62x 38x0,3 cm

engraved acrylic

2009

Faisal's sculpture present new constructions (a kind of allegory) of daily objects that are familiar to us and whose forms are generally fixed. In these constructions, Faisal Processes the form of the objects, creating new but without leaving originally forms entirely. Faisal seems to be dispensing with the original function of the objects, so much so that eventually seem to be viewing st the object that fuctions ntirely as the thing itself. Faisal, however, still makes use of the original material of the object (wood for chair, metal for scissors, etc). Faisal's attitude seems to hint at his discontent regarding industrially-made object and those that himself consuming. On the other hand, Faisal also discloses the illusory dimensions that the object have, situating them as ambiguous objects, especially when their original functions havelong been taken for granted. Faisal seems to bring the objects te their furtheFaisal's sculpture present new constructions (a kind of allegory) of daily objects that are familiar to us and whose form are familiar to us and whose forms are generally fixed. In these constructions, Faisal Processes the form of the objects, creating new but without leafing originally forms entirely. Faisal seems to be dispensing with the original function of the objects, so much so that eventually seem to be viewing st the object that fuctions ntirely as the thing itself. Faisal, however, still makes use of the original material of the object (wood for chair, metal for scissors, etc). Faisal's attitude seems to hint at his discontent regarding industrially-made object and those that himself consuming. On the other hand, Faisal also discloses the illusory dimensions that the object have, situating them as ambiguous objects, especially when their original functions havelong been taken for granted. Faisal seems to bring the objects te their furthest boundary; a practice that goe beyond the preceding values of accuracy. The functional object, therefore, turn to be a mere object, the thing itself, and creates a unique visual sensations. Faisal's fantasy regarding the objects is reflective of his effort to leave a fixed system of values that has bounded the objects. Faisal's works seem to present us with the meaning of practice that secularises secular objects.[Aminudin TH Siregar for SURVEY2, EDWIN'S Gallery Jakarta]

In the hands of Faisal, scissor, a mere home utility, changes it appearance into slightly odd and threating tool. Changed into some kind of weird "weapon". Faisal's scissor is indeed not usual scissor, but a transformed scissor with an exaggeration on its scissor-ry character. It changes into some kind of gattai (uniting) scissor, structuring its character as scissor, who asks for attention and awareness.

Faisal Habibi is young sculptor with sensitivity to the presence of things surround him, their function, denotation and connotation, and of course their form--or let's just say aesthetic quality. That is why his works often comes from his surrounding, such as chair, desk, and mostly home apparatus. Unrecognized by most of us, the daily stuffs arround us--beside their practical function--actually hold some kind of aesthetic quality. Many of these daily utensils come to the form they've taken now through an evolution in form in order to improve their appearance and function.

Through the change and deformation of things, Faisal's work remind us of the existence of these stuffs--about their aesthetic potential and their symbolic. Thats why Faisal's works feels uniquely fresh, because it comes from the simple things around us. Let's just say than Faisal can change the "ordinary" into "extraordinary". (Asmudjo Jono Irianto for "Contemporary Archeology" SIGIart Gallery, Indonesia)

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