Haffendi Anuar, born in 1985, Malaysia, is an artist working in sculpture, painting, drawing and installation. He did his International Baccalaureate certificate in art at the International School of Kuala Lumpur, Kuala Lumpur, Malaysia, his foundation at the Rhode Island School of Design in Providence, US and his BA Honors at Central Saint Martins College of Art and Design in London, UK. In between his studies, he worked as a model maker in an architecture firm, studied Mandarin in China, worked in art galleries in London and Kuala Lumpur and assisted artists in studios in London.
Haffendi’s practice is multi-dimensional. Mining art history, digital technology, nature and local contexts, he recycles found images, objects and artistic styles from digital and local sources. He lives and works in Kuala Lumpur, Malaysia.
He explains his purpose of his project as follows:
” Working with found objects, images and materials, I create sculptures, paintings, drawings and installations that look into our relationship with the city, landscapes and various environments, whether physical or digital. The expanded notion of the landscape in the 21st century informs my practice, and I am interested in linking this to the tradition and history of sculpture, looking how the object, either monumental or humble, could magnify our understanding of the larger environment, like how objects and images displayed in an ethnographic museum give an impression of a time long gone.
For the work I am presenting at Kooshk for KARA 2019 open studio, I am showing an installation consisting of a wall paper composed of sketches of metal doors and gates that I had done here using ball point pens and highlighters and a set of digital collages consisting of metal gates and doors. I am interested in vernacular architecture in cities and while in Tehran, I was drawn to the elaborate and highly ornamental gates and doors that have contrast with the plain buildings they are a part of. Furthermore, since I had been here, I had also noticed the distinct separation between private and public life and the importance of the differing self-presentations within the different social contexts. Each drawing and collage is based on photographs taken during walks around the city and aims to focus on the overlooked elements of the city’s architecture. For the wall installation, I made copies of the drawings at the local print shop, reproduction of objects due to industrialization, and when installed, merged the interior space with exterior motifs.”