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Lot 82

RAFIEE GHANI
b. Kedah, 1962

RED ROOM, BLACK KETTLE AND A TIRED MAN, 1996

Signed 'Rafiee Ghani' (lower right)
Oil on canvas
100cm x 150cm


ILLUSTRATED
The Painted Garden, Rafiee Ghani, Rusli Hashim Fine Art,
Kuala Lumpur, 1996, page 66.

PROVENANCE
Private Collection, Kuala Lumpur.


ESTIMATE  RM 12,000 - 18,000
PRICE REALISED  RM 17,920

 

“I want my paintings to be like folk songs, sung by everybody, either of joy or sorrow but definitely beautiful.” – Rafiee Ghani
 

Rafiee Ghani creates stylised lyrical paintings that are visually stimulating. His interiorscapes contain an intoxicating mix of colours illustrating plants, coffee tables, chairs and other bric-a-brac - symbolic of the intimacy that surrounds the artist’s everyday life - an intimacy of personal effects that comforts him and yet are often taken for granted. Bold, straight-forward and spontaneous are the three terms that describe his rich paintings. Red Room, Black Kettle and a Tired Man depicts a dynamic composition of vividly hued red room with familiar contents such as plants, tables, rugs and traditional and essential objects such as congkak and a black kettle which its significance is reiterated through the work’s title.
 

In his monograph titled The Painted Garden, academician Professor Dr. Muliyadi Mahamood wrote that: “Rafiee Ghani’s genre can be associated with French paintings of the 19th and early 20th centuries Post-Impressionists, the Nabis and the Fauves..” In his essay titled A Stylistic Analysis of Rafiee’s Intimisme, he explained that “the relationship between Rafiee’s works and those of the early groups of modern artists can be seen especially in terms of subject matters and style. Rafiee’s interest in depicting still life and domestic interior scenes can be associated with the works of Pierre Bonnard (1867 – 1947) and Edouard Vuillard (1868 – 1940), two important figures in the Nabis group who developed a type of intimate domestic interior scenes known as ‘Intimiste’ (Ian Chilvers et al., 1994: 254). In addition to capturing domestic still life objects such as furniture, fruits and various home utensils, human figures were also included in some of their paintings..”

Rafiee Ghani attended a printmaking workshop at De Vrije Akademie Voor Bildeende Kunsten at The Hague in 1980. He obtained a Diploma in Art and Design (Fine Arts) from MARA Institute of Technology (ITM) in 1985 followed by Master in Fine Prints (MFA) from Manchester Polytechnic, England in 1987. Between 1986 and 1988, Rafiee became a lecturer in Fine Arts (Painting and Printmaking) at MARA University in Shah Alam and continued teaching from 1989 and 1990 to Major students. Between 1991 and 1993, he taught painting and printmaking for the National Youth Service in Mehe, Seychelles. He has been exploring still-life themes since 1993. He was awarded Minor Award, Young Contemporaries, National Art Gallery, Kuala Lumpur (1984 and 1985); Minor Award, Salon Malaysia, National Art Gallery, Kuala Lumpur (1991); and Second Prize, Malaysian Art Open, Kuala Lumpur (1994). His solo exhibitions in Kuala Lumpur included Room of Flowers (1993), The Painted Garden (1996), Kebun Sultan (2002), Rainbow Warrior (2009), Freedom (2011), The Perfumed Gardens (2012) among others.