‘Folds and Creases’ at Gajah Gallery
By Nadya Wang

Fadilah Karim opens her fourth solo exhibition – and her first in Singapore – today at Gajah Gallery. Titled ‘Folds and Creases’, she continues painting her autobiography, capturing the ups and downs, highs and lows of being mother to her daughter, Aira. In this interview, Fadilah answers questions about the roots and influences of her artistic practice, the autobiographical nature of her paintings, and reflects on the significant role her daughter, Aira, has played in shaping her work and life.

You obtained your BA and MA in Fine Art from Universiti Teknologi MARA (UiTM) in Shah Alam, Selangor. What aspects about your education did you enjoy, and what less so? How has your formal training contributed to your artistic practice?

When I was pursuing my degrees, I was not well-informed about the art world but I dreamt of becoming an artist. I most enjoyed art classes taught by artists, such as Jalaini Abu Hassan, Awang Damit and Ahmad Shukri Mohamed, which allowed us a glimpse of their practices. After graduation, hardships made their presence known, but I have gratefully embraced the struggle as part of the learning process. After all, I love what I do.

You had a first solo exhibition ‘Vague’ at Pace Gallery in Petaling, Jaya, in 2012. How did the opportunity come about, and could you talk about the body of work that you prepared and showed, especially what you were trying to express?

Upon receiving my degree in 2010, I started to put myself out there by participating in various group exhibitions that were held by galleries around Klang Valley. When I was pursuing my MA, PACE Gallery in Petaling Jaya offered the opportunity of a solo exhibition. In ‘Vague’, I chose to express ambiguity of my feelings through a series of works that comprise of overlapping images. Rather than suggesting movement, I emphasised emotions through poses projected by each subject.

What drew you – and continues to draw you – to figurative painting?

I am fascinated by the variations in human skin tones. I enjoy painting figuratively, particularly the human flesh, which I find delicate and alluring. I also love the body language that lies in every intended pose for my paintings. Getting back to the question, I find that the figurative approach works best to get my ideas across. Each detail that lies in the stances and facial expressions bear different meanings and mood, which affects the look of each painting. What I hope is that my audience would dismiss trying to be fixated on what I intend to portray, but rather feel the work for themselves. Simply put, I am keen on striving for relativity in my works. Well, emotionally at least.

Fadilah Karim, ‘In-Vague’, 2012, oil on canvas, 183 x 153cm. Image courtesy of the artist and Gajah Gallery.

You have portrayed female friends in your works. For ‘Vague’, it was Alicecia Tan, then Mei Cher in works such as ‘Beyond Reasonable Doubt’, ‘Restless Heart’, ‘What Lies Within’ and ‘Mysterious Faces’, as well as portraits of Liyana Fizi. What is compelling about these subjects for your works, and to what extent are they actively involved in how they are portrayed? How much of the works reflect you and/or them?

I would not go as far as saying that the subjects of these past paintings bear a significant role to the ideas that I was trying to convey. They are more like a medium, a conduit, or a vessel to the story that I was trying to tell. If I am being fair, they have been there to help me visualise my thoughts, which can be seen in the different series of my paintings. Despite not being self-portraits in nature, the stories are about me and how I feel at that very moment.

On this note, you often work in collaboration with others, whether with your subjects, or sharing studio space with other artists. How do interactions feed you or your practice?

In the early days of sharing space with other artists, I had the pleasure of growing up and sharing wonderful memories with them. Admittedly, it was a tougher time with space limitation but spiritually, we fed off of each other’s energy. Nothing gives me greater pleasure and makes me feel more whole than when we help each other up. I cherish the time we spend together.

Fadilah Karim, ‘Too Big to Handle’, 2022, oil on linen, 152 x 152cm. Image courtesy of the artist and Gajah Gallery.

The titles of your artworks are evocative, and filter our understanding of each work. Are they reflections of your states of mind/being when you made the work?

I guess it serves as a hint to what I was feeling and trying to convey. I would usually use both my visuals and the title to speak for me, as I exclude myself from being the physical narrator.

Fadilah Karim, ‘The Fort ‘, 2021, oil on linen, 183 x 183cm. Image courtesy of the artist and Gajah Gallery.

How do you play with scale? What compels you, for example, to create a large-scale painting, and when do you find that an intimate work is more appropriate?

Very often, I work with photographs during the sketching stage, and the size of the painting would usually depend on the photo that was taken. Some are suitable to be painted small and some require a bigger picture plane to work on, to give the proper impact it deserves. That being said, I do take into account the space within each photo before deciding on my composition.

As for my process, I tend to roam actively in my studio dealing with bigger pieces compared to being statically seated for smaller ones. If I have to choose, I prefer to be free with my movement, but it consumes a lot of my energy too.

Because you work in figurative painting, clothes feature significantly. Do you stay true to what is worn, or do you ask your subjects to, for example, wear something representative of them in advance of starting to paint them? Or is the point to capture yourself, and them, as they are?

My intervention – if I can call it this – when it comes to clothes is only limited to the type of color or hue that I would later alter to suit the mood of the painting. So technically, the clothes are not necessarily the essence that I would like to highlight through most of my works. Most of the time, I am pleased with what my subjects have on, and would prioritise them being comfortable in their own skin and threads.

Fadilah Karim, 'Invading Territory 2’', 2021, oil on linen, 183 x 152cm. Image courtesy of the artist and Gajah Gallery.

Could you describe your general method of working from composing a shot, to documenting it, to putting paint on canvas?

My working method would generally start with imagining and composing how my subject would look like, while the idea that I wish to convey is thought through and confirmed. Consequently, I would stage my subject which includes composition, lighting selection, and sometimes the placement of additional props as necessary.

Using my own daughter, Aira as a subject in my recent works means that it is challenging to photograph us together. It has made me resort to using separate photos in order for me to get the best result of working with two subjects. The merging of two images can be seen in a piece titled ‘Invading Territory 2’.

Your artworks have travelled to many places, including the Art Busan 2019 in South Korea, with G13 Gallery, or to Art Jakarta 2019 with Segaris Art Center. How does participating in overseas group shows like these feed your practice? Do you enjoy attending major art events, exploring a less familiar city etc.?

As much as I would like travel with works overseas where I am showing, I am bound to familial roles and responsibilities back at home. That said, it does not stop me from producing my best and being proud of my work, which I guess is another representation of me.

I would say that I have earned my stripes locally, but I am still green out there. As a young artist, it is always a wonderful opportunity to have my works exhibited abroad in an unfamiliar environment, and I welcome feedback that would help me better myself as an artist.

Fadilah Karim, 'Volatile Love', 2019, oil on linen, 152 x 152cm. Image courtesy of the artist and Gajah Gallery.

Fadilah Karim, 'The Golden Bow And Arrow - After Marina Abramovic ‘The Other: Rest Energy (1980)’', 2016, oil on linen, 244 x 183cm. Image courtesy of the artist and Gajah Gallery.

You have sometimes interpreted works of artists such as ‘The Golden Bow and Arrow (After Marina Abramovic’s Rest Energy, 1980)’ (2016) through your relationship with your husband, in your second solo exhibition, ‘Secret Lies’ at Taksu Kuala Lumpur in 2016, or ‘Volatile Love’ as a nod to Balthus’ ‘The Living Room’ (1942) with your daughter. What do these works give to you? And in general, which artists’ works are you pulled towards?

I draw inspiration from witnessing the genius of both artists, which I celebrate by reimagining their works. I make sure to choose works that are most representative of their oeuvres. I then add my own tweaks to suit my narration better, in order to pay tribute to them.

I find the work of Abramovic particularly compelling, as I can almost feel the emotion, tension and interaction that she has with her audience. One can only wish to experience the intensity first-hand!

Fadilah Karim, 'Folds and Creases 2’', 2022, oil on linen, 122 x 61cm. Image courtesy of the artist and Gajah Gallery.

Could you speak about preparing for your upcoming solo exhibition at Gajah Gallery in Singapore? In particular, could you speak to how the ‘Folds and Creases’ works expand your oeuvre?

I began planning for my current series of work in 2021 in the thick of it all: the pandemic, the lockdowns, moving from a smaller house studio to a bigger studio. ‘Folds and Creases’ encapsulates my motherhood experience where I express my fears and concerns raising my child. I guess it is another way of channeling my worries, and my perceived inadequacies as a mother. Contrary to my previously dull and sombre colour palette, I have incorporated brighter colors to create a livelier mood. This is special to me, to mark the involvement of Aira in my practice.

“‘Folds and Creases’ encapsulates my motherhood experience where I express my fears and concerns raising my child. I guess it is another way of channeling my worries, and my perceived inadequacies as a mother. Contrary to my previously dull and sombre colour palette, I have incorporated brighter colors to create a livelier mood. This is special to me, to mark the involvement of Aira in my practice.”

Aira’s playfulness come through in the works for the show, so that even when she is not in the frame, such as in the ‘Sticker Book’ works, her presence is still felt. As Aira grows older, and you have simultaneously grown, how have you and your artistic practice evolved, beyond what is seen on the canvas?

Treating my work as autobiography has turned my whole catalogue into a diary that I can someday revisit, perhaps when Aira is older.

“Treating my work as autobiography has turned my whole catalogue into a diary that I can someday revisit, perhaps when Aira is older.”

What more would you like to experiment with in terms of subjects, mediums etc.?

Being known as a figurative artist most of my career, I would certainly look forward to work on other non-figurative subjects as well. Fingers crossed I am able to materialise this in my next project. To add, I would also like to go to back to basics and do drawings again!

Fadilah Karim, ‘Sticker Book-Random Things‘, 2022, oil on linen, 152 x 122cm. Image courtesy of the artist and Gajah Gallery (photo: Fadilah Karim).

How do you strike a balance among staying true to your artistic vision and practice, maintaining financial stability and living life?

I believe this is the hardest part of it all; juggling. I had a pretty tough time adjusting to my career as I embraced my new role of becoming a mother. One can only wish to be able to have a smooth working momentum like before, but I have tried my best to stay true to my artistic practice and vision. Of course, I put my family first and allocate my time between family and work as such. So far, this is what works best for me.

I am fortunate to share a studio with my husband who works in sound engineering, and requires a space to work outside of our house. We take turns taking care of Aira when she is around. Also, I believe in the concept of rezeki: whatever comes to us, whether little or abundant, we just need to plan and manage it wisely.

Thank you, Fadilah!

‘Folds and Creases’ is on show at Gajah Gallery Singapore, from 2 to 18 September 2022.

The interview has been edited.