In his latest exhibition 'Matematika' at Harta Space, Faizal explores songket motifs through wood, steel sculptures and paintings with a geometric focus. Photo: The Star/M. Irsyad
If you could scan a section of songket cloth and magnify its intricate patterns into a large-scale form, you’d find something close to Faizal Sidik’s latest solo exhibition.
Matematika transforms the geometric motifs of traditional Malay textiles into contemporary sculptural expressions, reflecting the artist’s ongoing fascination with the interplay of pattern, shape and structure.
On view at Harta Space in Ampang, Selangor, until Jan 31, the show presents 33 of Faizal’s most recent works, including sculptures, wall-mounted pieces and standalone installations.
True to its title, Matematika is the culmination of the Petaling Jaya-based artist’s long-term exploration of mathematical ideas and their artistic translation into three-dimensional geometry.
“I’ve always been inspired by songket, and since 2012 I’ve been exploring its patterns on ever-larger scales – moving from paintings to wooden sculptures and now steel. I see the weavers as true geniuses, using geometry and mathematics to create such beautiful textiles,” said Faizal, 48, in a recent interview at the gallery.
Visitors admire 'Harmonika', an acrylic-on-wood work in which Faizal weaves together motifs of bunga bintang, bunga pucuk and butterflies. Photo: Faizal Sidik
Avoiding bright colours, Faizal works in black tone, focusing attention on shape, form and shadow. The symmetry of the pixel-like patterns highlights the careful rhythm and logic in each piece.
"This was done deliberately to highlight the inherent mathematical beauty of songket's motifs. The traditional Malay craft involves meticulous calculations to achieve precise measurements.
"While I’m not a weaver, I am inspired by these motifs and want to translate them through contemporary art, to show the public how profound this heritage is," he added.
Alongside the new sculptures, the Matematika exhibition – his eighth solo – features a collection of his writings and archives, documenting over 25 years of his multifaceted career as an artist, writer and curator.
A visitor walks past Faizal's wall-mounted works 'Ria' (left) and 'Metrika' (right), alongside smaller steel sculptures displayed nearby. Photo: The Star/M. Irsyad
Press clippings, exhibition catalogues, authored books, essay collections and even ephemera like T-shirts and tote bags mark the milestones of his exhibiting career, which began in 2006.
Looking through his exhibitions, titles like Sublime Weave, Songket Paintings, Piksel and Stensil reveal a consistent thread in Faizal’s practice, which has been especially prolific in the years following the pandemic, with five solo shows in the past five years.
The career survey Faizal Sidik: 25 Years – Works From 1999 To 2024 at Wisma Soka Gakkai Malaysia (SGM) in Kuala Lumpur in August 2024 brought together the full arc of his practice, from early figurative works to his recent pursuit in geometric abstraction.
“Most of my work has been semi-abstract, and Matematika marks a shift toward full abstraction. In my earlier exhibitions, I used more colour, which reflected surface-level patterns.
"Here, I’m focusing on the three-dimensional qualities of sculpture. Perhaps after this, butterfly or flower shapes will no longer appear in my work – I want to explore other forms, moving beyond figurative shapes,” said Faizal.
A close-up of one of Faizal's acrylic on canvas works. Photo: Faizal Sidik
His career also follows an unconventional path – first an art educator, then a 12-year tenure as curator at the National Art Gallery, authoring six books, before finally becoming a full-time artist.
Since leaving full-time work in 2022, writing on a freelance basis has allowed him to focus fully on his art career.
His Matematika show positions him well for an eventful year, including curatorial roles at the Pangkor Art Festival 2026 and the 50th-anniversary celebration of the legendary Malaysian art collective Anak Alam later this year.
“When I was at the National Art Gallery, most of my time went to writing – curatorial essays, artist research, and administrative work. While it offered routine and stability, it left little time for my own art. That’s why I chose to step down – I was determined to focus fully on my practice,” said Faizal.
“I also retired relatively early, in my mid-40s, so while I still have the energy, drive, and good mental health, I intend to keep creating,” he concluded.
