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Mohd Shafarin GHANI

Born on 1981 Penang Malaysia

2014    Man and his God – (Core Design Gallery) Kuala Lumpur Malaysia

2012   Oeuvre of movement n.2 – Yang Tersembunyi (Core Design Gallery) KL Malaysia

2010   Oeuvre of mouvement n.1 – (Core Design Gallery) Kuala Lumpur Malaysia

2008   Dramatic Movement – (Seni Mutiara Gallery) Penang Malaysia

1998   Solo – (Zhong Hwa Art House) Penang Malaysia




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2016    Shah Alam Biennale, -(Tapak Gallery) Kuala Lumpur Malaysia

2015   Abstrak Kini dan Dulu – (Core Design Gallery) Kuala Lumpur Malaysia

Grande 2 – (Core Design Gallery) Kuala Lumpur Malaysia

Aperitivo d’arte – (1Stile Gallery) Mantova Italy

The grass is greener on this side – (Core Design Gallery) Kuala Lumpur Malaysia

2014   Soya Cincau – (Core Design Gallery) Kuala Lumpur Malaysia

Grande 1 – (Core Design Gallery) Kuala Lumpur Malaysia

2012   Segala/Ghani – (Blue House Gallery) Mirabeau France

2011   Art Expo Malaysia – (Matrade) Kuala Lumpur Malaysia

2010   Beautiful People – (Core Design Gallery) Kuala Lumpur Malaysia

Dual Romanticism – Penang Malaysia

2009   International Art Exhibition – Penang Malaysia

2007   Malaysia Merdeka Exhibition – (Seni Mutiara Gallery) Penang Malaysia

Group Art Exhibition – Pahang Malaysia

2005   Gelora Rasa Art Exhibition – (Sri Pinang Art Gallery) Penang Malaysia

2003   Group Penang Artist Exhibition – (USM Art Gallery Museum) Penang Malaysia

2001   Group Exhibition – Pahang Malaysia

1999   Art Exhibition – Bangkok Thailand

1997   Group Exhibition – (Penang State Art Gallery) Penang Malaysia

Open Exhibition – (Penang State Art Gallery) Penang Malaysia


Henry Butcher (The ninth and OeuvreXVIII)

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By Professor Dr. Zakaria Ali, Universiti Pendidikan Sultan Idris

M. Shafarin Ghani collates two equally difficult concerns, to visualize the sound of music and to intone the timbre of colors. It would seem that to do that he must first portray a notion of space within which to display such collations, with the verve and drama they deserve.

Hence, the first requirement is that he empties his canvas from unnecessary flourishes or unconnected references that would tend to clutter. He inserts instead the wavy forms, the undulation of cloud formations, as a way of suggesting the deepest of depths, in which he articulates how sounds can in fact be painted.

He does so by using a selected number of basic colors: blue, red, yellow, black, and white, with which to give form to melody, to concertize an abstraction. Undulations, transitions, contrast, recessions, progressions are the tools he employs, resulting in a set of imagery of minimal goings-on but, paradoxically, imparting maximal impact. They appear like an oasis of swirling brightness in the vast still desert of emptiness.

M Shafarin Ghani is less than sure if this is the best way to see sounds and hear colors. He is sure, however, that he must come up with a solution, no matter how temporary. And, for the time being, this is his.

Tanjong Malim

15 August 2011

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