Zainudin's Cerita Orang

On the 8th of July, G13 Gallery opened simultaneous solo exhibitions at their two adjacent KL spaces. In the front salon, renowned local artist Khairudin Zainudin employs his masterful drawing and painting techniques to explore past and present experiences related to personalities in Kelantan who live a decidedly slower pace, far removed from the lights and urban bustle of Kuala Lumpur, a lifestyle predictably encountered in most rural towns and smaller villages worldwide that never fails to endear itself to locals and passersby alike. Zainudin uses vignettes of the Kelantanese people to depict the social fabric of his homeland and identify it specifically for its unique values and virtues.

Born in 1987, Zainudin’s depth of poignant references has long defied his youthful age. A plethora of small town clues are immediately evident in his studies. Farm animals freely mingle with the locals. Men sport bursting forearms from long days utilising rudimentary tools for grueling work. Casual conversations take place around makeshift tables while sitting on mismatching plastic and wood chairs, long the norm in open-air meeting places for close friends and approved guests who gather to discuss the latest economic and political affairs and the meal of the moment. Elderly folk seek solace from turbulence while anxious youths search for new ways to expend bounding energy. Fading flags yearn for a passing breeze while barefoot workers take frequent breaks from throbbing rays. Sun-hewn faces abound, as do the more refined profiles of community leaders draped in their position-appropriate formal regalia.

Technically, Zainudin utilizes an ink hatching method for many of his drawings to build depth rather than the more traditional shade and blur methods used with graphite or charcoal. He incorporates combinations of repetitive lines and markings to control density and modulates direction to emulate certain effects and textures. He often applies liberal cross-hatching or overlapping marks and lines to achieve even more detailed renditions.

Hatching enhances three-dimensionality while permitting omnidirectIonal breathing of the drawn portions. This in turn allows the artist to benefit from transparency between lines by under-painting certain sections and over-painting others. Zainudin often uses a similar hatching and mark-making process on top of paintings to guide the viewer through complex compositions.

Hatching is crisp and clean, lending itself perfectly for use in limited-edition printing or smaller studies without fear of building undesired volume that can result in clogged compositions. The results from Zainudin's approach render profound graphic impact of tradition-inspired content.

Not surprisingly, opening night of Cerita Orang mirrored many of the relaxed, small town concepts Zainudin depicts in his work. There was the artist, confident and subdued while surrounded by a small group of friends, colleagues, and well-wishers conversing in muted tones, disturbing nary a soul as they no doubt discussed the goings-on of the day like they always do. In this case, the topic most assuredly must have been Zainudin's latest solo exhibition.

Cerita Orang is calm, quiet, and unassuming, an apt portrayal of the relaxed lifestyle depicted. It respects and befits both the context and the people it celebrates with great success. Conversely, the artistic approach is anything but laid back, with Zainudin employing unique contemporary methods that will also stand the test of time.

For information about Khairudin Zainudin and the Cerita Orang, visit G13 Gallery before the 22nd of July. Exhibition catalogues are available through the gallery. G13 gallery can be reached through their website.