1. Biography :
Bayu Utomo Radjikin is perhaps one of the most „complete‟ Malaysian artists around.
This is because he has become quite a master in the art scene being known as a
fine artist, contemporary artist, pop artist, sculptor and many others. The main
highlight about Bayu‟s work is that they are all of top quality where he has become
quite an expert in the various fields he has ventured into.
Bayu, born in 1969 from Tawau in Sabah holds a B.A (Hons) in Fine Art from the
University Technology Mara, Shah Alam and has won various awards and accolades
throughout his art career. His works is known to be highly abstract and cultural. If
one looks at his sculptures, one cannot but avoid tying them up with his the
traditional warrior-like motifs. Bayu‟s sculptures have been sold around the country
through public and private galleries where most of his trademarks are commonly
seen.
Apart from sculptures which he is very much known for, Bayu‟s paintings too are
very well established and distinguished. One can see his „signature‟ in his paintings
as they usually depict human emotions, body parts and such all of which are easily
identified through his trademark brush strokes and techniques.
Bayu Utomo Radjikin showcases a different form in his upcoming solo exhibition
Cintakasih at House of MATAHATI, the female figure. It‟s the artist‟s first serious

2. attempt at representing the fairer sex and Bayu‟s new works that center on a
classical Odissi dancer leads audiences across ten charcoal drawings and four
paintings that feature the artist‟s vibrant signature style.
Whilst Bayu is widely known as one of Malaysia‟s leading figurative artists, his
artworks have thus far centered on the male figure. Self-portraits and evocations of
the Malay warrior fill the artist‟s body of work, and until recent times, Bayu has only
ever produced a handful of artworks featuring female subjects, including one portrait
of his wife.
The concentration on a female classical Indian dancer in Cintakasih thus represents
an interesting juncture in the artist‟s career.
The core of this series can be traced back to 2008, when Bayu participated in
Stirring Odissi. The Sutra Gallery exhibition revolved around the classical Indian
dance, and Bayu‟s participation not only launched his exploration of the female form,
but also formed a milestone in his history with the Sutra Dance Theatre, which began
when he designed sets for Ramli Ibrahim‟s performances.
The title of the exhibition combines signature elements from Bayu‟s practice, as the
artist names all his drawings cinta and all his paintings on canvas kasih. And as a
solo exhibition, Cintakasih takes on an unorthodox format as it also features two
other artists, Kow Leong Kiang and Marvin Chan. Both Kow and Chan are well
known for their figurative works, and together with Bayu, are members of The “F”
Klub, a group of local artists that are bound by a shared interest in figurative art.
Cintakasih‟s unique exhibition format is akin to the music scene, where concerts
feature a headliner and several guest acts, and Bayu hopes that this will encourage
networking and more interaction between artists.
For Cintakasih, Kow and Chan had a pick at the same photographs that Bayu used
for his artworks. They may or may not pick identical images, observes Bayu, but the
point of interest for audiences will be in the different ways the duo portray their
subjects.Kow and Chan each contribute one artwork to Cintakasih, framing the solo
exhibition and giving viewers a chance to examine different approaches within the
genre of figurative art in Malaysia. Another figurative artist, Anurendra Jegadeva,
also takes part in the exhibition, but on a different note – a critical one. He shares his
views in an essay for the exhibition catalogue, which also contains full-colour images
of all the artworks in the exhibition, as well as a selection of Bayu‟s previous Odissi
works

3. As a recognised figurative painter in Malaysia, BayuUtomoRadjikin, reveals his
ongoing passions for medium and subject in his latest solo exhibition, Unnamed at
House of Matahati. Through a signature style of epic realism and the Malay male
protagonist Bayu continues to showcase his own carefully painted sense of dramatic
physical theatre. Practising as an artist for nearly 20 years his career has focused on
a diverse range of subject matter from public and personal identity through to social
commentary and international political tensions.
Nevertheless, such diversity has been consistently mediated through meticulously
executed, highly emotive human subjects. Unnamed presents Bayu‟s recent work in
painting and charcoal. The exhibition focuses once more on the artist and his friend
in elaborate poses that explore the spectacle of male identity. It is this mastery of
figurative composition and draughtsmanship that set the stage for a necessary
consideration of how the technical aspect of his practice facilitates this particular
style of painted mythology and heroism.
Unnamed presents expressions of the male body through a mature sense of
Figurative Realism, a style that praises strong composition and accurate form along
with the intangible, emotional qualities of human life.The technical mastery of
replication along with the desire to transform the real to profoundly „speak‟ without
words has driven many artists to the point of obsession. Bayu‟s own passionate use

4. of the body and hands in his work mimics the methods of communication as a
painter who uses his hands and mind to create new versions of reality.
These needs to express form through paint and the compelling mythologies that
artists produce can be visually hypnotic and seductively dramatic. The aura that
surrounds Bayu‟s subjects and his position as the artist „creator‟ have all led to the
subsequent popularity and respect for his practice that continues to be one of the
driving forces of technically advanced Figurative Realism in Malaysia today.

5. BayuUtomoRadjikin’s debut at The Substation Gallery, Singapore sees some
continuum from the artist’s solo exhibition in Kuala Lumpur last year titled Unnamed.
The artist revisits large portraits of his distinctive male protagonists dressed as Malay
warriors, but the inclusion of a new element – the figures wearing fighter pilot
helmets – is a slight deviation.
Or is it? Early in his career, Bayu often grappled with sociopolitical themes. As early
as his university days, he addressed issues related to war and global atrocities,
portraying figures in fragile situations and highlighting their cause to viewers. These
themes featured in an array of mediums – installations, sculptures, and paintings –
and so the artist’s inclusion of figures wearing fighter pilot helmets today is a glimpse
of this “old” Bayu. The addition of text – adjectives used in relation to people and
human emotions - in a number of his current works is another element that the artist
has revisited from his past.
The works in Face without Name, remain true to the artist’s signature style. They are

6. epic, large, and acutely realistic. And, the total showing is a miscellany of both
charcoal works and paintings.
The physiognomic features of the artist’s signature male figures (alternately himself
and a fellow artist) are detailed and pronounced, as are the attributes on the fighter
pilot helmets. Both figures – masked and unmasked - are portrayed with a strong
sense of drama made possible by the strong shadows and deep contrasts, which
lend an air of nobility and importance to his subjects.
Why might this be? Why the focus on the human face? The answer to these
questions can be found in other facets of Bayu’s oeuvre. The Malay warrior figure
can be traced to Bayu’sMencariPahlawan (Quest of a Warrior) series, where the
artist focuses on the notion of identity, questioning what it means to be Malay and
what it takes to be a warrior, whilst the new figures – faceless, anonymous, and cold
– instigate an entirely different set of questions: Who are they? What are they doing?
Are these figures we are supposed to trust or fear?
By masking his figures with helmets, Bayu suggests that they could be anybody –
you and I even. And their inclusion is not accidental, as the artist does refer to global
events of our time and how soldiers become participatory elements in war, taking
orders without questioning, and slowly lose all semblance of their own identity and
eventually become unnamed faces.
Bayu’s universal and humanist view and the juxtaposition between the visible faces
and the masked ones will probe audiences to consider oppositions, cultural and
social identities, and – especially in light of the global events in the last decade -
what it means to be human today.
Finally, Face without Name can be regarded as a culmination of sorts for this
practicing artist of over twenty years. And quite likely, this body of work is a
swansong before Bayu moves into new territory, producing works that focus on the
female figure, subject matter that he recently showcased in Kuala Lumpur at HOM
(House of MATAHATI) in a solo exhibition titled CintaKasih.

7. By car:
Easiest way is to take the last exit on the AKLEH (Ampang exit). Follow the road,
and turn right at traffic light. Go straight until you see Petronas and Caltex on your
left, about 50m afterwards, turn left at the mamak called D'Klasik. Find parking.
From Jalan Ampang (if you're coming from KLCC), go straight all the way, passing
by Gleanegles and Ampang Point on your left. After taking the overhead bridge next
to Ampang Point, turn right at the second traffic light. Go straight until you see
Petronas and Caltex on your left, about 50m afterwards, turn left at the mamak
called D'Klasik. Find parking.
On the MRR2, if you're coming from Ampang, Tesco will be on your right, Perabot
Cempaka on your left. Stay left, and turn left at the second traffic light. (There will be
a signboard saying jalan cempaka. Menara Axis will be on your right. Go straight

8. until see rows of shoplots on your right. Turn right and go into the housing area, take
first right and find parking.
From Bulatan Kg. Pandan, take the road that heads to MRR2, go straight all the
way (there will be about 4 traffic lights) until you reach a T-junction. Turn left and go
on to MRR2 and make a u-turn immediately after TESCO, pass by the Perabot
Cempaka on your left (There will be a signboard saying jalan cempaka. Menara Axis
will be on your right. Go straight until see rows of shoplots on your right. Turn right
and go into the housing area, take first right and find parking.
PROJECTS
matahati-sageresidency.blogspot.com
matahati-meaa.blogspot.com
matahati-artriangle.blogspot.com
matahati-tenggara.blogspot.com
LINKS
matahatikematadunia.com
bayuutomo.blogspot.com
patisatustudio.com
ahmadfuadosman.com
CONTACT

9. (Click Map for larger view)
6A Jalan Cempaka 16,
Taman Cempaka,
68000 Ampang Selangor,
Malaysia
Phone
+6 017 364 6004
+6 012 373 6004
+6 03 9285 6004
Email houseofmatahati@gmail.com
Gallery hours:
mon - fri 11am - 6pm sat 1pm - 6pm
closed on sunday & public holidays
Contact
bayuutomo@gmail.com

10. Born:
20 March 1969, Tawau, Sabah, Malaysia.
Education:
B.A (Hons) in Fine Art,
Faculty of Art & Design,
University Technology Mara, Shah Alam, Selangor, Malaysia
Awards:
1995 & 1994
Honourable Mention
Phillip Morris Art Award
National Art Gallery Kuala Lumpur
1991
Major Award
Young Contemporary „91
National Art Gallery, Kuala Lumpur.
Special Award
One World – No War
City Hall, Kuala Lumpur.
Minor Award
Salon Malaysia ‟91/‟92
National Art Gallery, Kuala Lumpur.
Solo Exhibitions:
2011
Face Without Name
The Substation Gallery, Singapore

11. Cintakasih
HOM, Kuala Lumpur
2010
Unnamed
HOM, Kuala Lumpur
2007
MIND THE GAP: From KL to London and back
Wei Ling Gallery, Kuala Lumpur
2003
Tuboh : Bayu Utomo Radjikin
GaleriCitra, Kuala Lumpur
Mencari Pahlawan …sebuah studi
Sutra Dance Theatre, Kuala Lumpur.
2001
Diri : Bayu Utomo Radjikin. Lukisan & Catan Potret Diri bertarikh 1989 – 2001
MADC, Kuala Lumpur
1997
Bayu Utomo Radjikin
Galeriwan, Kuala Lumpur.
1996
Bayu Utomo Radjikin: Solo Exhibition of Paintings
Creative Centre, National Art Gallery, Kuala Lumpur.
MATAHATI Art Exhibitions & Activities:
2010
MATAHATIJOGJA
Sangkring Artspace, Yogyakarta, Indonesia
ArTriangle III 2010
National Art Gallery, Kuala Lumpur
2009
Art Expo Malaysia
Matrade, Kuala Lumpur
Malaysia Emerging Artist Award
Wisma Kebudayaan Soka Gakkai, Kuala Lumpur
MATAHATI Ke MATADUNIA - Malaysian Contemporary Art to The World
Galeri Chandan, Kuala Lumpur
Culver City, California, USA

12. 2008
TENGGARA Contemporary Painting From Malaysia, Indonesia & Philippines
Novas Gallery, Contemporary Urban Centre, Liverpool UK
ArTriangle „08
Soka Gakkai Malaysia, Kuala Lumpur
MATAHATI : For Your Pleasure
GALERI PETRONAS, HOM, Annexe Gallery, 12 Artspace Gallery, Kuala Lumpur
2007
HOM Opening
HOM, Kuala Lumpur
ArTriangle
Soka Gakkai Malaysia, Kuala Lumpur
2005
ANTING+ANTING MATAHATI
Art Salon, Kuala Lumpur
MATAHATI Malaysia & ANTING+ANTING Philippines
Pinto Art Gallery, Antipolo City, Rizal, Philippines
2004
Awas
Valentine Willie Fine Art, Kuala Lumpur.
Perahu Kamalayan (Mural Collaboration)
National Art Gallery, Kuala Lumpur
Project MAGER ‟04 (Fund Rising)
Art Salon, Kuala Lumpur
1+1=1 Inter Aksi KL- Jogja
Galeri Shah Alam, Selangor.
Seni Halaman MAGER Nusantara
Plataran Joko Pekik. Jogjakarta, Indonesia.
Seni Ruangan
Gallery Pitoe, Jogjakarta, Indonesia.
Mata & Hati (Himpunan Karya MATAHATI 1993 – 2004)
Galeri Pinang, Dewan Sri Pinang, Penang
2003
Suara Jiwa (Art Collaboration with children)
National Art Gallery, Kuala lumpur.

13. 2002
ROOM
MADC, Jalan Ampang, Kuala Lumpur
1999
MATAHATI PL
GALERI PETRONAS, Kuala Lumpur.
1996
Seeing the Unseen
Pelita Hati Gallery, Kuala Lumpur.
1995
Stories
Pelita Hati Gallery, Kuala Lumpur.
1994
Dari Mata Hati
The WELD, Kuala Lumpur.
MATAHATI Group
SHENN‟s Fine Art Gallery, Singapore.
1993
LIFE…an exhibition by MATAHATI
MAYBANK Gallery, Kuala Lumpur.
Selected Group Exhibitions:
2011
Here Today, Gone Tomorrow (WWF)
Rimbun Dahan, Kuang, Selangor
Anniversary
Pace Gallery, Kuala Lumpur
Horizontal or Vertical
HOM, Kuala Lumpur
Kami
Arti Gallery, Kuala Lumpur

14. 2010
Survival (WWF)
Rimbun Dahan, Kuang, Selangor
Malaysian Art 3G
Pipal Fine art, Kuala Lumpur
Paperworks : marks and Trails of Artistic Mind
Galeri Chandan, Kuala lumpur
Al Kesah : Once upon a time in Malaysia
Whitebox Maps, Kuala Lumpur
Spice
Pace Gallery, Kuala Lumpur
A Meter Perspective
HOM, Kuala Lumpur
2009
AIAE Asia@Asia : Manifesting Diversity
National Art Gallery, Kuala Lumpur
Art Expo
Nehru Centre, Worli New Delhi, India
I miss him so much
Galeri Chandan, Kuala Lumpur
Tanah Air (WWF)
Rimbun Dahan, Kuang, Selangor
New Asian Promises
Palais Project, Vienna Austria
Peace: Expressions of Hope
Nikko Hotel, Kuala Lumpur
2008
The Force of Nature
Pace Gallery, Kuala Lumpur
Stirring Odissi
Galeri Petronas, Kuala Lumpur
Shifting Boundaries
Rimbun Dahan, Kuang Selangor
... Pandang Tak Jemu
Artcase Galleries, Kuala Lumpur

15. 2007
18@8
Wei-Ling Gallery, Kuala Lumpur
50 Ways to live in Malaysia
Galeri Petronas, Kuala Lumpur
Pace Gallery Opening
Pace Gallery, Petaling Jaya, Selangor
Merdeka @ 50
RA Fine Arts, Kuala Lumpur
Superstar (WWF)
Rimbun Dahan, Kuang, Selangor
Multiplicity
Art Case Galleries, Kuala Lumpur
2006
18@8 Kuala Lumpur - Karachi
Amin Gulgee Gallery, Karachi, Pakistan
The Force of Nature
Darling Muse Gallery, Kuala Lumpur
Come Closer
Maya Gallery, Kuala Lumpur
Signed & Dated
Valentine Willie Fine Art, Kuala Lumpur.
Mind, Body & Soul II
Wei-Ling Gallery, Kuala Lumpur
Feed Me! An Exploration of Appetites (WWF)
Rimbun Dahan, Kuang, Selangor
Convergence – Contemporary Malaysian Art
Wei-Ling Gallery, Kuala Lumpur
2005
Malay London Festival
Lawrence Hall, Royal Horticultural Halls & Conference, London.
Mind, Body & Soul
Wei-Ling Gallery, Kuala Lumpur
18@8

16. Wei-Ling Gallery, Kuala Lumpur
The Power of Dreaming: Taman Sari, Gardens of Delight and Identity (WWF)
Rimbun Dahan, Kuang, Selangor
Rooster Mania
Townhouse Gallery, Kuala Lumpur
Takung
National Art Gallery, Kuala Lumpur
2004
Paradise Lost, Paradise Regained (WWF)
Rimbun Dahan, Kuang, Selangor.
Immersion
Maya Gallery, Kuala Lumpur.
Semangat : Artist for Theatre
Valentine Willie Fine Art, Kuala Lumpur.
Contemporary Art Now
National Art Gallery, Kuala Lumpur.
2003
Drawing Show
Metro Fine Art, Legend Hotel, Kuala Lumpur
Thingking >< Space
Sokka Gakai Malaysia, Kuala Lumpur
Bare : a look at the nude
Townhouse Gallery, Kuala Lumpur
RENGA : Chained Painting
National Art Gallery, Kuala Lumpur
ALAMI II Puncak
National Art Gallery, Kuala Lumpur
The Game People Play (WWF)
Rimbun Dahan, Kuang Selangor
Wahana
National Art Gallery, Kuala Lumpur
2002
02 Group Show
Taksu Gallery, Kuala Lumpur

17. Idetiti Malaysia
National Art Gallery, Kuala Lumpur
Terroris?
Oktober Gallery, Jogjakarta, Indonesia
Bara Hati Bahang Jiwa
National Art Gallery, Kuala Lumpur
Touch (WWF)
Rimbun Dahan, Kuang Selangor
Masterpieces from the collection of National Art Gallery
National Art Gallery, Kuala Lumpur.
2001
Suara Hati
Pelita Hati Gallery, Kuala Lumpur.
Art < 1000
Valentine Willie Fine Art, Kuala Lumpur.
Rupa Malaysia
National Art Gallery, Kuala Lumpur.
2000
Apa? Gendai
Old Court House, Melaka.
Untitled
Shah Alam Gallery, Shah Alam
1999
Aku
GALERI PETRONAS, Kuala Lumpur.
1998
Rupa Malaysia
Brunei Gallery, SOAS, London University, England.
Bayu Timur – Awang Damit Ahmad + Bayu Utomo Radjikin
Valentine Willie Fine Art, Kuala Lumpur.
Drawing & Diagram: Ideas Personified
CHIJMES, Singapore.
1997
Lukisan Malaysia
National Art Gallery, Kuala Lumpur.

18. Seni, Alam & Perjalanan
Pekan Seni Ipoh, Perak.
Crates Classified
GaleriWan, Kuala Lumpur
1996
New ARTists
GALERI PETRONAS, Kuala Lumpur. (Curator)
Rupa Kata
Pekan Seni Ipoh, Perak.
Imaging the Contemporary Body
GALERI PETRONAS, Kuala Lumpur.
50 Years Malaysian Figurative Painting Tradition
GALERI PETRONAS, Kuala Lumpur.
1995
Skin Trilogy – performance events on a futuristic Malaysia A visual
National Art Gallery, Kuala Lumpur.
Contemporary Art of Non Aligned Countries
Jakarta, Indonesia
Phillip Morris Art Award ‟95
National Art Gallery, Kuala Lumpur.
1994
War Box, Lalang, Killing Tools
Creative Centre, National Art Gallery, Kuala Lumpur.
Positively A Life
GaleriWan, Kuala Lumpur.
And Four Came Home
Sabah State Gallery, Kota Kinabalu.
1993
What About Converging Extremes
GaleriWan, Kuala Lumpur.
Asian Traveling Exhibition of Painting, Photography & Children Arts
Asean Countries.
Creative Hands
Art Case Gallery, Kuala Lumpur.
1992

19. Open Show ‟92
National Art Gallery, Kuala Lumpur.
1991
Up To You, Festival by Sutra Dance Theatre
MATIC, Kuala Lumpur.
Salon Malaysia ‟91/‟92
National Art Gallery, Kuala Lumpur.
Open Show ‟91
National Art Gallery, Kuala Lumpur.
One World – No War
City Hall, Kuala Lumpur.
1990
Malaysian Landscape
Travelling Malaysia.
Young Contemporary „90
National Art Gallery, Kuala Lumpur.
Dokumentasi Kemiskinan
Cahaya Seri Alam, Shah Alam.
Keluarga Bahagia
National Art Gallery, Kuala Lumpur
1989
Open Show „89
National Art Gallery, Kuala Lumpur.
Art Festival
PWTC, Kuala Lumpur
Young Contemporary „89
National Art Gallery, Kuala Lumpur.
Landscape & Photography
Sarawak Museum, Kuching.
Kelantan Open
Kelantan State Gallery, Kota Bharu
Malaysian Scene
Kontena National, Kuala Lumpur
1988
Hiroshima Never Again

20. City Hall, Kuala Lumpur.
Public Collections:
National Art Gallery, Kuala Lumpur,
National Art Museum, Singapore,
Sabah State Gallery, Kota Kinabalu,
Galeri PETRONAS, Kuala Lumpur
Yayasan Kesenian Perak, Ipoh,
Ibrahim Hussein Foundation, Langkawi,
Japan Foundation, Kuala Lumpur
MAYBANK, Kuala Lumpur,
Bank Negara Malaysia,
UiTM ShAah Alam, Selangor,
New Straits Times, Kuala Lumpur,
GaleriWan, Kuala Lumpur,
Valentine Willie Fine Art, Kuala Lumpur,
SHENN‟S Fine Art, Singapore,
NN Gallery, Kuala Lumpur,
A.P Art Gallery, Kuala Lumpur,
Wei Ling Gallery, Kuala Lumpur
& Private Collectors.