Zakaria Ali, Azly Rahman et al., Mastura Abdul Rahman, Pesan Ibu: Petua Dijaga Alam Diingat, exh. cat., Fergana Art, Kuala Lumpur (1–30 July, 2023), Kuala Lumpur, Fergana Art, 2023
→Abdullah, Ahmad Hakim, Ibrahim, Yuhanis, Badaruddin, Mohammed Iqbal, “Malay And Islamic Traditions Elements Through The Paintings Of Mastura Abdul Rahman, Ruzaika Omar Basareee and Haron Mokhtar”, Jurnal Arkeologi Malaysia, Vol. 34, No.1, April 2021, pp. 15-27
→Abdullah, Sarena, “Thematic Approaches in Malaysia Art since the 1990s,” Journal of Southeast Asian Studies (JATI), 16, no. 1, 2011
Pesan Ibu: Alam Dijaga Petua Diingat, Fergana Art, Kuala Lumpur, 1–30 July, 2023
→Archive No.2 Mastura Abdul Rahman and Tengku Sabri, 12 Artspace, Kuala Lumpur, 3 January–31 October, 2010
→Ku Lukis Rumah Ini, Valentine Willie Fine Art, Kuala Lumpur, 7–30 April, 1999
Malaysian visual artist.
Mastura Abdul Rahman received her early education in Johor Bahru, Malaysia. She pursued Fine Art studies at ITM (now UiTM) in Shah Alam, graduating with a Diploma in Art & Design (Fine Art) in 1986 and an Art Teachers’ Diploma in 1991. In 2009, she obtained an MSc in Creative Multimedia from Multimedia University, Cyberjaya.
Her works are largely influenced by Malay tradition and culture, childhood memories and domestic experiences. In Interior No. 29 (1987), now in the collection of the National Art Gallery, Kuala Lumpur, she incorporates both architectural and batik textile elements into the overall appearance of the artwork. M. Abdul Rahman employs an aerial rather than a linear perspective. From “above”, we can observe the structure of the kampung, or the traditional Malay timber house. The structure of the architecture is flattened and adorned with batik motifs and patterns, giving it a distinct Malay essence. In the interior of the kampung house, there are rectangular and circular mats, and other items such as congkak (a Malay traditional game) and newspapers. Elements of Malay culture can also be seen in her House of Flower (1999), which includes the buaian (baby swing) and congkak. M. Abdul Rahman’s subject matter reflects her contemplation of domestic living. Her works mirror her roles and experiences as a woman, a wife, a mother and caregiver.
Since 2021, M. Abdul Rahman has produced five paintings under the Taman Persona series, which linger on her interest in the character of the legendary Malaysian queen, Cik Siti Wan Kembang. In her 2023 exhibition, Pesan Ibu: Alam Dijaga Petua Diingat [Mother’s Advice: Protect Nature, Wisdom Remembered], M. Abdul Rahman incorporates traditional Malay art, craft elements, and everyday items into her “flattened” paintings, reducing the three-dimensional appearance of objects to create a two-dimensional representation, emphasising abstract qualities. These works celebrate motherhood, her identity and the various pieces of advice passed down from one generation to another.
In Gubahan Selerak 7 [Scattered Composition 7, 2023], she adorns the floors and walls with selected batik patterns and motifs, combining objects like agricultural produce such as bananas and their shoots, vegetables, fried fish, a mortar, coffee, sewing materials and books. This showcases her interest in preserving traditions and culture amidst the changes of modern life. The objects are scattered throughout, aptly reflecting the title. She no longer confines herself to the interior domain approach, as seen in Awan Berbisik 1 [Whispering Clouds 1, 2023], encapsulated by the Awan Mega Mendung – a motif popular in Cirebon batik. Her chosen items vary, including subjects that have become part of her life, such as an owl, a chicken, her cat and even seafood used in her cooking.
M. Abdul Rahman’s art pieces are housed in esteemed collections including Kuala Lumpur’s National Art Gallery, Maybank, Malaysian Airlines and Bank Negara Malaysia, Galeri Shah Alam (Shah Alam), ISI Jogjakarta, Singapore Art Gallery, National University of Singapore (NUS) and various private galleries and collectors. Her talent has been recognised with accolades such as the Major Award by the Young Contemporaries Art Award in 1986 and an Honourable Mention at the Phillip Morris Art Award in 1992.
A biography produced as part of the programme The Flow of History. Southeast Asian Women Artists, in collaboration with Asia Art Archive
© Archives of Women Artists, Research and Exhibitions, 2024