A study of Yusof Ghani’s artworks : the ‘Wajah’ series paintings from 2006 to 2010 / Mozhgan Ramezani
Notice bibliographique
Résumé
Among the artists in Malaysia, Yusof Ghani is one of the most established and prolific Abstract Expressionist painters in the Malaysian modern art scene. The Wajah series paintings (2006-2010) created by Yusof Ghani is his latest venture into the art world. According to Yusof Ghani there is not any well-written research about Wajah series and the reason might be that although Wajah series was exhibited in Indonesia (2010) and in Canada (2009), it has never been shown in Malaysia. Moreover, currently there are limited references and materials documenting Malaysian art. Thus, the researcher’s concern for the lack of research on Malaysian art for present and future generations led the researcher to embark on this issue as a research. This qualitative research aims to analyze the selected paintings of Wajah series to identify the characteristics of the art elements and principles, determine the technique and explain the main concept of these paintings. The researcher used maximal variation sampling strategy in which the researcher selected six paintings of Wajah series which are still available in Yusof Ghani’s art gallery called Tapak located in Shah Alam, Malaysia. The Narrative Design Method was used for conducting this research. The researcher collected the data through one-on-one interviews with the artist, field-notes, audio materials and documents. The collected data were analyzed using Art Appreciation Theory by Harry S. Broudy as the core theoretical framework in the phase of analyzing the samples. The results show that the eyeless faces in Wajah series do not represent any specific identity. Instead they are symbolic representation of humankind in general. Each piece of this series contains a different narrative and the expressive faces address social issues related to human attitudes. One of the most common features of all the selected paintings is the highly textured surfaces through the technique of impasto as well as modelling technique by sculpting the surface before the paint is applied. Controlled palette of a few hues with a limited tonal scale of dark and light and the ambiguous space of eyeless faces in these paintings set the right ambience for particular mood of these faces. It also can be concluded that Yusof Ghani’s works are technically influenced by the formalistic considerations of Abstract Expressionism in the USA. The relationship between paintings of Wajah series with Abstract Expressionism is clearly seen in the treatment of line and form, the spontaneous and expressive brushstrokes and the randomly placed paint by dripping and dribbles of paint onto the canvas. The Western Abstract Expressionist works are considered to be unconventional non-figurative images. However, Yusof Ghani’s gestural style alternates between abstract work and figurative images and it is not purely Abstract Expressionist as seen in the context of Western art. It could be suggested that Yusof Ghani always emphasizes not only on exploring formalistic issues but also incorporating subject matter and social critiques in his works.
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction machine sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Le volet Gemma est une étiquette directe du modèle pour chaque travail de la base, lue sur la notice réduite au titre. Le volet Codex est un classifieur appris des 10 348 étiquettes directes de Codex et calibré sur les taux pondérés de l'échantillon; les champs sans appui suffisant ne portent aucun appel Codex. Le mode candidate est l'union des deux volets; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont pas des étiquettes humaines.
Scores du classifieur distillé par catégorie (deux têtes)
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,003 | 0,004 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,001 |
| Méta-épidémiologie (sens large) | 0,001 | 0,000 |
| Bibliométrie | 0,002 | 0,002 |
| Études des sciences et des technologies | 0,009 | 0,006 |
| Communication savante | 0,004 | 0,003 |
| Science ouverte | 0,001 | 0,002 |
| Intégrité de la recherche | 0,001 | 0,003 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,004 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule source (Gemma direct ou Codex distillé), pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».