrilik atas kanvas
76cm x 76cm
2019

Karya Pameran

08

Taman Pinggiran Ampang Halaman -30

Akrilik, kayu dan kanvas
44cm x 88cm
2021

Karya Pameran

09

Aku Mobil & Yogyakarta Halaman - 31

Akrilik atas kanvas
122cm x 94cm
2013

Karya Pameran

10

Trengganu Kite Halaman - 32

Akrilik atas kanvas
92cm x 92cm
2010

Karya Pameran

11

Telok Cempedak Halaman - 33

Akrilik atas kanvas
110cm x 78cm
2011

Karya Pameran

12

Menjelang Senja Halaman - 34

Akrilik atas kanvas
60cm x 46cm
2015

Karya Pameran

13

Bumi Bertuah Halaman - 35

Akrilik atas kanvas
30cm x 30 cm (setiap satu)
2020 - 2022

Karya Pameran

14

Rina Rimba Halaman - 36

Akrilik atas kanvas
25cm x 20cm
2006

Karya Pameran

15

Miow Pagi Halaman - 37

Akrilik atas kanvas
21cm x 24cm
2006

Karya Pameran

16

Taman Ria Halaman - 38

Akrilik atas kanvas
38cm x 38cm
2021

Karya Pameran

17

Rona I & II Halaman - 39

Akrilik atas kanvas
40cm x 40cm (Diptych)
2018

Karya Pameran

18

Ikan Makan Ikan II Halaman - 40

Akrilik atas kanvas
153cm x 153cm
2008

Karya Pameran

EKSPERIMEKNARTYAAL

01

Rona Bertanduk Halaman - 42

Akrilik dan kayu
62cm x 42cm x 31cm
2020

Karya Pameran

02

Ikan Oh Ikan Kenapa Engkau…

Akrilik, kayu dan besi
45cm x 45cm x 13cm
2019

Karya Pameran Halaman - 43

03

Cerah Petang Halaman - 44

Akrilik dan kayu
41cm x 34cm x 13cm
2021

Karya Pameran

04

Senyum Kota Halaman - 45

Akrilik dan mannequin
31cm x 57cm x 17cm
2018 - 2022

Karya Pameran

05

Ikan Makan Ikan Lagi.. Halaman - 46

Akrilik, kayu dan besi
78cm x 49cm x 12cm
2018

Karya Pameran

06

Si Ikan Parang Halaman - 47

Akrilik dan kayu
121cm x 44cm x 21cm
2020

Karya Pameran

07

Cerek Warna I & II Halaman - 48

Akrilik dan aluminium
34cm x 31cm x 21cm (Diptych)
2021

Karya Pameran

08

Dingin Pagi Halaman - 49

Akrilik dan kayu
23cm x 45cm x 5cm
2021

Karya Pameran