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
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
AUCTION
Henry Butcher (The ninth and OeuvreXVIII)
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