YUSOF ' GAJAH '

Nami Island South Korea

2011-12-24T13:44:00.001-08:00

Pesta Konvo UM 2011

2011-11-09T14:37:00.000-08:00

Pra-pelancaran Galeri Seni UM

2011-11-09T14:27:00.000-08:00

ELEPHANT PARADE SINGAPORE 2011 PROJECT

2011-06-30T15:45:00.000-07:00

FIGURE IN PAINT – Contemporary Water colour exhibition Galeri PETRONAS

2011-06-30T15:40:00.000-07:00

FIGURE IN PAINT –KATA PENGANTAR DI BROUCHER PAMERAN

2011-06-30T15:35:00.000-07:00

FIGURE IN PAINT mengajak anda untuk memcabar prasangka terhadap sifat semula jadi cat air. Pameran ini bertujuan untuk mempamerkan, bagaimana peningkatan bahantara yang versital ini dan membolehkan seniman kontemporari Malaysia yang mengunakan cat air lari daripada kekangan praktis dibentung dengan subjek flora dan fauna hingga kerakaman pemandangan ditempat kejadian dan peristiwa. Sebelum kemunculan fotografi, cat air merupakan bahantara pilihan sebagai bukti saksi, kini seniman cat air menerapkan semua genre, semi abstrak hinggalah ke foto realism.

Pameran ini boleh dikatakan pameran yang paling ekspremental dalam seni cat air yang pernah diadakan , dengan 30 karya berskala besar daripada seniman Malaysia yang dipandang tinggi seperti Khalil Ibrahim , Long Thien Shin , Rafie Abdul Rahman , Yusof Gajah, dan Jalaini Abu Hassan. Pameran pemecah tradisi ini meraikan keselurohan kepelbagaian cara pengunaan cat air melalui cara dieksprementasi dan dipamerkan.

Karya berskala besar tidak perlu memekik untuk mendapatkan perhatian, tetapi mendesak untuk mendapatkan tumpuan. Menyiasat isu isu budaya melalui teknologi terkini , para seniman menolak ketenangan abadi didalam karya awal dan menghasilkan imej imej yang moden sepenuhnya. Dengan melukis subjek seperti figura bersama sama pengunaan kaedah tradisional melalui pendekatan kontemporari, pameran ini akan membuka pandangan dalaman kreatif seniman dan mendorong untuk menghasilkan pelbagai lukisan cat air yang hebat.

FIGURE IN PAINT juga menawarkan peluang untuk melihat karya cat air eksperimental yang jarang dilihat, antaranya oleh seniman Fauzin Mustafa, Ise dan Haslin Ismail sehingga ke Donald Abraham yang berjaya menghapuskan stigma sedia ada dengan kekuatan yang dikawal dengan baik, membawa penonton melangkaui sekedar rupa bentuk gambar dan melihat cat air seada-adanya, iaitu suatu bahantara yang segar, bersemangat dan kontemporari.

Pameran ini mempersembahkan cadangan penuh dan segar berkenaan masa depan lukisan cat air diMalaysia . Ia bertujuan mempersoalkan kefahaman kita tentang bagaimana untuk cat air bergerak maju, melibatkan para pelukis cat air seperti Shafiee Hassan , Raphael Ahbeng, Tham Siew Inn, Yong Look Lam , Maamor Jantan, Hamdam Shaarani, Zaharuddin Sarbini , kamaruddin Talib, Abu Bakar Idris, Sylvester Jussem serta seniman kontemporari yang tersohor seperti Ahmad Shukri Mohammad, Suzlee Ibrahim, Shia Yih Ying, Jegananthan Ramachandran , Stephen Menon, Jayashree Ramasamy, Khairul Azmi Shoib, Kharul Azuan @ujang, Sabri Idrus dan Tan Yok Khang, digandingkan sebelah-menyebelah untuk membawa bahantara yang universal dan bertahan lama kembali ketengah-tengah amalan seni kontemporari Malaysia.

Kurator pameran :

Badrolhisham Mohamad Tahir

PICTURE BOOK WORKSHOP CONTENT

2011-05-25T14:16:00.000-07:00

Session 1

BACKGROUND - what a picture book is; how and why it works; what children look for; why we write picture books.

Session 2

IDEAS - universal concepts; experiences and emotions that relate to a young child's experiences; values and concepts that lead to understanding and growth; observation and note-taking. Turning your ideas into picture books.

Session 3

OUTLINING & PLOTTING - planning a story to clarify thinking; a brief plot summary; outlining; picture possibilities.

Session 4

CHARACTERS - a single main character; action and dialogue (showing, not telling); writing from the child's point of view; motivation. Know your main character, how he feels, what he thinks.

Session 5

SENSORY LANGUAGE - should have a lyrical quality; a rich vocabulary using exciting, varied language; use rhythm and sounds to enhance the language; avoiding description; using word images; economy of words.

Session 6

BEGINNING - making a promise to the reader; the importance of a strong opening; establishing the main character and the story problem.

MIDDLE - developing a story, using action, dialogue; humor; keeping the reader interested, adding story tension; conflict.

END - the hero resolves the problem; ending on a happy or hopeful note; fulfilling the promise made at the beginning.

Session 7

THE DUMMY BOOK - laying out a picture book; revising for balance and pacing; keeping open space on the page; using one complete action per spread; changing of scenes; letting the story flow easily and move quickly.

Session 8

REVISING - In your final crafting, make every word count. Read it aloud to hear how it sounds. Use a checklist to be sure you have covered the main points in constructing your story.

Session 9

Introduction to illustration technique and applied to picture book.

Session 10

Work in progress.- From idea to producing artwork

Session 11

Revised , comment , critic artwork – participant will finish art work in his / her studio and will summit artwork .

Asian Festival of Children's Content (AFCC) Singapore

2011-05-25T14:07:00.000-07:00

Hari ini hingga sabtu saya berada diSingapura menghadiri AFCC. Ini kali ketiga saya diundang kesini. Setiap kali hadir ada saja sesuatu yang menarik. Tahun lalu buku saya dilancarkan disini. tahun ini pula diberi peluang jadi juri untuk pertandingan buku kanak-kanak ( Hedwig Anuar Children's Book Award 2011) dan mengendalikan bengkel menghasilkan buku berillustrasi dalam bahasa melayu. Disamping itu juga ada pelancaran buku saya dan buku buku terbitan agensi saya. Banyak pekara yang nak dilakukan disini diantara pertemuan dengan Ferina ( pegawai dari Elephant Parade) dan puan Nor Hayati dari majlis buku Kebangsaan Malaysia.
Apa apa pun saya gembira bila berada disini.
..... http://www.afcc.com.sg/

Yusof..The Philanthropist

2011-04-17T06:34:00.000-07:00

Mohd Yusof Bin Ismail is Malaysian’s foremost naïve painter. He earned the nickname ‘Yusof Gajah’ through his fondness of paintings the pachyderms in various shapes, forms, and colors. Even when he is painting a landscape we might invariably finds an elephant peeking out from the vibrant flora and fauna.

Yusof and I went a long way. We first met when I was working at the Kuala Lumpur Memorial Library in the 80’s. I was in charge of the Circulation Department and organized activities for the Adult as well as for the children. Our friendship was forged when we organized a Children’s Puppet Show, and held it at Kuala Lumpur City Hall. Amidst misgivings in some quarters due to the “loose story board”, we still went ahead. The puppet show was loved and enjoyed by the children …. It was a resounding success!

Not many people know Yusof as the Philanthropist. Yusof is passionate about working with children – he is a well-known children’s author and illustrator, a born story-teller and puppeteer; so it was a natural progression that he is involved in charity for children.

Our initial foray into fundraising was when we held an art exhibition for paintings done by the St. John Primary School 2 students to raise fund for the school library. The Exhibition “Young Touch” was held at the Petronas Art Gallery with pomp and ceremony. The paintings were also auctioned at the Parents/Teachers Association’s Dinner and we were amazed and excited when one of the paintings fetched RM1,000.00!!!

Over the years Yusof had worked with Siemens, Silterra, Shell, Institute Jantung Negara to name a few on charity projects involving children and art.

Currently he is working with Rumah Solehah - giving art classes to the children and raising fund with Kopi-Kopi Story Telling Group for the organization. Recently the Kopi-Kopi Story Telling Group managed to collect more than RM10,000.00 and a portion will go to Rumah Solehah.

Yusof’s dream? …. To fill the walls of Malaysian Hospitals with children’s painting.

The formula is simple but brilliant … pediatric patients and employees’ children will paint pictures on canvasses. Corporate will sponsor to buy the paraphernalia or the paintings in order to fulfill their Corporate Social Responsibility (CSR). The money raised will go to the hospital especially to benefit the children.

Yusof's dream is slowly becoming a reality – visit National Heart Institute, Hospital Universiti Kebangsaan, Selayang Hospital and you will invariably see Yusof’s touch in the children’s paintings hanging on these walls!!!

By : Faizah Aziz - Wells

Royal Selangor pendent

2011-02-28T16:29:00.000-08:00

Comission Work

2011-02-13T03:22:00.000-08:00

HSBC ANNEX BUILDING KUALA LUMPUR

HSBC NEW BUILDING KL

ROYAL SELANGOR

MAS MONORAIL

LONE PINE HOTEL PENANG

ELEPHANT MAN

2010-12-25T12:57:00.000-08:00

ELEPHANT MAN

There are elephants in the living room, on the coffee table, in the kitchen. With their beady, curious eyes and boldly coloured lithe trunks, they tease and taunt, inviting viewers to join their universe…which is exactly what artist and author Mohd Yusof Ismail, better known as Yusof Gajah, has done.To the artist, fired by passion and childhood ambition, each canvas becomes a dimension of his imagination and allows him to enter into the realm of daydreams. His characters are acrobatic performers or graceful dancers, and yet are awkwardly contorted, startling with their beady-eyed innocence.

The elephant man’s artwork brings to mind the animated cartoon characters of the 1980s – the adventurous spirit of the Rupert Bear and Teddy Ruxpin, the eagerness of Aloysius Snufflleupagus from Sesame Street and the watercolours of Care Bears. However, your interpretation of the paintings may vary, Yusof points out, like how a gardener, an architect or a businessman would view a piece of land differently.

But as a vivid imagination is universal, Yusof’s elephants can be found in many corners of the world. In fact, the much-talked about bright colours and lively characters of his works has found avid fans in Scandinavian tourists. Meanwhile, his black-and-white variations are all the rage among German and Indonesian collectors.

Yusof has held exhibitions in Indonesia, Thailand, Japan, the former Czechoslovakia, Norway and Sweden and his works have found a home in the private collection of the Yang di-Pertuan Agong Sultan Mizan Zainal Abidin, The National Art Gallery, Galeri Petronas and many multinational corporations.

I meet Yusof at his studio, a converted terraced house nestled in the serene neighborhood of Taman Greenwood in Batu Caves, Selangor. He greets me warmly one fine morning despite the fact that he is recovering from a bout of gout.

We have our chat in the living area. His manager and wife Zakiah Mohd Isa sits in on the interview but leaves after a while to do something else. Still, as Yusof opens up about his art, one cannot help but feel that the pachyderms on the walls are listening in on our conversation.

Like his creations, Yusof is a diminutive figure, but his gentleness and calmness remind one of the majestic animals. The 55-year-old received his art training in Indonesia in the 1970s and has found fame on Malaysian soil and overseas for his artwork and illustrated publications for children.

Yusof says his journey into the world of pachyderms started when he was seven. He remembers his childhood in Negri Sembilan and Singapore in well-loved volumes of sketches. “I was quite naughty and used to wander around…I loved nature and biology. My parents had to replace many exercise books that I filled with my drawings,” he laughs.

As a child, he was intimidated by an elephant on whose shoulders he rode. ”I was small then…they were gigantic animals to me,” he chuckles at the memory. “Then, when I visited the temples of Borobudur, Indonesia, I found many elephant icons and sculptures. That is when I started sketching them…But that didn’t turn me into elephant man.”

As the story goes, the Gajah moniker became about after he became part of the multi-disciplinary art collective Anak Alam, which had two Yusofs. To distinguish himself from his fellow artist Yusof Osman, he adopted the name Yusof Gajah, which then appeared in an exhibition catalogue.

Over time, elephants became the central subject of his work and a part of his identity as an artist. Put simply, Yusof became Yusof Gajah on canvas and the illustrated world of his anthropomorphic elephants is Yusof’s universe.

“My personality is in the elephant,” Yusof says, gesturing towards the walls of his studio. “It’s like a bowl of rice. You can make fried rice or eat it plain. I have wondered if I would ever run out of ideas of what an elephant could do, but no…my elephants can do more…”

“I had a happy childhood,” says the artist who grew up in Johol, Negri Sembilan. “I dreamt of being an artist and it came true. Now, I want to keep on dreaming and encourage people to dream…to imagine…”

Being an artist was unheard of in the 1960s, when Yusof was just starting out. “ Getting a white-collar job was more important than being an artist then,” he recalls. “Singapore was good for me. I visited art galleries and libraries on the island and filled my sketchbooks with newspaper cuttings of art-related news and articles from the weekend edition of New Straits Times.”

People are afraid to dream, he continues, because being ambitious and wanting to be a high achiever is discouraged by a society that thrives on mediocrity. But dreamers should be stubborn – that is what got him to where he is today.

A dreamer he may be, but Yusof also appears to be firmly grounded in reality. His mentor, the late Pak Widayat, left him a nugget of advice about being an artist. “What is a painting, I asked him, He said, ‘Paintings should be on a wall.’ This is a famous artist, who did not (answer by telling me about) the philosophy of art.”

Although it was never explained to him, Yusof says he later realized what Pak Widayat meant: there will always be a market for art.

“I cannot lie and pretend that art is for art’s sake. It is my main source of income. I paint with my soul and my heart, but I have to be a businessman when it comes to selling my paintings.”

Through the years, a sense of idealism has remained consistent in his work but Yusof has matured in his approach to art. He started looking at the branding aspect and identity of his work in his twenties and when he turned 40, focused on making art means of providing for his family. A decade on, he worked on acquiring an art studio. Now, Yusof is looking into the future and planning to build a dedicated museum to develop and compile documentation on his legacy.

“I have to keep expanding. I can’t just stick to expressionism, minimalism or abstract art my whole life. Other artists stick to one style. The elephant is the main icon for me and I can play around with it.”

The multiplicity and versatility of the icon ensures that he appeals to a wider market, he says. A landscape painting can be in a living room, a smaller framed piece could possibly find itself in a child’s room. “If you stick to just one style, [you may not find yourself in a child’s room…]”

The soft-spoken, bespectacled Yusof has taken his art into a new area – children’s books. To date, he has published more than a dozen illustrated books for children and has been recognized locally and internationally for his talent. His biggest achievement was being awarded the top prize in the Noma Concours Children’s Picture Book Art Competition in Tokyo in 1996. The competition was organized by Asia-Pacific Cultural Centre for UNESCO.

“It’s fun to write for children. To write a good book for children, you have to be a good storyteller. You have to love children and play with children,” Yusof says. It is a challenging task and a continuous learning process even for his veteran.

He was clueless when he first started, Yusof confesses, thinking that it could not be much different to paint and illustrate a children’s book.

It is easy to think an artist can just draw inspiration from his childhood, but the truth is, much research is needed to produce a simple illustration. It sometimes requires coming out of the comfort zone, as hard as it may seem.

For example, Yusof traded his paintbrush for flippers and scuba gear to go diving in the deep blue sea, all in the name of producing a 22-page series of underwater illustrations. Another title that he is working on has been revised three times over the last five years, based on a character he loosely refers to as the Garbage Monster.

“I can’t get into the mood or feeling of this Garbage Monster, I should really go ( outdoor) and follow the garbage collectors when they work….Just researching on the internet is not enough” he chuckles.

There would be continuity if Yusof could capture the attention of children as they are more likely to recall his work when they grow up and have their own children. Clearly, the market for elephant-inspired artwork can only expand.

Yusof has a soft spot for the young ones and has conducted many storytelling sessions and art workshop for schools, artists and young art enthusiasts. Young visitors often remember him as the host of Kerengga, an art programmed which run on Radio Television Malaysia in the 1980s. Apparently, elephants and children share an amazing capacity to remember things.

Exploring art with children is a task Yusof takes seriously and he feels it is especially important in a child’s early education. In his work with the young, Yusof reveals that one method he uses is demonstrating how a mere scribble or doodle can transformed into a picture of an elephant. The simple exercise teaches children how to stretch imagination. Yusof says this is sorely lacking in the local education system.

Our schools do not train children to use both side of their brain. “Art is not that important to us. We don’t have a lot of children who know how to pain. There’s a lot to learn from elephants,” Yusof says, reflecting on his work with children , “ Elephants have human characteristics and we sometimes have to draw on elephants and animals for creativity, especially for the children.”

The world of the elephants in his paintings is also closely linked to their natural habitat- the jungle. Yusof dream of sharing a canvas with elephants wielding paintbrushes and donating the proceeds from these painting to wildlife sanctuaries or zoos.

Through his art, Yusof also aims to raise awareness of the alarming degradation of the natural habitat of elephants, an issue that is close to his heart. While he visit the zoo frequently to observe the anatomy and form of the shy and gentle creature, Yusof can only learn about their behavior when he visits the Kuala Gandah Elephant Conservation Centre in Pahang.

“Elephant s have a unique place in our society.” he says, pointing out that most cultures have their own fascination with animal, whether in art or in religion. “. “ There are only two remaining species of elephant today – the Asian and the African elephants. We are destroying the forests, their feeding ground.

Next month, in conjunction with World Children’s day, Yusof will launch two new publication : MOTHER AND CHILD, a compilation of illustrations and sketches accompanied by Yusof’s sketches and selected quotes by famous people, and ELEPHABET, his illustrated alphabet guide to life.

Most of the sketches in MOTHER AND CHILD were done when he was traveling, Yusof says, and compiled by his daughter and artist Jaja Yusof. The illustrations come from a privately commissioned watercolour series of the same title. Reproduction of the original series have been made in the form postcards, but this is the first time a selection of those paintings is featured in prints.

“This is dedicated to all mothers, but the ideas is really about celebrating the relationship between mother and child, and about nurturing … a human like characteristic that elephants also have…”

ELEPHABET, a portmanteau of the word “elephant” and “alphabet” , is an elementary revision of the alphabet for grown-up and children. Even though we all know the alphabet by heart, Yusof wants his readers to return to the basics of life. His philosophy of life is summed up in the book, which features elephant perched and morphed to form the 24 letters of the Latin alphabet. The enchanting paintings also reveal hidden symbols upon closer observation …It is also about reading between the lines, Yusof comments, with eyes dancing merrily

Grace Chin ( THE EDGE the week of September 28, 2009)

NOMA concours medals

2010-12-24T06:46:00.001-08:00

ENCOURAGEMENT AWARD

GRAND PRIZE WINNER

RUNNER UP

http://www.accu.or.jp/noma/english/e_index.html

My Children Picture Books

2010-12-24T06:29:00.001-08:00

HSBC comission paintings

2010-10-21T15:45:00.000-07:00

Going to Nami Island Korea

2010-10-21T15:24:00.001-07:00

I was invited to visit Nami Island.

HSBC commision work

2010-08-21T14:57:00.000-07:00

Keluarga seni Yusof Gajah Oleh Fairuz Zaidan

2010-06-19T17:27:00.000-07:00

Keluarga seni Yusof Gajah
Oleh Fairuz Zaidan
fairuzaidan@bharian.com.my
BERITA HARIAN 2010/06/19

Meraikan Hari Bapa, esok, XY - Ikon Lelaki menyelami kehidupan keluarga seni, Yusof Ismail atau lebih dikenali sebagai ‘Yusof Gajah’. Seperti mana perumpamaan ‘ke mana tumpahnya kuah jika tidak ke nasi’, begitulah kesinambungan legasi pelukis tersohor ini yang menjadi ikutan anak-anaknya, Abdul Aziz dan Muhammad Hasbullah
IKON gajah yang ditonjolkan lelaki berusia 56 tahun ini cukup besar ertinya dalam kehidupan seharian. Bukan setakat lukisan naif yang sarat elemen kekeluargaan, cetusan warna mendamaikan cuba diterjemah personaliti ini dalam pelbagai versi kanvas, buku cerita kanak-kanak dan hasil seni kreatif lain.

Itulah keunikan Yusof Gajah yang sinonim dengan karektor gajah seperti yang dilihat dalam pelbagai karya termasuk buku kanak-kanak yang dikarangnya. Sempena Hari Bapa, sisipan ini tampil dengan perspektif berbeza iaitu menyelami kehidupan anak kelahiran Johol, Negeri Sembilan ini bersama keluarga seninya.

Apa yang nyata, bukan pelukis tersohor ini saja mencipta gemilang, legasi seni dirinya turut dikongsi tiga anaknya, Nuryusniza atau (Jaja), 27; Abdul Aziz (Jojo), 25; dan Muhammad Hasbullah (Jiji), 15. Andai Jaja dan Jojo lebih cenderung dalam bidang seni lukis, minat Jiji pula lebih terarah dalam bidang penulisan cerpen berbahasa Inggeris.

Mengulas kelangsungan legasi seni dalam keluarga Yusof Gajah, tokoh seni terkenal ini menyimpulkan beliau tidak pernah membentuk setiap karektor atau minat dalam diri anak-anak, melainkan lebih gemar memberikan kebebasan memilih haluan yang sesuai.

Baginya, sebagai bapa beliau cuba memberi peluang dan kebebasan sepenuhnya kepada anak-anak untuk memilih subjek atau mengikut kehendak diri sendiri. Namun, baginya, biarlah setiap keputusan itu memajukan diri sendiri.
“Saya cukup menekankan amalan membaca di kalangan anak-anak. Sejak mereka kecil lagi saya sudah memupuk amalan ini.

“Jika kamu perhatikan di rumah saya, hampir setiap sudut akan ada rak buku. Ini membuktikan pentingnya buku yang cukup saya hargai,” katanya yang baru saja bergelar datuk, Isnin lalu selepas Jaja selamat melahirkan anak perempuan yang juga menjadi cucu pertama keluarga seni itu.

Ikuti temubual bersama Yusof Gajah mengenai kehidupan bergelar bapa, pengalaman membesarkan anak-anak dan pandangan mengenai Jaja, Jojo dan Jiji...

Boleh anda ceritakan serba sedikit perjalanan hidup menjadi bapa?

Selama 28 tahun berkahwin dan 27 tahun bergelar bapa, bermacam pengalaman saya dan isteri, Zakiah Mohd Isa, lalui. Jika hendak diikutkan, saya memang sukakan kanak-kanak dan pernah bekerja di Pusat Perkembangan Kanak-Kanak Yayasan Sabah.

Kehadiran cahaya mata menambah seri dalam keluarga. Melihat perkembangan anak-anak di depan mata memang cukup menggembirakan. Sebagai ibu bapa saya tidak pernah menyekat pilihan anak-anak kerana dunia sudah berubah.

Anda ingat detik pertama menjadi bapa?

Jaja dan Jojo dilahirkan di Kota Kinabalu, Sabah. Ingat lagi, ketika kelahiran Jaja 27 tahun lalu, saya dan isteri adalah ibu bapa muda dan bersendirian di Sabah sewaktu menyambut kelahiran anak sulung kami.

Namun, kami bersyukur kerana jiran-jiran umpama keluarga dan banyak membantu.

Bagaimana agaknya cabaran membesarkan anak-anak?

Harus diingat, anak-anak zaman sekarang tidak seperti dulu. Seperti mereka sekarang, segala-galanya ada di depan mata sejak mereka lahir. Sedangkan, kita dulu tidak pula begitu.

Zaman saya dulu, kalau nak telefon, kita kena cari sendiri 10 sen tetapi mereka lebih mudah sekarang ini. Bagi saya, cabarannya ialah kita kena menyelami kehidupan mereka dan memahami apa keinginan mereka. Saya sentiasa menerapkan amalan rajin dan disiplin untuk mereka menjadi manusia berguna dalam hidup.

Boleh anda simpulkan karektor setiap anak-anak dari Jaja, Jojo dan Jiji?

Jaja: Bagi saya Jaja seorang anak yang memiliki kemahuan cukup kuat serta kreatif dalam setiap perkara diceburinya. Saya ingat lagi ketika dia baru berusia sembilan tahun di mana pada usia itu, dia sudah pun mengumpulkan sebanyak 100 sajak membuktikan kesungguhan dirinya. Dia juga mempunyai potensi cerah dalam bidang seni lukis.

Jojo: Dia agak sensitif dan pendiam. Bagi saya, Jojo cukup bersungguh kalau dia ingin mencapai impiannya. Tetapi suruhlah 100 kali pun belum tentu dia mahu jika dia tidak hendak. Apa yang dapat saya gambarkan, Jojo masih dalam proses mencari jati dirinya sebagai pelukis. Saya tidak pernah memaksa dirinya dan kini pula dia baru saja bekerja. Ini kerana apa yang terbaik untuk anak-anak, begitu jugalah dengan diri saya.

Jiji: Jarak 10 tahun dengan Jojo membuatkan perhatian sudah tentu banyak pada Jiji. Saya dapat lihat karektornya yang agak berdikari dan ingat lagi ketika usia Jiji empat tahun di mana dia cukup sibuk mempromosikan galeri saya yang ketika itu di Kompleks Kraf. Setakat ini, saya dapat melihat kecenderungan dirinya dalam bidang penulisan serta pernah menjadi naib johan dalam pertandingan bahas peringkat negeri Selangor. Saya sentiasa menyokong kemahuan anak-anak dan sentiasa mencabar kemampuan mereka untuk berjaya.

Apa agaknya pendekatan yang anda gunakan ketika membesarkan anak-anak?

Ia begini... Saya tidak pernah memarahi atau membuatkan anak-anak takut dan gerun apabila berdepan dengan saya. Malah, jika hendak dikatakan mereka naik segan kepada saya.

Saya cukup menekankan didikan yang boleh menjadikan mereka sebagai manusia bertanggungjawab. Apatah lagi sekarang ini, lepas ibu bapa yang memasuki fasa 55 tahun ke atas, kita perlu juga mengambil tahu perkembangan semasa.

Malah, walau Jaja sudah berkahwin sekali pun, sebagai bapa saya masih mesra dan mengalu-alukan dia untuk sering bersama kami sekeluarga.

Adakah keluarga anda meraikan Hari Bapa?

Di Malaysia ini memang cukup banyak dengan sambutan. Saya tidak kisah dengan itu semua kerana bagi saya yang penting sekali siapa individu di sebalik tarikh itu sendiri.

Apatah lagi sekarang bentuk perhubungan tidak terbatas untuk bertemu depan mata kerana dengan komputer komunikasi cukup mudah.

Menyentuh mengenai perkembangan terkini, bagaimana perjalanan seni anda buat masa ini?

Saya akan bekerjasama dengan Jabatan Kebajikan Masyarakat (JKM) bagi satu projek. Pada masa yang sama, banyak agenda disusun di dalam dan luar negara seperti Pameran Ilustrasi Buku Kanak-Kanak di Galeri Petronas pada Julai, Folk Art Festival di Kota Kinabalu Sabah pada 19 Julai dan Peace Story Nambook di Korea Selatan pada September nanti.

Saya juga terpilih bersama lima selebriti tanah air untuk mereka bentuk loket untuk Royal Selangor bersempena dengan sambutan 125 tahun Royal Selangor.

Jojo & Jiji anak ayah!

BAPA kami cool! Begitulah gambaran yang diberi Jojo dan Jiji apabila menyentuh karektor dan keperibadian Yusof Gajah yang menjadi idola mereka sekeluarga. Sikap Yusof Gajah yang cukup sederhana dan berjiwa penyayang menjadikan hubungan bapa-anak cukup mesra.

Sebagai anak lelaki sulung, Jojo yang kini berusia 25 tahun berkata, karektor tersendiri yang ditonjolkan bapanya itu membuatkan anak-anak menyanjung tinggi hingga mengikuti jejaknya dalam dunia seni.

“Bapalah mentor, kawan baik dan cikgu yang banyak mendorong Jojo untuk lebih berjaya dalam hidup. Keperibadian beliau yang tinggi dalam mendidik anak-anak membuatkan hubungan kami adik beradik cukup mesra.

“Seingat saya, belum pernah pun ayah memukul saya andai ada melakukan kesalahan. Sebaliknya, pendekatannya berbeza dan banyak bermain soal psikologi dalam memberi sebab dan akibat kesalahan yang sudah dilakukan,” katanya yang semakin menyinar dalam karya pop arts.

Mengulas lagi hubungan dirinya dengan Yusof Gajah, Jojo berkata, dia secara peribadi lebih gemar membincangkan pelbagai perkara termasuk masalah peribadi dengan bapanya itu berbanding ibu kerana atas faktor gender serta faktor hubungan bapa dan anak lelaki.

“Jika soal peribadi atau menyentuh mengenai hubungan saya dan kawan-kawan, memanglah banyak dikongsi bersama bapa. Ini kerana dia akan memberikan pelbagai pandangan serta perspektif yang mungkin tidak kita fikirkan.

“Tapi kalau nak tahu, saya ini anak mama dan lebih bermanja dengan mama,” katanya yang baru saja beralih angin untuk bekerja sebagai pembantu teknikal di sebuah syarikat swasta Singapura berpangkalan di Damansara, Kuala Lumpur semata-mata untuk mencari pengalaman baru.

Sementara itu Jiji yang turut ditanya mengenai keperibadian bapanya menyimpulkan keunikan karektor dan pembawaan diri tokoh pelukis itulah yang menjadikan bapanya cukup disenangi ramai.

Anak bongsu ini juga menyatakan dia dapat merasakan perbezaan karektor antara bapanya itu dengan bapa rakan-rakannya yang rata-ratanya terbabit dalam profesion profesional.

“Apa yang saya dapati, karektor bapa ini cukup sempoi dan istimewa kerana dia tidak terlalu serius sehinggakan dia boleh saja naik pengangkutan awam membuatkan dirinya cukup tersendiri.

“Malah, ayah juga cukup menekankan amalan membaca buku terutama dalam subjek Inggeris kerana menyedari kepentingan bahasa Inggeris sebagai pegangan untuk berjaya dalam hidup. Selepas memikirkan semua cara yang cuba dilakukan ayah selama ini, barulah saya sedar memang benar apa yang cuba dilakukannya untuk memastikan kejayaan anak-anak,” kata pelajar cemerlang yang bakal menduduki peperiksaan Penilaian Menengah Rendah (PMR), akhir tahun ini.

Andai abang dan kakaknya lebih cenderung dalam bidang seni lukis, Jiji pula memilih cabang seni berbeza dengan merancang untuk meluaskan minat dalam bidang penulisan. Ketika ini, dia cuba menyiapkan buku ketiga yang berkisar mengenai dunia remaja dan fantasi yang dikarang dalam bahasa Inggeris.

Kata Jiji, minatnya dalam penulisan cerpen juga banyak didorong keluarga terutama bapanya yang turut aktif mengarang buku kanak-kanak berserta dengan ilustrasi.

Sejak menghasilkan karya pertama pada usia 13 tahun dengan menerusi judul ‘The Curse of the Magic Meteor’, Jiji kini merancang untuk menghasilkan sebuah buku 30 bab yang bakal dibukukan seperti dijanjikan Yusof Gajah.

“Jika dulu memang saya juga minat melukis, tetapi sejak menetap di asrama saya lebih minat untuk menulis. Kalau cita-cita pula, saya berharap dapat melanjutkan pengajian dalam bidang biologi,” kata anak muda bercita-cita tinggi ini.

Glimpse of Hope

2010-02-13T21:01:00.000-08:00

Shell Malaysia has chosen artworks by dyslexic children for its 2010 corporate calendar in a project to give more voice to these children and raise better understanding of dyslexia.
Through the project, Shell Malaysia hoped to give greater focus and support to children with dyslexia, a disability connected with reading and writing, its chairman, Datuk Saw Choo Boon, said at the unveiling ceremony here on Wednesday.
Themed "Glimpse of Hope", the calendar features six colourful works of art by 23 children aged between six and 17 years old from the Dyslexia Association of Malaysia.
The art pieces on canvas convey messages of harmony in Malaysia, its development and beauty both on land and sea, and were created in stages over four days under the guidance of renowned Malaysian artist Yusof Gajah.
For the past 30 years, Shell Malaysia has used its calendar as a medium to promote greater awareness of Malaysia's rich natural and cultural heritage.
"For 2010, we are showcasing another of our national treasures, and by that, I mean our children. In this case, we chose to spotlight children with dyslexia, to help address a general lack of awareness and help clear misconceptions surrounding this learning disability. Dyslexia by no account hampers a person's ability to lead and contribute to society," said Saw.
He said the project would also serve as a fund raising avenue for the association as the original works of art would be auctioned off to the highest bidders among Shell staff.
Dr Aziz Abu Hassan, the association's vice-president, said the calendar project had brought a different perspective to art activity for the children.
"Simple tools like the tubes of oil paint in various colours, getting a feel of painting on canvas as well as the encouragement given by Shell staff and the artist, have all inspired the children to do more in art. Most importantly, the project has given the children a creative outlet and helped them find their gift," he added.
The association runs three schools for about 70 children in the Klang Valley -- at Taman Tasik Titiwangsa and Jalan Ampang Hilir in Kuala Lumpur, and USJ4 in USJ-Subang Jaya, Selangor.

-- BERNAMA

Explore richness of ‘Sabah Naive Art’, local artists told

2010-02-13T20:37:00.000-08:00

Most artists would confess that it was hard to make a living.But multiple-award winning artist Yusof Gajah tells a different story, that is, being an artist is about creating an identity for yourself.Yusof was born in Negeri Sembilan, brought up in Singapore in his early years and studied arts in Indonesia.Over the years the artist-painter-writer has produced more than 16 pieces of children publications.
In an interview with the 56-year-old artist, Yusof revealed that he was actively promoting ‘naive art’, which basically means a self-taught artist who paints local landscapes in a child-like way.Hence, instead of being labelled as Sabah Art, Yusof suggested artists find a niche to start thinking about developing Sabah Naive Art.“If you call it Sabah Naive Art, you restrict it to local artists who paint local landscapes or culture that look like a less-than perfect painting.”

Artists should also think about other ways to promote their works, and to get closer to their audience. Yusof himself has held workshops, storytelling sessions and artwork exhibitions to promote his ideas and publications. During his visit to Kota Kinabalu to promote his latest publication entitled ‘Elephabet’ on Friday, he entertained and thrilled nursery and kindergarten children with his puppet shows and drawings.“Instead of a painting exhibition, why not have a children book illustration exhibition?“We can have children coming to the library to see the original artwork and mock-ups, then they will buy our books.”Yusof became successful also because he saw the importance in having a manager and a public relations officer to assist him.

“Artists do not know about marketing and promoting, hence we need someone to stimulate or open up our minds.”He himself is managed by his wife Zakiah Md Isa. Yusof decided he wanted to be a painter at an early age of seven.He started working with children since 1975 and in 1982, he was offered a job by Yayasan Sabah to develop Tadika Ria.“My job was to make puppet, tell stories, and do anything that is related to children and art.” His passion in producing and entertaining children with books and shows never diminished over the years.“Children are sincere and honest. If you give a child food, they will tell you either they like it or hate it, unlike adults who pretend they like the food.”

The artist Jainal Amambing

He believed that reading should start from young and that local artists and painters should do their part in producing more books for children.“We need more books because children now spend more time on television, radio and Internet.” Yusof also felt strongly towards having more local artists or writers’ publications in libraries, as it is a way to promote our culture.“When I came back in 2010, I see lots of improvement, sea covered with land, but what happen to the improvement of artists?”
http://www.theborneopost.com/?p=8061 January 31, 2010, Sunday

ELEPHANT MAN

2010-02-13T08:44:00.000-08:00

Renowned artist and author Yusof Gajah, otherwise known as Mohd Yusof Ismail, roams the plains of human imagination to produce elephant-inspired artwork on canvas. He talks to Grace Chin ( THE EDGE the week of September 28, 2009) about the important of naivety and dreaming and living the life of his iconic Gajah characters.
There are elephants in the living room, on the coffee table, in the kitchen. With their beady, curious eyes and boldly coloured lithe trunks, they tease and taunt, inviting viewers to join their universe…which is exactly what artist and author Mohd Yusof Ismail, better known as Yusof Gajah, has done.
To the artist, fired by passion and childhood ambition, each canvas becomes a dimension of his imagination and allows him to enter into the realm of daydreams. His characters are acrobatic performers or graceful dancers, and yet are awkwardly contorted, startling with their beady-eyed innocence.
The elephant man’s artwork brings to mind the animated cartoon characters of the 1980s – the adventurous spirit of the Rupert Bear and Teddy Ruxpin, the eagerness of Aloysius Snufflleupagus from Sesame Street and the watercolours of Care Bears. However, your interpretation of the paintings may vary, Yusof points out, like how a gardener, an architect or a businessman would view a piece of land differently.
But as a vivid imagination is universal, Yusof’s elephants can be found in many corners of the world. In fact, the much-talked about bright colours and lively characters of his works has found avid fans in Scandinavian tourists. Meanwhile, his black-and-white variations are all the rage among German and Indonesian collectors.
Yusof has held exhibitions in Indonesia, Thailand, Japan, the former Czechoslovakia, Norway and Sweden and his works have found a home in the private collection of the Yang di-Pertuan Agong Sultan Mizan Zainal Abidin, The National Art Gallery, Galeri Petronas and many multinational corporations.
I meet Yusof at his studio, a converted terraced house nestled in the serene neighborhood of Taman Greenwood in Batu Caves, Selangor. He greets me warmly one fine morning despite the fact that he is recovering from a bout of gout.
We have our chat in the living area. His manager and wife Zakiah Mohd Isa sits in on the interview but leaves after a while to do something else. Still, as Yusof opens up about his art, one cannot help but feel that the pachyderms on the walls are listening in on our conversation.
Like his creations, Yusof is a diminutive figure, but his gentleness and calmness remind one of the majestic animals. The 55-year-old received his art training in Indonesia in the 1970s and has found fame on Malaysian soil and overseas for his artwork and illustrated publications for children.
Yusof says his journey into the world of pachyderms started when he was seven. He remembers his childhood in Negri Sembilan and Singapore in well-loved volumes of sketches. “I was quite naughty and used to wander around…I loved nature and biology. My parents had to replace many exercise books that I filled with my drawings,” he laughs.
As a child, he was intimidated by an elephant on whose shoulders he rode. ”I was small then…they were gigantic animals to me,” he chuckles at the memory. “Then, when I visited the temples of Borobudur, Indonesia, I found many elephant icons and sculptures. That is when I started sketching them…But that didn’t turn me into elephant man.”
As the story goes, the Gajah moniker became about after he became part of the multi-disciplinary art collective Anak Alam, which had two Yusofs. To distinguish himself from his fellow artist Yusof Osman, he adopted the name Yusof Gajah, which then appeared in an exhibition catalogue.
Over time, elephants became the central subject of his work and a part of his identity as an artist. Put simply, Yusof became Yusof Gajah on canvas and the illustrated world of his anthropomorphic elephants is Yusof’s universe.
“My personality is in the elephant,” Yusof says, gesturing towards the walls of his studio. “It’s like a bowl of rice. You can make fried rice or eat it plain. I have wondered if I would ever run out of ideas of what an elephant could do, but no…my elephants can do more…”
“I had a happy childhood,” says the artist who grew up in Johol, Negri Sembilan. “I dreamt of being an artist and it came true. Now, I want to keep on dreaming and encourage people to dream…to imagine…”
Being an artist was unheard of in the 1960s, when Yusof was just starting out. “ Getting a white-collar job was more important than being an artist then,” he recalls. “Singapore was good for me. I visited art galleries and libraries on the island and filled my sketchbooks with newspaper cuttings of art-related news and articles from the weekend edition of New Straits Times.”
People are afraid to dream, he continues, because being ambitious and wanting to be a high achiever is discouraged by a society that thrives on mediocrity. But dreamers should be stubborn – that is what got him to where he is today.
A dreamer he may be, but Yusof also appears to be firmly grounded in reality. His mentor, the late Pak Widayat, left him a nugget of advice about being an artist. “What is a painting, I asked him, He said, ‘Paintings should be on a wall.’ This is a famous artist, who did not (answer by telling me about) the philosophy of art.”
Although it was never explained to him, Yusof says he later realized what Pak Widayat meant: there will always be a market for art.
“I cannot lie and pretend that art is for art’s sake. It is my main source of income. I paint with my soul and my heart, but I have to be a businessman when it comes to selling my paintings.”
Through the years, a sense of idealism has remained consistent in his work but Yusof has matured in his approach to art. He started looking at the branding aspect and identity of his work in his twenties and when he turned 40, focused on making art means of providing for his family. A decade on, he worked on acquiring an art studio. Now, Yusof is looking into the future and planning to build a dedicated museum to develop and compile documentation on his legacy.
“I have to keep expanding. I can’t just stick to expressionism, minimalism or abstract art my whole life. Other artists stick to one style. The elephant is the main icon for me and I can play around with it.”
The multiplicity and versatility of the icon ensures that he appeals to a wider market, he says. A landscape painting can be in a living room, a smaller framed piece could possibly find itself in a child’s room. “If you stick to just one style, [you may not find yourself in a child’s room…]”

The soft-spoken, bespectacled Yusof has taken his art into a new area – children’s books. To date, he has published more than a dozen illustrated books for children and has been recognized locally and internationally for his talent. His biggest achievement was being awarded the top prize in the Noma Concours Children’s Picture Book Art Competition in Tokyo in 1996. The competition was organized by Asia-Pacific Cultural Centre for UNESCO.
“It’s fun to write for children. To write a good book for children, you have to be a good storyteller. You have to love children and play with children,” Yusof says. It is a challenging task and a continuous learning process even for his veteran.
He was clueless when he first started, Yusof confesses, thinking that it could not be much different to paint and illustrate a children’s book.
It is easy to think an artist can just draw inspiration from his childhood, but the truth is, much research is needed to produce a simple illustration. It sometimes requires coming out of the comfort zone, as hard as it may seem.
For example, Yusof traded his paintbrush for flippers and scuba gear to go diving in the deep blue sea, all in the name of producing a 22-page series of underwater illustrations. Another title that he is working on has been revised three times over the last five years, based on a character he loosely refers to as the Garbage Monster.
“I can’t get into the mood or feeling of this Garbage Monster, I should really go ( outdoor) and follow the garbage collectors when they work….Just researching on the internet is not enough” he chuckles.
There would be continuity if Yusof could capture the attention of children as they are more likely to recall his work when they grow up and have their own children. Clearly, the market for elephant-inspired artwork can only expand.
Yusof has a soft spot for the young ones and has conducted many storytelling sessions and art workshop for schools, artists and young art enthusiasts. Young visitors often remember him as the host of Kerengga, an art programmed which run on Radio Television Malaysia in the 1980s. Apparently, elephants and children share an amazing capacity to remember things.
Exploring art with children is a task Yusof takes seriously and he feels it is especially important in a child’s early education. In his work with the young, Yusof reveals that one method he uses is demonstrating how a mere scribble or doodle can transformed into apicture of an elephant.The simple exercise teaches children how to stretch imagination. Yusof says this is sorely lacking in the local education system.
Our schools do not train children to use both side of their brain. “Art is not that important to us. We don’t have a lot of children who know how to pain. There’s a lot to learn from elephants,” Yusof says, reflecting on his work with children , “ Elephants have human characteristics and we sometimes have to draw on elephants and animals for creativity, especially for the children.”
The world of the elephants in his paintings is also closely linked to their natural habitat- the jungle. Yusof dream of sharing a canvas with elephants wielding paintbrushes and donating the proceeds from these painting to wildlife sanctuaries or zoos.
Through his art, Yusof also aims to raise awareness of the alarming degradation of the natural habitat of elephants, an issue that is close to his heart. While he visit the zoo frequently to observe the anatomy and form of the shy and gentle creature, Yusof can only learn about their behavior when he visits the Kuala Gandah Elephant Conservation Centre in Pahang.
“Elephant s have a unique place in our society.” he says, pointing out that most cultures have their own fascination with animal, whether in art or in religion. “. “ There are only two remaining species of elephant today – the Asian and the African elephants. We are destroying the forests, their feeding ground.
Next month, in conjunction with World Children’s day, Yusof will launch two new publication : MOTHER AND CHILD, a compilation of illustrations and sketches accompanied by Yusof’s sketches and selected quotes by famous people, and ELEPHABET, his illustrated alphabet guide to life.
Most of the sketches in MOTHER AND CHILD were done when he was traveling, Yusof says, and compiled by his daughter and artist Jaja Yusof. The illustrations come from a privately commissioned watercolour series of the same title. Reproduction of the original series have been made in the form postcards, but this is the first time a selection of those paintings is featured in prints.
“This is dedicated to all mothers, but the ideas is really about celebrating the relationship between mother and child, and about nurturing … a human like characteristic that elephants also have…”
ELEPHABET, a portmanteau of the word “elephant” and “alphabet” , is an elementary revision of the alphabet for grown-up and children. Even though we all know the alphabet by heart, Yusof wants his readers to return to the basics of life. His philosophy of life is summed up in the book, which features elephant perched and morphed to form the 24 letters of the Latin alphabet. The enchanting paintings also reveal hidden symbols upon closer observation …It is also about reading between the lines, Yusof comments, with eyes dancing merrily.

Yusof Gajah Lingard Literary Agency

2010-02-13T08:41:00.000-08:00

The Yusof Gajah Lingard Literary Agency represents writers, illustrators and publishers of children and young adult books for international rights. Our writers and illustrators come from Malaysia and around Asia but we are also happy to represent those who want to spread their work in Asia.
We select the best stories and illustrations; and work with the writers and illustrators to ensure that their stories, whether in the form of words or images, are available to be enjoyed worldwide.
We do this by participating in international trade fairs and through the network of contacts we have built.
We are based in Kuala Lumpur, Malaysia, home of the hornbills and the orang-utan; tropical rainforests; awesome tropical thunderstorms and lightning; the tallest twin towers in the world; and rich cuisine from a melting pot of people from different cultures. Not surprisingly, from this rich and varied background have emerged fine artists, illustrators and writers with stories to tell.
We are proud to bring their stories to the world.

Our Principal, Yusof Gajah, a renowned artist and award-winning children's book writer and illustrator, plays a key role in the selection of works that we represent. An ardent proponent of art for all, he mentors young illustrators and conducts workshops for children and adults.

http://www.yusofgajahlingard.com

Society of Children’s Book Writers & Illustrators Malaysia

2009-11-04T06:07:00.000-08:00

SCBWI Malaysia is a not-for-profit organization set up to develop local writers and illustrators and to bring together writers, illustrators, publishers, booksellers, educators and others for positive and mutually beneficial communications and interactions.
With the kind sponsorship of Tan Sri Lim Kok Wing, SCWBI Malaysia is pleased to invite you to participate in a one-day conference as follows:
Date : Fri, 20 November 2009
Time : 10.30am-5.30pm
Venue : Lim Kok Wing University of Creative Technology (LUCT)
Cyberjaya
Official launch by Tan Sri Lim Kok Wing

In conjunction with this conference, we will be having an illustrators’ exhibition, book sales and a series of talks and panel discussions.

Illustrators’ Exhibition
The Illustrators’ Exhibition will be held prominently at the busy and spacious plaza at the entrance of LUCT. Published illustrators may submit up to five pieces of artwork/print (please do not submit original artwork). Max artwork size is A3 (420x297mm). Either the Publisher or the illustrator may submit artwork for the exhibition. Prints will not be returned.

Book Exhibition and Sales
Publishers and booksellers may also take this opportunity to showcase and sell their books on that day only. Books should be children, young adults or design books. Booths will be at the plaza of LUCT.

Talks and Panel Discussions
From 2.00pm onwards, there will be a series of interesting talks and panel discussions on the relevant topics including the use of illustrations in Malaysian children’s literature; addressing multiculturalism issues in children’s literature; preparing children’s picture books – the experience of an award-winning children’s book author and illustrator; and others. Entrance is free.

YUSOF GAJAH SOLO EXHIBITION

2009-10-16T05:51:00.000-07:00

elephabet

2009-09-18T04:45:00.001-07:00

mother and child

2009-09-18T04:39:00.000-07:00

new painting

2009-09-06T11:29:00.000-07:00

Chicken

2009-07-09T16:29:00.000-07:00

Bicara Seni ATMA UKM

2009-04-06T06:00:00.001-07:00

Mother and child series

2009-03-14T18:10:00.000-07:00

Provence france

2009-03-11T19:54:00.000-07:00

Malaysian Naive Artists

2009-02-04T18:53:00.000-08:00

Lukisan Khat

2009-01-26T19:40:00.000-08:00

Gajah Gajah Series

2009-01-20T19:41:00.000-08:00

Painting with sound

2009-01-17T13:27:00.000-08:00

Pertama kali diberi peluang melukis diiringi

okestra MPO . ketika tu aku masih di Galeri

Tanjung bersama Adeputra yang menjadi

pembantu didalam projek ini

watercolour painting

2009-01-17T00:22:00.000-08:00

my studio

2009-01-16T23:37:00.000-08:00

my new series ---- lingkaran or circle , round from my FUN series.

Belajar Lithography di Oslo Norway

2009-01-10T18:04:00.000-08:00

work in progress

2009-01-09T09:16:00.001-08:00

MONORAIL PROJECT

2009-01-04T05:16:00.000-08:00

New Paintings in my studio

2009-01-04T02:14:00.000-08:00

These paintings are for sale . For more information regarding price please contact my personal manager . Zakiah HP 60133310954

2009-01-02T21:54:00.000-08:00

Studio ku - disini kulahirkan karya dan mengenal diri

2008-12-31T17:39:00.000-08:00

Patung Orang asli antara koleksi ku sekedar hiasan bukan untuk disembah namum ada beberapa kolector yang minat nak membelinya
Torso merah niterletak ditepi kolam
Sebajagian koleksi buku ku

setiap pelukis mengidamkan sebuah studio pribadi . Bagusnya disebuah taman atau dirumah kedai dengan bunyi kenderaan lalu lalang namum studio ku sekarang sudah memadai walaupun kecil disinilah aku berkarya . membaca , menerima tamu ...inshallah jika ada rezeki aku nak dirikan muzium Yusof Gajah

Black and white series

2008-12-23T18:00:00.001-08:00

Program Mengimarah Rumah Nur

2008-12-22T03:36:00.000-08:00

Sabtu yang lalu aku diundang untuk mengendalikan sessi bercerita dengan Persatuan taska Negri Selangor. Walaupun undangan tu diterima dalam masa yang singkat aku terpaksa menyokong usaha murni mereka .Kali ni Zakiah turut membantu dan dia berjaya mengendalikan sessi tersebut

batik gulid issue 2009

2008-12-18T21:39:00.001-08:00

Batik workshop at my studio

2008-12-15T02:49:00.001-08:00

Family life Art Exhibition

2008-11-23T02:04:00.001-08:00

Family Life Art exhibition
21 = 30 November 2008
Taman Budaya Yogyakarta
Yogyakarta . Indonesia

Batik workshop at my studio

2008-11-17T03:54:00.000-08:00

A group of Norwegians doing batik painting at my studio .

Bengkel Illustrasi Buku kanak Kanak DAWAMA

2008-11-12T05:39:00.001-08:00

Hasil Karya Peserta Bengkel Batik

2008-11-05T05:44:00.001-08:00

Bengkel batik Di Kelantan

2008-11-05T05:29:00.000-08:00

Saya diundang untuk memberi bengkel kepada pembatik dan pengusaha batik didalam mencari gaya dan identiti dalam lukisan batik Bengkel selama 2 hari bermula 1 November hingga 2 November bertempat dikomplek kraftangan Malaysia Cawangan Kelantan. Bengkel dianjurkan oleh Yayasan Budi Penyayang dan keaftangan Malaysia.
Walaupun peserta hampir semua sudah mahir membuat batik namum mencari identiti dan gaya sendiri mereka masih lagi belum begitu mampu . kebanyakan mereka masih terbelunggu dengan gaya dan identiti ' market ' dan mudah di jual . Namun dengan adanya bengkel ini diharap mereka dapat mencari gaya dan identiti sendiri

Nurazmiworld: MALAYSIAN NAIVE ART SHOWCASE 2008, ANEXXE CENTRAL MARKET,KL

2008-10-28T06:46:00.000-07:00

Nurazmiworld: MALAYSIAN NAIVE ART SHOWCASE 2008, ANEXXE CENTRAL MARKET,KL

Yusof Gajah

2008-10-20T17:47:00.000-07:00

Yusof Gajah is know in the art circle and to friends as “Yusof Gajah” and for a good reason, too. The elephant is a constant inspiration in his artistic career. Yusof is also Malaysian’s foremost naïve artist . He was born in 1954 in Negeri Sembilan as Mohd Yusof Bin Ismail. He was educated in Singapore, and received his art training at the Sekolah Seni Rupa Indonesia and the Akademi Seni Rupa Indonesia in Yogjakarta.
Yusof has won several awards for his work, both nationally and internationally. He was awarded the Grand Prix ( The Real Elephant) Noma Concours for Children’s picture Book Illustration by ACCU in Tokyo, Japan in 1997. He has held a number of solo exhibitions in Malaysia, Indonesia , Japan and Norway .
He now paints in his studio in Batu Caves Selangor.

Yusof Gajah Biodata

2008-10-20T06:42:00.000-07:00

YUSOF ‘ GAJAH ‘ ( Mohd yusof bin ismail )

Born : Johol , Negeri Sembilan , Malaysia
: 10 feburary 1954

Education
1972 - 1974 : Sekolah Seni Rupa Indonesia , Jogjakarta , Indonesia
1975 : Akademi Seni Rupa Indonesia , Jogjakarta , Indonesia .
Address : 24 Jalan Berjaya 5 , Taman berjaya , batu caves 68100
Selangor , Malaysia

Contact : 6013 3310954
E mail : yusofgaja@yahoo.com
yusofgajah@hotmail.com

Blog : www.yusofgajah.blogspot.com
www.facebook.com/yusofgajah
www.myspace.com/yusofgajah

Selected Exhibition

1972 – 1975 :- Group exhibition in Jakarta , Kediri , Jogjakarta , Madura , Surabaya , Bandung Krawang ( INDONESIA )
1980 :- Anak Alam Art Gallery , Kuala Lumpur
- Anak Alam Group Exhibition , Dewan Bahasa dan Pustaka , Kuala Lumpur
- Contemporary Asian Art Show , Fukuoka Art Museum , Fukuoka , Japan
1981 :- Young Contemporaries , National Art Gallery , Kuala Lumpur , Malaysia
- Solo Exhibition GAJA GAJA , Gallery Six , Kuala Lumpur , Malaysia
- International Art Exhibition , The Press, information and cultural Crop of Australia (PICCA) and Arts council of Australia .
1982 :- Group exhibition , Yayasan Sabah , Kota Kinabalu , Sabah
1983 :- First Okhstok International Children’s Picture Book festival , Japan
- 4th exhibition of world picture book , Yokohama and Fujinomiya , Japan
1983 -1989 :- Pameran Terbuka , National Art Gallery , Kuala Lumpur , Malaysia
1984 :- Sabah Art Gallery , Kota Kinabalu , Sabah
1985 :- Two man show , Sabah Art Gallery , Kota Kinabalu , Sabah
1986 :- NOMA concours for children picture’s book illustration , Tokyo , Japan
1987 :- Biennale of illustration , Bratislava , Czechoslovakia
1989 :- Joint exhibition of Biennale of illustration , Tokyo , Japan
- BIB 89 , Bratislava , Czechoslovakia
1993 :- BIB 93 award winning works , NOMA concour , Tokyo , Japan
- Solo Exhibition “ Naive Painting “ Art Case galleries , Kuala Lumpur
1994 :- First Contemporary Malaysian watercolourist Association Exhibition , Balai Seni Maybank Kuala Lumpur
1995 :- Pameran Karya Cat Air Terbuka , Sabah , Kota Kinabalu , Sabah
- Contemporary Malaysian Watercolour Association Exhibition , Nanyang Art Gallery , Kuala Lumpur
- Jawi Stroke , Bukit Jawi Golf Resort , Penang , Malaysia
1996 :- Pursuing a dream – from the collection of Rahimie Harun ,
Galeri PETRONAS Kuala Lumpur
- Art from Sabah , Galeri PETRONAS , Kuala Lumpur
- 11th International Watercolour Exhibition of Asia , Galeri PETRONAS ,
Kuala Lumpur

1997 :- Solo Exhibition “the gajah series “ Kai Boon Art Gallery , Kuala Lumpur
- APS art exhibition , Galeri Petronas , Kuala Lumpur
- BIB 97 ( Biennale of illustration) Bratislava , Slovak
- Solo Exhibition ‘ Decorative Naive ‘ Mon Decor Galeri , Jakarta , Indonesia
- Malaysian Drawings , National Art Gallery , Kuala Lumpur , Malaysia
- Decorative Naive , one man show , Gallery Space Pause , Ichigaya ,
Shinjuku – ku , Tokyo , Japan

1998 : - Solo Exhibition “ Decorative Naive “ Aiseyman Cafe , Kuala Lumpur
- Menemui modeniti , 40 tahun Angkatan Pelukis seMalaysia ,
Balai Seni Lukis Negara , kuala Lumpur
- Childlike dream , SOGO Department store , Kuala Lumpur
- Nature and daily life in Asia , Africa , and Latin America
from picture book illustration exhibition ,Tokyo , Japan

1999 : -RASA 99 , Bank Negara Malaysia , Kuala Lumpur
- AKU 99( self – potrait ) Galeri PETRONAS , Kuala Lumpur
- Two - Man Show Galeri Mas , Johore Bahru
- Solo Exhibition , Novotel Resort and Hotel , Phuket . Thailand
- Solo Exhibition , Gallery Space Pause , Tokyo , Japan
- The Philip Morris Group of Companies Art Awards Show , National Art Gallery , Kuala Lumpur

- TERRA Art Festival , Gisborne , New Zealand
2000 : - Appear Innocent , The Gallery , ISETAN KLCC , Kuala Lumpur
- Landskap ke landskap , Galeri PETRONAS , Kuala Lumpur
- Solo exhibition ELEPHANTOIDEA , Tinta Galllery , Kuala Lumpur
2001 :- L’ ANIMALE IN ARTE , Tinta Gallery , Kuala Lumpur
- L’ANIMALE IN ARTE , Purna Budaya , Jogjakarta , Indonesia
2002 : - Solo Exhibition ELEFANTASTISK ARTIG . Krane Gallery , Tromso , Norway
2003 : - IMAJAN KEMERDEKAAN , Balai Seni MAYBANK , Kuala Lumpur
2006 : Central Markey 21 years . Central Market Annexe Kuala Lumpur
2007 : TIGA ALAM Central Market Annexe Kuala lumpur
2008 : MALAYSIAN NAÏVE ARTSHOWCASE 08 Central Market Annexe

Solo Exhibition

1981 : GAJA GAJA , Gallery Six , Kuala Lumpur
1993 : Naive Painting , Art Case Galleries , Kuala Lumpur
1997 : The Gajah Series , Kai Boon Art Gallery , Kuala Lumpur
Decorative Naive , Mon Decor Gallery , Jakarta , Indonesia
5th Solo Exhibition , Gallery Space Pause , Tokyo , Japan
1998 : Decorative Naive , Aiseyman Cafe and Bistro , Kuala Lumpur
7th Solo Exhibition , Novotel Hotel , Phuket , Thailand
8th Solo Exhibition , Gallery Space Pause , Tokyo , Japan
2000 : Elephantoidea , Tinta Gallery , Kuala Lumpur
2002 : Elefantastisk artis , Krane Galleri , Tromso , Norway
2004 : ELEPHANTOIDEA SERIES . Hyatt Regency Jogjakarta Indonesia
2005 Solo exhibition Bankers Club Kuala Lumpur
2005 Elephantoidea and The fat ladies Herman gallery , Stockholm Sweden

AWARDS
1974 : Pratita Adi Karya ( Sekolah seni rupa Indonesia , Jogjakarta , Indonesia )
1985 : 2nd Prize , Annual Painting Competition , Sabah Art Gallery , Kota Kinabalu
1986 : Encouragement Awards ( SIMEOT ) , noma Concour for Children’s Picture
Book Illustration (ACCU) Tokyo , Japan
1988 : Encouragement Awards ( TIDAK LAMA DAHULU ) NOMA Concours For
Children’s Picture Book Illustration , ACCU , Tokyo , Japan
1990 : Hadiah karya Terbaik , Peraduaan Penyediaan Illustrasi Buku Bergambar ,
DEWAN BAHASA DAN PUSTAKA , KUALA LUMPUR
1992 : Runner-up ( THE LAST TREE ) NOMA Concoure for Children’s picture
Book Illustration ( Asian culture for UNESCO ) Tokyo , Japan
- Best Children’s Picture Book National Book Council . Kuala Lumpur
- Best Children’s Picture Book illustrator National Book Council , KL
1997 : GRAND PRIX (THE REAL ELEPHANT) NOMA Concour For Children’s
Picture Book Illustration (ACCU 0 Tokyo , Japan

Painting ( fun series )

2008-10-15T03:09:00.000-07:00

Painting for an Exhibition Jogjakarta November 2008

2008-10-14T02:25:00.000-07:00

Elephantoidea Series ( My Children 1 )
Acrylic , modeling paste on canvas
90 cm X 150 cm

2007

Painting for an exhibition - Jogjakarta November 2008

2008-10-14T02:23:00.000-07:00

Elephantoidea Series ( My Children 2 )
Acrylic , modeling paste on canvas
107 cm X 213 cm
2007

Lucien de Guise: Naive art fits nicely with Malaysia's grace

2008-10-13T22:18:00.001-07:00

ANYONE who has read this column more than once will be familiar with the Central Market Annexe. It's Malaysia in microcosm, at a pace that is more amphetamine than nasi lemak and with the emphasis usually on the avant garde.
For the next 10 days, there will be a more playful ambience, as "naive art" is in residence.

This is not a genre that has taken Malaysia by storm so far. The local art market wants to look grown-up, and naive doesn't seem to fit that bill. Some of naive art's siblings do, however. These include "marginal art", "outsider art" and "art brut".

The last can be the coolest thing on the Manhattan auctioneer's block when it was created by a dead ex-graffiti artist like Jean-Michel Basquiat. Madonna's ex-boyfriend may have wandered the streets of New York in bare feet before he died at 27, but his paintings fetch tens of millions of ringgit.

"Naive" artists tend to have decent shoes but less street credibility. The kampung is their home. When they are accepted by the public, the art community usually dismisses them as kitsch. It's a good thing they have their freshness and goodwill to fall back on. They can expect fair treatment in some countries more than others.
In France, there are many museums dedicated to their work. In most parts of Asia, their time has yet to come.

China is one of the exceptions. Not only is naive art a widely admired medium in itself, it also extends into the mainstream. This isn't just tourists returning with armfuls of Jinshan folk art. Many of China's greatest 20th century artists could be slipped straight into the "naive" pigeonhole. Pioneers like Ding Yangyong and Cui Zifan revel in the childlike, producing works of charm and occasional profundity.

Naive art does well in places where collectors have confidence in their own taste. That means France, Japan, traditional China and, to some extent, the United States. Elsewhere, there is usually anxiety.

Which brings us to Malaysia. There is art aplenty, but is there confidence? Is it uncool to be naive when the good fight is being waged for sophistication? Wawasan 2020 never mentioned seeing the world through the forgiving eyes of innocence. The vision was meant to turn Malaysians into street fighters in the global hood. I don't think art was mentioned, and naive art would surely be for softies.

It's a shame naive art doesn't receive more admiration in Malaysia. This is in many ways its natural habitat. It is colourful and gentle and non-confrontational. Malaysia is not about angst, and why should it be? This is a country blessed by God. It's not Aceh, Myanmar or Sichuan. Malaysian communities may bicker over dividing the economic and political cake, but at least there is a cake to be divided.

No matter how hard local artists try to get some righteous anger in their hearts, they could still be depended on to do the respectful hand-kissing routine for a Hari Raya muhibah advertisement. Politics in Malaysia is also surprisingly gentlemanly. When one party dislikes another, it hurls nothing more incendiary than an insult. Even the parliamentary insults are harmless; nothing about mothers or sisters.

If France had been playing Malaysia instead of Italy in the World Cup final, Zinedine Zidane would have played the full game. And France would have won.

"Malaysian Naive Art Showcase 08" shows just how appropriate the genre is to here. Malaysia may not be ready for it yet, but those naive painters keep painting away. The prime mover is the man who acquired a name to match his large but friendly works.

Yusof "Gajah" is not alone in his herd. In addition to more like-minded artists than most collectors would imagine, there are two young gajah involved. Yusof's son and daughter are keeping up the tradition although they have diversified from elephants into cats and dinosaurs.

Yusof Gajah is keen to get a museum going. "If there is no museum, then there is nowhere to see the works," he says in distress.

He would probably like people to buy the works as well, but the first priority is visitors. He ought to have a head start with naive art. It's a genre that can cut across all boundaries. It's not just for the 30- to 50-year-old professionals who are propping up the rest of the art scene.

I spotted some old folk at the show, and my comparatively young children put in a full uncomplaining 30 minutes. This is a personal best for them.

The time for naive art should be arriving soon, now that conceptual has reached the limits of desperate inventiveness. If art has to have a message (and Samuel Goldwyn of MGM believed "messages should only be sent by Western Union"), then it doesn't have to be a big angry message in the bad-boy tradition.

Yusof Gajah and his circle make oblique references to mankind's place in the natural world, for example. Like so much naive art, it is handled with charm and humour - that rarest of all intrusions in art.

Good-natured attitude does not always come cheap, though. Few of the paintings at this exhibition are below RM1,000 and some are very much higher.

This is not unreasonable for works with a certain professionalism and a lot of imagination. Despite appearances, they are not easy to paint. Like Malaysian politics, there is a fragile balance to be maintained.

Younger readers who want to give it a try should join Yusof Gajah at a workshop he is holding on Saturday at the Islamic Arts Museum Malaysia.

The writer is curator of the Islamic Arts Museum in Kuala Lumpur.

10th Scandinavian Business Chritmas Dinner

2008-10-11T17:53:00.001-07:00

Art Workshop Taylor College

2008-10-08T02:48:00.000-07:00

hari raya 2008

2008-10-03T07:40:00.002-07:00

Photo taken during Hari Raya Adil fitri 2008

Black and white series

2008-10-03T06:47:00.000-07:00

Gajah di jogjakarta

Black & White series

2008-09-08T14:19:00.000-07:00

“There are not many painters who paint elephants seriously” – Yusof Gajah

2008-05-30T01:33:00.000-07:00

Growing up in a village in rural Malaysia, Yusof Gajah had little choice than to be influenced by the plant and animal life around him, namely the elephant. After all, it literally was a jungle out there. Yusof Gajah - Gajah meaning Elephant in the Malay language - is well known in and around Malaysia for his many and varied representations of the elephant.

Born as Mohd Yusof Bin Ismail, Yusof Gajah got his nickname in 1974 when he was in an art community. “There were two Yusof’s in the group and everyone had trouble calling one without the other responding” he recalls. “One day, as I was painting an elephant, one of them called me Yusof ‘Gajah’ and the name just stuck. From then on I was known as Yusof Gajah.” (The other Yusof got dubbed Yusof ‘Volkswagen’.)

Yusof Gajah’s chosen artistic style is ‘naïve art’. This is a form of art where the artist is not bound by formalities such as following the rules of shapes and form, thus it often results in artistic impressions of what the author feels about the object rather than depicting the object as it is. So, when looking at one of Yusof’s naïve art paintings, one sees explosions of bold colour on top of what is a distinct two-dimensional representation of nature, more often than not, of his beloved elephants. Expanding on this elephant theme, he has also created elephant portraits with mix media (such as beads and glass) to accentuate the creatures on his canvases. Yusof Gajah’s portraits are extraordinary, to say the least.

Gifted in story-telling through art he has also illustrated children’s books. One of which is “Chemophant”, written by a young girl to help other children understand cancer and to raise awareness of its effects. For his illustrative works Yusof has received numerous awards including the Best Children’s Book Illustration from the National Book Council of Malaysia and the Grand Prix (The Real Elephant) for Noma Concours for the Children’s Picture Book Illustration, (ACCU) in Tokyo, Japan. As if that were not enough, Yusof regularly conducts art workshops to teach and inspire the next generation about art, colour, form and how to express have themselves artistically.

SENIMAN JANGAN HIDUP MISKIN

2008-05-30T01:26:00.001-07:00

Di Gajah Gajah Gallery City Square Kuala Lumpur bergantungan lukisan yang bermotifkan gajah. Imaginasi pelukis daripada imej yang berteraskan gajah sangat luar biasa.

Didalamnya seorang lelaki berambut panjang, bertubuh kecil murah dengan senyuman melayan tetamu yang kelihatan terpesona dengan ekpresi gajah-gajahnya. Lelaki yang bertubuh kecil itulah Yusof Gajah, 50, seorang pelukis yang prolifik dan pemilik Gajah Gajah Gallery. Yusof Gajah atau nama sebenarnya Yusof Ismail mulai 1972 hingga kini telah menyertai lebih 100 pameran termasuk beberapa pameran solo diluar Negara.

Sepuluh tahun dahulu, galeri lukisanya hanya dirumahnya di Gombak. Kemudiannya berkembang ke Kompleks Kraf di Jalan Conlay, Kuala Lumpur. Kini dia memiliki galeri di pusat membeli belah City Square. “Saya tidak mahu menjadi seniman besar tapi miskin. Seniman jangan jadi miskin,” kata pelukis kelahiran Johol, Negeri Sembilan ini dengan tegas.

Kepada wartawan Mingguan Malaysia, Ku Seman Ku Hussain, Yusof Gajah berkata “Saya jadi seniman, saya juga jadi businessman untuk menjual lukisan saya.”

Apakah yang membawa saudara ke dunia lukisan?

Saya dilahirkan di Johol, Negeri Sembilan. Tetapi dibesarkan di Singapura kerana keluarga menetap disana. Singapura tahun 50 an lebih moden berbanding kampong saya di Johol. Di sana saya terdedahkan dengan dunia seni lukis. Berpeluang pula mendekati galeri-galeri besar waktu itu. Lukisan jadi dekat dengan jiwa saya apabila galeri dekat dalam hidup saya. Imaginasi saya mulai bermain imej dan warna. Memang saya minat lukisan tapi kalau terpisah jauh dari Bandar macam kampong keluarga saya di Negeri Sembilan, mungkin susah juga untuk mengasah bakat.

Masa di Singapura sudah bercita-cita mahu jadi pelukis?

Tidaklah bercita-cita jadi pelukis. Bunyinya sangat formal. Tapi saya masih ingat saya terlalu minat lukisan. Tapi tidak tahu pun di luar lingkaran kekerdilan dunia saya waktu itu. Tidak kenal pun pelukis-pelukis hebat dunia. Pelukis tempatan pun tidak kenal. Yang saya tahu, saya minat sangat dengan kerja-kerja macam ini. Lukisan awal sama seperti itu (menunding jari kesebuah lukisan di dinding galeri).

Maksud saudara Naïve Art?

Ya. Saya bermula dengan lukisan yang begitu. Nampak macam keanak anakan. Alam imaginasinya memang begitu. Tapi itulah naïve art, lukisan pelukis yang tidak mandapat bimbingan secara formal. Itu proses semula pelukis sebelummereka menemui aliran-aliran dalam karya mereka. Saya waktu itu melukis apa yang saya rasa dan rasa itu hadir dalam igauan saya. Naïve art saya tentang alam dan kehidupan.

Dimana saudara mengasah bakat melukis secara formal?
saya mengikuti pengajian dalam senilukis di Sekolah Seni Rupa Indonesia di Jogjakarta tahun1972. kemudian tahun1975 saya sambung belajar di Akademi Seni Rupa Indonesia juga di Jogjakarta. Jogjakarta kota seni dan budaya. Saya tercampak ke destinasi yang baik bagi saya. Saya rasa bertuah kerana berpeluang berada dalam satu masyarakat yang begitu menghargai seni.

Tapi sebelum itu difahamkan saudara juga menuntut di Indonesia?
Memang benar. Waktu itu ayah hantar saya memasuki sebuah institute pertanian di Jogjakarta. Pergi dengan biaya sendiri. Tapi saya tidak berminat sangat dengan pertanian. Sijil pula tidak diiktiraf disini. Saya minta ditukarkan ke jurusan seni. Saya yakinkan ayah saya, pilihan saya tidak silap.

Saya tertarik dengan nama pena saudara, Yusof Gajah. Dari mana datangnya nama pena itu?
Nama Yusof Gajah lahir secara tidak sengaja. Malah saya sendiri tidak terfikir gelaran yang diberikan teman-teman di Anak Alam pada tahun 70-an boleh lekat sampai sekarang. Bangga juga apabila nama itu tertera pada lukisan-lukisan saya yang ada di seluruh dunia. Saya masih ingat waktu itu ada pameran lukisan di Rumah Anak Alam dekat Padang Merbok, Kuala Lumpur. Disitu ada dua orang pelukis yang bernama Yusof. Sayu Yusof Osman dan saya Yusof Ismail. Masa itu pelukis senior Mustaffa Ibrahim gelar saya Yusof Gajah kerana saya melukis gajah. Teman-teman mulai panggil saya Yusof Gajah. Mula-mula tak rasa apa-apa. Tapi apabila nama Yusof Gajah semacam parallel dengan imej teras dalam lukisan saya iaitu gajah. Saya terfikir kenapa tidak dikekalkan saja Yusof Gajah.

Boleh dikatakan bahawa Anak Alam banyak membantu menemui persekitaran seni yang mematangkan saudara?
Saya tidak dapat bayangkan apa yang terjadi kepada saya kalau selepas balik dari Jogjakarta dan tidak ada Anak Alam. Ketika proses kesenimanan saya yang belum matang, saya amat mengharapkan alam dan masyarakat membantu. Di Anak Alam saya temui semua itu. Proses interaksi itu sangat penting bagi seniman. Di Anak Alam ada penyair, pelukis dan kami berinteraksi.

Adakah yang barangkali membayangkan saudara berbadan besar macam gajah?
Jiwa dan semangat saya besar macam gajah (ketawa berdekah-dekah). Saya bertubuh kecil macam kancil. Gajah bagi saya ada konotasi yang menjadi kekaguman semua kaum. Dalam Islam misalnya ada tahun gajah dan Nabi Muhammad pun lahir pada Tahun Gajah. Tapi gajah saya bukan realisme. Saya memberikan imaginasi yang bebas kepada teras imej yang menjadi identity karya saya. Gajah wujud dalam pelbagai ekspresi.

Apa perbezaannya selepas menjadi Yusof Gajah?
Bukan mudah untuk mencipta nama. Saya tidak setuju kalau orang kata apalah yang ada pada nama. Bagi saya nama itu penting. Sampai satu tahap, kita tidak boleh senang-senang turunkan tandatangan.. semuanya kerana nama. Selepas Yusof Ismail menjadi Yusof Gajah memang banyak perbezaan. Sekarang orang tidak kenal Yusof Ismail.

Bagaimana saudara hidup dengan melukis?
Bagaimana pula saudara hidup menulis? Situasinya sama bukan? Kedua-duanya kita perlu bekerja.

Memang benar tapi saya bergaji tetap berbanding saudara yang bergantung kepada hasil jualan lukisan. Bagaimana saudara menguruskan kerjaya?
Pelukis atau seniman juga manusia. Mereka perlu hidup sama seperti orang lain. Tidak kiralah seniman atau tidak, kita kena hidup bertanggung jawab kepada hidup. Prinsip saya, saya tidak mahu menjadi seniman besar tetapi hidupnya kecil. Maksud saya hidup miskin. Untuk hidup pertama sekali saya kena pastikan karya saya dibeli orang. Saya membuat kajian dan cuba tahu siapa yang berkemungkinan akan membeli lukisan saya. Saya bahagikan kepada tiga tahap dalam pengkaryaan saya. Pertama untuk “belanja dapur”. Saya kena hasilkan lukisan untuk memberi duit untuk makan dan minum keluarga. Lukisan ini mungkin murah dan mampu di beli oleh mereka dalam kelas sederhana.

Kedua saya buat lukisan untuk bayar pinjaman rumah, kereta dan sebagainya. Lukisan ini agak mahal. Tapi sudah tentu tidak selalu dibeli orang. Yang ketiga saya buat lukisan yang mahal untuk orang yang berpendapatan misalnya RM 30 000 sebulan. Saya anggap lukisan tahap ketiga ini sebagai bonus. Orang makan gaji ada bonus, saya juga mesti ada bonus. Tapi bonus bukan selalu dapat.

Sesetengah pelukis mempunyai ego seni tersendiri misalnya tidak tunduk kepada kehendak massa. Kenapa saudara mengikut kehendak massa?

Macam saya katakana tadi, saya tidak mahu menjadi pelukis hebat tapi hidup miskin. Saya bukan tunduk kepada kehendak massa hingga korbankan prinsip seni saya. Saya juga ada ego seni sendiri. Bukanlah maknanya saya buat lukisan murah bermakna saya mengikut apa yang massa mahu. Suatu yang anda perlu tahu bahawa saya mahu semua orang memiliki lukisan saya. Kalau tak mampu beli berpuluh-puluh ribu ringgit, mereka boleh membeli poskad lukisan saya yang harganya RM 10. pokoknya mereka masih boleh memiliki lukisan saya.

Dulu saudara jadikan rumah sebagai rumah sebagai galeri, kemudian ke Kompleks Kraf di Jalan Conlay dan sekarang di galeri sendiri, Gajah Gajah Gallery di City Square. Kenapa perlu ada galeri di City Square?

Prosesnya macam kita pergi sekolah juga. Mula-mula masuk tadika, masuk sekolah rendah kemudian sekolah menengah seterusnya ke Universiti. Maknanya hidup kita mesti ada perubahan yang parallel dengan usia. Mustahil kita hendak berada di sekolah tadika selama-lamanya. Dalam konteks seni lukis, kalau sepuluh tahun lalu saya hanya mampu buat galeri di rumah, hari ini saya tidak boleh lagi terus buat rumah saya sebagai galeri. Saya kena berubah. Dan perubahan ini semuanya bukan berlaku secara semula jadi. Tetapi perubahan ini saya rancang dan syukur saya mencapai tahap-tahap yang saya rancang. Ada orang kata buat apa saya perlu mengeluarkan belanja sewa galeri di sini yang beribu-ribu ringgit kerana saya boleh buat di rumah atau di Pasar Budaya misalnya. Tapi saya memikirkan kewajaran dengan wang yang dikeluarkan oleh pelanggan saya dengan imej tempat saya meletakkan karya saya.

Adakah imej dan prestij penting bagi saudara?
Sudah ia penting bagi saya. Sebelum ini banyak pelanggan atau collector yang menyokong kerja seni lukis saya. Bayangkan kalau mereka tidak membeli sedangkan saya perlu hidup dengan melukis. Mereka mengeluarkan wang beratus ribu ringgit untuk membeli lukisan saya. Bagi saya ia bukan sekadar jual beli tetapi sokongan untuk melihat saya berjaya. Bayangkan apa kata collector saya yang melihat saya tidak pernah berubah sama seperti sepuluh tahun lalu. Saya mempertingkatkan imej saya kerana antara lain mahu mengangkat imej collector saya juga. Sebenarnya bukan setakat ada galeri di City Square. Kalau boleh saya mahu ada juga galeri di KLCC.

Jadi saudara bukan sekadar seniman?

Tepat sekali. Dan saya tidak malu mengakui hakikat ini. Saya melihat seni (seni lukis) dalam konteks yang luas. Masa menghasilkan karya itu, bolehlah kalau mahu menganggap saya sebagai seniman. Kesenimanan itu proses untuk menghasilkan karya seni. Sesetengah orang mereka berhenti di situ iaitu sebagai seniman dan tidak ambil pusing bagaimana mahu memasarkan karya itu. Paling mudah memberikan kepada promoter untuk menjualnya. Tapi saya, selepas berkarya saya menjadi orang yang memasarkan lukisan saya. Waktu itu saya mungkin seorang businessman. Kalau istilah itu boleh digunakanlah. Saya kena fikir hal-hal yang difikirkan oleh orang berniaga. Macamana hendak membuat packaging misalnya dan untuk mempromosi supaya orang beli. Ada orang jual lukisan berpuluh ribu ringgit tapi dibalut dengan kertas surat khabar. Saya tidak akan buat begitu. Semuanya memang memerlukan kos tapi akhirnya ia balik kepada kita juga.

Bagaimana saudara mengangkat prestij lukisan saudara
Saya harus mengangkat prestij diri saya, galeri saya dan sebagainya. Misalnya kalau collector saya makan di Hotel Shangri-La saya juga perlu berada ditahap yang sama. Saya juga kena makan angin di luar Negara. Semua itu mengangkat prestij dan imej collector yang memiliki lukisan saya.

Saudara boleh bercakap begitu sebab saudara telah berjaya. Bagaimana mereka yang baru bertatih?
Semua orang bermula dengan angka kosong. Jangan tengok saya sekarang. Tengoklah saya sepuluh atau dua puluh tahun dahulu. Kalau mahu seni berada ditahap yang dibanggakan, seniman yang kena mengangkatnya.

Saudara dibantu sepenuh masa oleh isteri sebagai promoter. Apa kebaikannya?
Bagi saya bidang ini mata pencarian saya. Saya melakukan secara sepenuh masa. Mungkin orang lain buat secara sambilan kerana ada sumber lain untuk menyara keluarga. Tapi bagi saya setelah lukisan menjadi mata pencarian apa salahnya isteri menumpukan sepenuh masa kepada kerja dalam bidang ini? Saya pelukis dan isteri saya Zakiah sebagai promoter. Dia melakukan kerja ini sepenuh masa. Dia ada pendapatannya sendiri hasil dari tugas sebagai promoter.

Apa lebihnya isteri sendiri menjadi promoter bagi karya-karya saudara?
Faedahnya banyak. Salah satunya ini mewujudkan kami sekeluarga sebagai orang yang mencintai lukisan. Isteri saya tahu menulai lukisan, dengan sendiri dia tahu menilai kerja-kerja saya. Anak-anak juga begitu. Selain itu semua yang dilakukan akan kembali kepada keluarga. Misalnya kalau saya ambil promoter lain, saya kena bayar komisen 40 hingga 50 peratus daripada harga lukisan yang dijual kepada promoter lukisan. Sekarang pun saya bayar komisen dengan jumlah yang sama. Bagi saya ini lebih baik kerana ia kembali kepada keluarga.

Adakah saudara kurang yakin dengan promoter lain?
Saya fikir kalau dikatakan kurang yakin itu tidak tepat. Bukan kurang yakin. Tapi factor utama saya dan isteri saya mahu ikut terlibat dalam hal-hal pemasaran. Saya bukan tahu sangat dalam pemasaran tetapi saya beli buku mengenai pemasaran. Saya belajar daripada mereka yang lebih arif. Dalam era consumer cultural sekarang ini, produk yang baik belum tentu menjadi pilihan kecuali mempunyai strategi pemasaran yang betul. Saya mengambil tahu dan belajar selok-belok menjual lukisan

Ada sesetengah pelukis menyalahkan masyarakat yang tidak menghargai karya seni mereka. Bagaimana dengan saudara?
Saya tidak pernah menyalahkan masyarakat. Untuk apa? Apa kesan positifnya kepada saya kalau setakat menyalahkan mereka yang tidak membeli lukisan saya. Saya ambil tindakan proaktif, buat lukisan yang mampu mereka beli. Saya kena turunkan ego saya. Saya juga giatkan strategi pemasaran. Bayangkan berapa banyak rumah kos sederhana di Kuala Lumpur.kira pula berapa banyak dinding yang kosong dan berapa banyak bilik untuk kanak-kanak. Semua ini ada potensi umtuk lukisan diisi ditempat begitu.

Siapakah yang paling banyak menjadi collector karya lukisan saudara?
Orang–orang luar yang pernah dan sedang bekerja di Negara ini. Orang tempatan pun ada juga. Syarikat korporat misalnya banyak yang memiliki lukisan saya. Seorang collector dari Perancis memiliki lebih 50 keping lukisan saya. Dia bukan sahaja membeli lukisan malah biaya saya sepuluh hari ke Perancis semata-mata meminta khidmat nasihat bagaimana meletakkan lukisan dirumah dan pejabatnya.

Apakah cita-cita saudara yang masih belum tercapai?
Saya ingin memiliki muzium seni lukis sendiri. Sudah ada tempat tetapi mengambil masa untuk impian itu dizahirkan. Semua pelukis mengimpikan sebuah muzium. Itu kemuncaknya

CITRA NAIVE MALAYSIA

2008-05-30T01:20:00.000-07:00

Menghampiri penghujung dekad pertama alaf 2000 ini, kerja-kerja seni catan lebih daripada dua puluh orang pelukis gaya naive Malaysia diperagakan dalam satu pemeran besar. Pameran dengan tema Malaysia Naive Art Showcase 2008 adalah suatu pameran penting yang memperlihatkan perkembangan muktahir seni catan tanah air di alaf 2000.
Pameran berkumpulan seni catan naive pertama di Malaysia telah diadakan pada tahun 1998 yang hanya diwakili oleh empat pelukis gaya naive Zila Zain, Shima, Azmi S.H dan Yusof Gajah. Pameran naive kedua telah berlangsung pada tahun 2001 di mana Yusof Gajah bergandingan dengan Mat Dollah dan Adeputra dengan tema Appear Innocent. Kedua-dua pameran naive telah diusahakan oleh Yusof Gajah. Selepas pameran ini berakhir pelukis-pelukis naive yang terlibat dalam kedua-dua pameran ini membawa haluan masing-masing menghidupkan citra naive secara bersendirian. Namun atas usaha Yusof Gajah pelukis unggul Malaysia atau lebih dikenali sebagai Bapa Pelukis Naive Malaysia, beliau sekali lagi telah mengikhtiarkan kesinambungan pameran penting ini.
Tujuan utama pameran Malaysia Naive Art Showcase 2008 ini pertamanya adalah untuk meletakkan seni catan gaya naive dilandasan yang sewajarnya sebagai suatu pergerakan seni yang penting dalam perkembangan seni catan tanah air. Selama ini seni catan gaya naive di Malaysia bukan sebahagian daripada arus perdana seni catan kontemporari tanah air. Seni catan gaya naive tidak mendapat tempat malah tidak diiktiraf dengan sewajarnya. Keadaan ini berlaku antaranya disebabkan oleh sifat karya seni catan gaya naive yang dipersepsikan sebagai gaya seni catan yang kebudak-budakan dengan penampilan citra yang tidak serius lagi terlalu “mudah” sifatnya. Ringkasnya karya-karya gaya naive sebegini dilihat sebagai gaya karya seni catan yang tidak mencabar dengan alasan ia boleh dilakukan, dicipta, direka oleh sesiapa sahaja. Tetapi realitinya membuktikan seni catan gaya naive tidak mudah dilakukan. Ia turut mempunyai ramuan-ramuan formalistik seni catan yang harus dipelajari, dilatih sebelum dapat dikuasai. Menghasilkan karya gaya naive memerlukan ketrampilan, kemahiran yang bukan sedikit. Ini hakikat yang perlu diterima.
Pameran Malaysia Naive Art Showcase 2008 ini memperagakan kepelbagaian karya-karya citra naive. Kepelbagaian citra naive dapat dilihat dari pengolahan subject-matter dalam kemeriahan pesta warna-warni yang kelihatan bagai tidak berkesudahan. Citra lanskap gaya naïve ditampilkan antaranya dengan banjaran gunung, bukit bukau beralun yang dipenuhi dengan hutan rimba, ladang pertanian serta aliran sungai, takungan air di kolam, tasik dan pemandangan tepi laut. Mergastua yang berkeliaran di udara, darat dan air menambahkan lagi keasyikan citra gaya naïve ala romantism. Khalayak di bawa ke alam fantasi yang dipenuhi dengan spektrum warna-warna segar, ceria yang kelihatan begitu dekat tetapi realitinya tidak begitu.

Gaya penceritaan secara visual turut menambah keragaman citra gaya naïve dapat dilihat dalam pameran ini. Kemeriahan, kesibukan suasana kehidupan di luar bandar dan bandar dengan pelbagai aktiviti turut dirasai malah dapat diidentifikasikan dengan mudah kerana citra naïve yang dipaparkan mewakili sebahagian daripada pengalaman yang pernah kita semua lalui pada masa kini dan masa lalu. Persembahan visual gaya penceritaan secara ini mencetuskan kenangan-kenangan silam dalam bentuk nostalgia emotif yang memudahkan kefahaman serta apresiasi terhadap karya-karya gaya naive.

Menerusi Malaysia Naive Art Showcase 2008 ini terkesan dengan jelas unsur-unsur pribumi Melayu Nusantara yang secara ketara sekali dapat mencipta identiti gaya naive Malaysia. Citra rumah-rumah lama Melayu tradisional, pengolahan caragaya kehidupan masyarakat pribumi seperti kelompok etnik Bajau di Sabah. Bangunan-bangunan rumah kedai yang dibina sebelum meletusnya Perang Dunia Kedua yang kini menjadi sebahagian daripada warisan sejarah seni bina tanah air di olah secara naïve menjadikan citra karya nampak nyata dan bukan kesan daripada ekspresi imaginasi melulu tanpa rujukan.

Unsur-unsur pribumi Melayu Nusantara gaya naive ini adalah citra yang wajar sekali diteruskan, dimantapkan malah diperkasakan bagi memperlihatkan kelainan, keunikan serta dapat menjadi identiti citra gaya naive Malaysia. Orientasi pengolahan, persembahan subject-matter citra gaya naive yang begitu terperinci sifatnya adalah suatu kelebihan yang membolehkan unsur-unsur pribumi Melayu Nusantara dicipta, diolah secara kreatif. Banyak lagi unsur-unsur pribumi Melayu Nusantara yang masih menunggu untuk diterokai secara visual bagi meneruskan kelangsungan seni catan gaya naïve Malaysia yang lebih kreatif dan segar. Ini adalah cabaran yang menyediakan ruang bagi pelukis gaya naïve Malaysia.

Prof . Madya Mahzan Musa

Jabatan Psikologi & Kaunseling

Kolej Sastera & Sains

Universiti Utara Malaysia

Sintok, 06010

Kedah Darul Aman

16 April 2008

A PASSION FOR ELEPHANT

2008-05-03T21:35:00.000-07:00

A passion for elephants
Nuradzimmah Daim
New Street Times 2 may 2009

Yusof Ismail or better known as Yusof Gajah has a liking for elephants which he describes as gentle giants.

The 54-year-old father of three from Johol, Negri Sembilan, said he has developed the passion for elephants since he was a child when he was taken on an elephant ride by his parents.

It has then become his trademark which he now interprets through naive paintings.

His eldest daughter, Jaja, 23, also focuses on the genre, which is characterised by childlike simplistic drawings.

His wife, Zakiah Mohd Isa, 50, from Rantau, Negri Sembilan , assists him by promoting his art and would also accompany him during his exhibitions.

Apart from exhibitions, Pak Yusof is also actively involved in serving the community by teaching people, particularly children, to paint and raise funds for the needy through their artworks.

His paintings can be seen displayed at the National Heart Institute in Selayang and the Universiti Kebangsaan Malaysia hospital.

Streets visited Yusof Gajah's home-cum-studio in Taman Berjaya, Batu Caves, and found out more about his fascination with elephants and nature, in general, through his paintings.

Q: What is your normal day like?

A: I start really early in the day and would do some gardening and feed my guppies. After breakfast, I start work and sometimes stop for a quick nap around noon.

However, I only paint when I feel like it. I sometimes listen to light or classical music, depending on the situation, while working.

If I am not painting, I would spend my time reading books on arts.

I am now working on a black and white exhibition series and have managed to paint 30 pieces of artwork so far. However, it is sometimes difficult to complete the series when there people interested in buying the artwork you are working on.

Q: What is native art? There are others who focus on abstract, realistic, or even portrait paintings?

A: Naive is related to how a child interprets things and children don't lie. Also, there is not much promotion on naive arts in Malaysia, although it is very popular in other countries.

There are Balinese arts, Thai arts, but what do we have to promote to others outside Malaysia? I feel that there is so much that we can do to boost our arts.

For instance, if every district in Malaysia has an art gallery, it would make it easier for the artist from that particular place to promote his artworks and the locals would appreciate art more as it is easily available to them.

Presently, we have National Art Gallery and a few private galleries, and not everyone can go there anytime they want. So it is difficult for the community to connect with art.

Also, we can have our own auction house where art buyers can actually sell back their prized paintings with a higher price like in Indonesia. So, instead of buying paintings for their passion, it is also a form of investment.

Q: People have the impression that paintings are expensive. Why is that? How about yours?

A: The thing about paintings in Malaysia is that only the rich can afford them. If you earn RM1,500 a month, how can you afford paintings that costs thousands of ringgit each? That is why in my gallery at the Central Market annexe, I sell paintings that everyone can afford. And also, I get artists interested to paint and sell their art there and I take a 30 per cent commission while I provide the material and space for them. Some of them can even earn RM3,000 to RM4,000 per month through their paintings.

Most artists want to sell their paintings at a high price as they feel that it's their pride.

We have to adjust accordingly, like when we talk to a child, we have to make it simple for them to understand. It is the same thing with paintings.

However, it doesn't mean that we are not proud of our artwork so much so that we are willing to depart with it for a low price. I have sold paintings as cheap as RM300 and as high as hundreds of thousands of ringgit.

Q: How do you tell whether a person is a good artist?

A: I can tell through his or her sketch-work as it is the most basic skill needed for art. That is why, those who wish to learn from me need to know how to sketch. In the syllabus I had prepared for the National Arts Academy, I also stressed the importance of sketching skills.

If you are a good sketcher, the rest is easy, no matter what material you are using.

Q: Who is your mentor? Did you go for formal arts classes and where?

A: My mentor is the Indonesian artist Widayat whom I met when I studied arts at the Akademi Seni Rupa Indonesia (Asri) in the 1970s. His work is in a class of its own.

Q: Tell us about your community works.

A: I have worked with corporate companies that had managed to raise funds through paintings. However, I don't do it (paintings) myself. Instead, I teach the staff's children and they produce their artworks to be sold. In a way, the children learn to appreciate arts and the companies have done their bit for charity.

The problem with Malaysian artists is that they are selfish. They keep to themselves and refuse to be involved in charity work. Art is an important element in our lives, so it is important for artists to also play their part in the society.

Q: What is your ultimate dream as an artist?

A: I want to have my own museum where the public can come and see my artwork anytime. I have studios and later I opened two galleries, one in City Square and the other at Central Market's annex. For an artist, it is important to have these avenues to showcase your works, so you will not be forgotten especially after you have died.

I want my children to manage the museum when I'm no longer around.

YUSOF ' GAJAH '

Nami Island South Korea

Pesta Konvo UM 2011

Pra-pelancaran Galeri Seni UM

ELEPHANT PARADE SINGAPORE 2011 PROJECT

FIGURE IN PAINT – Contemporary Water colour exhibition Galeri PETRONAS

FIGURE IN PAINT –KATA PENGANTAR DI BROUCHER PAMERAN

PICTURE BOOK WORKSHOP CONTENT

Asian Festival of Children's Content (AFCC) Singapore

Yusof..The Philanthropist

Royal Selangor pendent

Comission Work

ELEPHANT MAN

NOMA concours medals

My Children Picture Books

HSBC comission paintings

Going to Nami Island Korea

HSBC commision work

Keluarga seni Yusof Gajah Oleh Fairuz Zaidan

Keluarga seni Yusof GajahOleh Fairuz Zaidanfairuzaidan@bharian.com.myBERITA HARIAN 2010/06/19

Glimpse of Hope

Explore richness of ‘Sabah Naive Art’, local artists told

ELEPHANT MAN

Yusof Gajah Lingard Literary Agency

Society of Children’s Book Writers & Illustrators Malaysia

YUSOF GAJAH SOLO EXHIBITION

elephabet

mother and child

new painting

Chicken

Bicara Seni ATMA UKM

Mother and child series

Provence france

Malaysian Naive Artists

Lukisan Khat

Gajah Gajah Series

Painting with sound

watercolour painting

my studio

Belajar Lithography di Oslo Norway

work in progress

MONORAIL PROJECT

New Paintings in my studio

Studio ku - disini kulahirkan karya dan mengenal diri

Black and white series

Program Mengimarah Rumah Nur

batik gulid issue 2009

Batik workshop at my studio

Family life Art Exhibition

Batik workshop at my studio

Bengkel Illustrasi Buku kanak Kanak DAWAMA

Hasil Karya Peserta Bengkel Batik

Bengkel batik Di Kelantan

Nurazmiworld: MALAYSIAN NAIVE ART SHOWCASE 2008, ANEXXE CENTRAL MARKET,KL

Yusof Gajah

Yusof Gajah Biodata

Painting ( fun series )

Painting for an Exhibition Jogjakarta November 2008

Painting for an exhibition - Jogjakarta November 2008

Lucien de Guise: Naive art fits nicely with Malaysia's grace

10th Scandinavian Business Chritmas Dinner

Art Workshop Taylor College

hari raya 2008

Black and white series

Black & White series

“There are not many painters who paint elephants seriously” – Yusof Gajah

SENIMAN JANGAN HIDUP MISKIN

CITRA NAIVE MALAYSIA

A PASSION FOR ELEPHANT

Keluarga seni Yusof Gajah
Oleh Fairuz Zaidan
fairuzaidan@bharian.com.my
BERITA HARIAN 2010/06/19