Lot Essay
"I set myself a challenge. A challenge to deepen the level of my work and not merely to repeat what I had done earlier [...]. The challenge was to develop a new technique that could transmit, consolidate a sense of urgency, vigour; the challenge was to do the best work possible, as if it is to be the last painting!" ("In Conversation. T.K. Sabapathy and Latiff Mohidin" in Sabapathy, T.K., Latiff Mohidin. Rimba Series, 1998:25.)
The stimulus for Latiff's Rimba series has conceptualised in a very short period of 36 months, a major body of work that is overwhelmingly powerful and compelling. Begun in 1995, Rimba (which translates to Forest in English) comprises a formidable programme of 90 paintings and 90 drawings, the originating platform of which is intricate and multi-layered, and may be viewed in relation with Latiff's earlier works, in particular the Pago Pago series. What is consistent throughout his oeuvre is his approach in developing a theme over a period of time and conceived through a number of works which are closely related to each other, whether formally or conceptually, hence creating series of works that come under an umbrella title. The artist explains his artistic process as such: "A series is a means of differentiating or characterising certain works or groups of works. A series allows for a way of developing your study into complete works. I build on a theme, enlarge it or expand on it over a period of time." (Ibid., p. 26)
The Pago Pago series is Latiff's most widely acclaimed painting series, where the imagery and sensations were drawn from his own sensibilities of Southeast Asia as his home. His choice of formal aesthetics comes from the influences of German Expressionism to which he was exposed when he pursued his art education in Berlin. He rejects visible reality and subjects immediate perceptions to his own emotional interpretation before applying his memories onto the canvas. The resultant paintings have been described as muscular, raw and sexually charged, as their formidable power comes from the emotional truth that Latiff has imposed on his work.
The Rimba series continues the expressionist creed that Latiff has advocated throughout his artistic career. Here, the forest is translated into a pictorial plane constituted by dynamic renderings in dense layers of paint.
The stimulus for Latiff's Rimba series has conceptualised in a very short period of 36 months, a major body of work that is overwhelmingly powerful and compelling. Begun in 1995, Rimba (which translates to Forest in English) comprises a formidable programme of 90 paintings and 90 drawings, the originating platform of which is intricate and multi-layered, and may be viewed in relation with Latiff's earlier works, in particular the Pago Pago series. What is consistent throughout his oeuvre is his approach in developing a theme over a period of time and conceived through a number of works which are closely related to each other, whether formally or conceptually, hence creating series of works that come under an umbrella title. The artist explains his artistic process as such: "A series is a means of differentiating or characterising certain works or groups of works. A series allows for a way of developing your study into complete works. I build on a theme, enlarge it or expand on it over a period of time." (Ibid., p. 26)
The Pago Pago series is Latiff's most widely acclaimed painting series, where the imagery and sensations were drawn from his own sensibilities of Southeast Asia as his home. His choice of formal aesthetics comes from the influences of German Expressionism to which he was exposed when he pursued his art education in Berlin. He rejects visible reality and subjects immediate perceptions to his own emotional interpretation before applying his memories onto the canvas. The resultant paintings have been described as muscular, raw and sexually charged, as their formidable power comes from the emotional truth that Latiff has imposed on his work.
The Rimba series continues the expressionist creed that Latiff has advocated throughout his artistic career. Here, the forest is translated into a pictorial plane constituted by dynamic renderings in dense layers of paint.