Ceramicist Umi Baizurah Mahir could very well be Malaysia’s edgiest artist. At least that is the impression portrayed by her latest work, Hybrid, which will be exhibited at Wei-Ling Gallery from October 28, 2009 until November 11, 2009.
Consisting of three series of work – Genii, Hand’s Up and Road Runner – Hybrid is a collection of contemporary ceramic artworks inspired by the idea of amalgamation of culture, desire and political elements in life.

Ceramics Art More Than Meets the Eye
“Ceramic art is not about making tempayan, teapot, bowls or what have you,” she says, “And I want people to know about it.”
Umi Baizurah eats, breathes and lives clay. Having studied ceramics art in UiTM, and later on being a lecturer in this subject for years before becoming a full-time artist, Umi is one of a few ceramic artists we have in this country.
But Umi Baizurah and her works have enjoyed the most outside Malaysia; Umi has held exhibitions in countries like Japan, Sweden and Singapore and gained spectacular response. All thanks to the unusual approach to ceramic arts she offers.

“In Malaysia, people think of ceramic art as making tableware,” Umi laments. The low-level acceptance of ceramics as a genuine art form among the public, according to Umi, has discouraged young artists who are willing to venture into this form of art.
Ceramic has to evolve into a more challenging art form in order to attract both the public and younger artists, as well as art galleries which more often than not had little or no faith in ceramic art.
After a decade of fighting for recognition in Malaysia, the 34-year-old artist finally receives what she deserves: a solo exhibition. Her exhibition, aptly entitled Hybrid, will be opened for public this coming Wednesday (October 28) at Wei-Ling Gallery, Kuala Lumpur.

Hybrid: A Reflection of Society
The idea behind the title, Hybrid, is the very basic concept of mixture between two different genetic constituents. For Umi, Hybrid is a single word that captures the kind of potent, multi-layered readings that best represents her contemporary ceramics.
“Hybrid for me is not just about science, but it is also about society and culture,” says Umi of her works.
Using clay as her main medium, Umi pushes the traditional boundaries of ceramic art by incorporating a vast range of materials such as metal, glass, wheel and concrete to her works. In the past, Umi had included materials such as bubble wrap, thread and yarn into her ceramic works. The result is avant-garde ceramic works with unusual shapes, unconventional forms and intricate craftsmanship.
But what really is interesting about Umi’s works lies in the way she packages her notions about social issues in a comical and animated fashion. Her Hybrid exhibition, in particular, speaks about a fusion of green energies against Malaysia’s car culture.

Umi, too, speaks about Malaysia’s racial striation through Hybrid. She argues that the most natural hybrid is a child – the fusion of male and female offset, regardless the race and cultural background. To understanding hybridity in Umi Baizurah’s vocabulary is an extremely textured reading.
Through this exhibition, Umi attempts to capture a reflection of change and identity in regard to environmental issues in today’s society, and frame it within the constant human thirst for transformation and betterment. Looking at the way she moulds her thoughts, Hybrid is a substantial exhibition worth visiting (and perhaps buying?)