I. He who knows…
My initial acquaintance with Juhari Said began without a face-to-face encounter. It began when both of us represented Malaysia in an exhibition entitled “2nd. World Triennial of Small Prints” in France in 1991. Our works were placed in the same exhibition space in a town called Chamalieres in France. Our portraits and bios were also published in the accompanying publication. Other than this event, Juhari and I never met, neither through phone nor letter, not to mention face-to-face encounter. Email was not yet in practice in Malaysia, then.
Our works met again two years later in 1993 in a print exhibition organised by the National Art Gallery in Kuala Lumpur. The exhibition “Graphic Communications Through Prints” was a survey exhibition on print genre in Malaysia. Even though the exhibition was held in Kuala Lumpur, once again I was not able to meet with Juhari personally. The exhibition was held right after I flew to New York, USA.
In the year 2000, I was called by Lia Grambihler, one of the curators/organisers for “The 5th. World Triennial of Small Prints” who wanted to invite me to participate in the exhibition. I accepted the invitation. At the end of the exhibition, I received a pack from the organiser in France. The pack contains a book that was printed in conjunction with the exhibition. In this 3 inches thick and 1 kilogram book are pictures of the participating artists, bios, and their works that were arranged according to countries that they represent. Other than me, Malaysia was represented by Juhari Said, Long Thien Shih, Ilse Noor, Raja Azhar Raja Idris, and Md. Jamil Md. Isa. Once again, my work and Juhari’s were brought together in a similar exhibition space in a distant country. Juhari and I, were still unable to meet. Nevertheless, both of us were aware of our joint participation in this major exhibition in France.
Our face-to-face encounter only occurred in 2004 during Juhari’s large scale solo exhibition held in Dewan Bahasa & Pustaka in Kuala Lumpur. The exhibition was named “Akal di Mata Pisau” and featured a collection of his works since his college days in UiTM until his recent series. Despite the fact that print makingwas a marginalised genre of visual art, the exhibition was a comprehensive exhibition, actualised by a strong sense of commitment. Sadly, print making has always been sidelined in Malaysia.
As the audience of the exhibition walked from one corner to another, he/she could trace Juhari’s proficiency in mastering his chosen medium and technique of print making. Woodcut print is a basic but full of potential technique – from the most simple to the most complex and difficult. Juhari’s grand solo exhibition was also accompanied by the launching of his coffe-table book with similar title.
In the midst of the hectic event, I was finally able to meet Juhari to congratulate and convey my admiration towards him. Only few artists were able to concentrate on print making in pursuing their career.
I did not feel that this personal encounter with him was our first. Even though such meeting could be taken as our first face-to-face encounter, I felt that we had known each other for the past 14 years.
II. Juhari who is known…
Juhari’s continuous and consistent engagement in the field of print making has turned him into an institution. Not a single significant print making event in Malaysia will be taken as complete without Juhari’s involvement in it. His involvement has always been as either an invited artist, or a guest curator and consultant.
Amongst the exhibitions that he was actively involved in include a series of exhibition called “Malaysian Annual Exhibition of International Contemporary Prints” organised by the Central Art Academy, Kuala Lumpur. Loo Foh Sang as the exhibition curator, acquired Juhari’s expertise in running this international biennale on the basis of his experience and international connection with printmakers around the globe.
Similarly, in 1996, when Lia Grambihler brought the exhibition “World Triennial of Small Print” to tour from France to Malaysia, Taiwan and South Africa, Juhari Said and Ilse Noor were appointed as the coordinators for the exhibition, which was held in the Petronas Gallery, Dayabumi Complex.
Juhari’s service as an expert in print making was given a special acknowledgement by the National Art Gallery when he was
appointed as a guest curator to curate a major print making exhibition that combined two exhibitions under one roof. The exhibitions were“British in Print” and “Print in Malaysia”. Juhari was responsible in forming a significant collection of print works by significant Malaysian printmakers, in writing the accompanying essay and in structuring the show.
III. Juhari also…
Internationally, Juhari is known by many. During my several overseas visits regarding the arts and print making, I was always asked about Juhari. In fact, my meeting with prominent Indonesian artist Professor Emeritus Abdul Djalil Pirous was also made possible through Juhari’s connection.
Recently, Juhari and I attended the opening of “The 2nd. Bangkok International Triennial of Print and Drawing” organised by the Silpakorn University, Bangkok, a prestigious university well-known for its print making, not only in Thailand, but also internationally. During the event, I could clearly sense that Juhari, who is not a university-based academician, is known by a majority of the academic staffs of the Silpakorn University. This includes the Dean and other professors from the Faculty of Art and Graphic in the university.
Juhari was appointed as the artist-in-residence at the School of Arts USM which began on July 2008. He was stationed at the Terap Ulang Studio, a well-equipped and perhaps the best print making studio in Malaysia. During his presence in the studio, it has been visited by many distinguished individuals.
Several series of print making workshop conducted by Juhari were organised since he became the artist-in-residence. Through his initiative with several other printmakers such as Ng Kim Peow and Izan Tahir, a workshop was organised at Terap Ulang with participants coming from all over Malaysia. He was also invited to facilitate a print making workshop at the National Art Gallery.
Terap Ulang Print Making Studio became a focal point and visiting site of many distinguished individuals from inside and outside Malaysia with Juhari’s presence. Amongst them includethe well-known Indonesian artist Professor Emeritus Abdul Djalil Pirous from the Institut Teknologi Bandung, Indonesia, renowned Malaysian artist Abdul Latiff Mohidin, Sharifah Fatimah Zubir and Dato’ Soccalingam. Tony Danalson from the Asia Institute, Monash University, Ausralia, also visited him at Terap Ulang. He came to interview Juhari for his research.
The students of the School of Arts USM have also capitalized on Juhari’s presence, turning the studio into a place to hang out. They used it as a place to have a casual chat with Juhari, most of the time to garner Juhari’s expansive knowledge and experience, as well as to learn certain techniques. For the students, the opportunity to engage with Juhari was taken to be very meaningful as Juhari’s knowledge, full-time commitment, persistence and extensive travel to all over the world could be sensed and transmitted through merely casual chat. Juhari has journeyed across many continents to exhibit his works and conduct workshops in countries such as Republic of Czech, Tunisia, Thailand, Indonesia, Singapore, Japan, Bosnia-Herzagovina, France , Spain and Austria.
Juhari Said was awarded Malaysian Artist Award (two dimensional category) by the Ministry of Arts, Culture and Heritage in the year 2009 as an acknowledgement and appreciation of his contribution to the visual art scene. Juhari is in fact, the diamond.
A. Rahman Mohamed
Terap Ulang Studio
School of Arts USM