Depicting Brunei as a faith-based artist
By Aqilah Ali

A&M's Fresh Faces is where we profile an emerging artist from the region every month and speak to them about how they kick-started their career, how they continue to sustain their practice and what drives them as artists. Read our profile on Maziyah Yussof here.

Maziyah Yussof. Image courtesy of the artist.

Born and raised in Brunei Darussalam, Maziyah Yussof (b.1988) is a Bruneian-Korean multidisciplinary artist best known for her pattern-making and dreamlike artstyle. Her works have crossed borders to the Philippines, South Korea and the United Kingdom. In 2019, she organised her first solo exhibition, ‘Reverie’. In this interview, we sit with Maziyah to explore her relationship with culture and heritage, her experience practising as a faith-based artist in Brunei, and how she marries her cultural identity and fascination with the natural world.

You graduated with a BA(Hons) in Fine Arts at the University of Southampton in 2009 and an MA in Education at the University of Bath in 2010. How did your formal education abroad affect your practice today?

In the UK, I was exposed to the full potential of what an art industry could offer but then realised how little I knew about art. At that point, questions of identity piqued my curiosity too but back in 2006, information about Brunei was offline and I had no idea where to begin to learn about my Korean heritage. So to explore what identity meant to me, I turned to my Muslim faith instead. That was how I came to study Islamic art. I visited art galleries and enjoyed learning independently about different Islamic civilisations in history. Practising in the UK felt like being in a pressure cooker but it was in those formative four years abroad that I found my art style. To this day, pattern-making and calligraphy are features of Islamic art I still practise.

Maziyah Yussof, ‘Kampong Darussalam (Abode of Peace Village)’, 2020, digital illustration, 48 x 33cm. Image courtesy of the artist.

Details on ‘It’s a Jungle Out There’, 2019. Image courtesy of the artist.

What inspires you to continue depicting nature and the idea of creation? How do your children, Zak, Inaya, and Zahin, play a role in this?

My works are personal and will inevitably reflect my life, so it was natural to be inspired by my own children. As their mother, I want to understand them. I see life through their eyes, where everything is new and exciting. As for depicting nature, I consider myself a detail-oriented observer so living in Brunei helped grow this deep-seated fascination with it. I am drawn to the idea of what is natural versus what is man-made, how the things we create live in this world, and how nature can take over sometimes.

Walk us through how you decide on the medium and materials to use, given that you are a painter, a digital illustrator, and a mixed media artist.

Life became busier at one point as a mother and full-time teacher, so I stopped the ambitious large-scale paintings and installations. Instead, I turned to collaging and making dioramas because they better fit the small pockets of free time I had. However, when the pandemic hit and we started self-isolating, I could not take out my gouache paints or watercolours because I had two small children by my side 24/7. So I naturally moved to digital illustration. It helped that I was already drawn to the world of illustration and its business opportunities. I can say I am quite comfortable using most mediums now.

“The art scene in Brunei is still in its infancy and our ecosystem needs more time and nurturing to grow. Despite the lacking resources and upgrades to current facilities, our art community is commendable. Our intention is genuine because we create out of pure love and passion for the arts.”

You started teaching A-level Art and Design in 2011 and currently teach A-level Travel and Tourism. What are your thoughts on the art scene in Brunei, being a practising artist yourself and having taught a generation of young artists?

To be honest, if I did not have this particular job and the security that came with it, I am uncertain if I would be able to make as much art as I do now. My teaching career allows me to explore my passion in art while fully immersing myself in Bruneian culture and identity. I find myself inspired on the job and excited to translate it all into art. I do hope my students find fulfilling art careers too because it can be such an enriching career. The art scene in Brunei is still in its infancy and our ecosystem needs more time and nurturing to grow. Despite the lacking resources and upgrades to current facilities, our art community is commendable. Our intention is genuine because we create out of pure love and passion for the arts.

Maziyah Yussof with Ambassador of the Republic of Korea to Brunei Darussalam Yoon Hyun-bong at Reverie solo exhibition, 2019. Image courtesy of the artist.

“Many artists in Brunei are learning as they go and I believe we are setting the foundations for what is hopefully a thriving creative ecosystem.”

While you have participated in many exhibitions with Creative Space Brunei, you personally organised your first solo exhibition called ‘Reverie’ in 2019. What was the experience of organising a solo exhibition in Brunei like?

‘Reverie’ was the last exhibition held at the Royal Wharf Art Gallery before it was renovated and reopened after the pandemic. I remember contacting an officer at the Bruneian Ministry of Culture, Youth and Sports, and asking if I could exhibit my art there. The space was then given to me for 2 weeks but I only had a few days to organise the exhibition. My husband and I did the groundwork but we sought help from all over, including two veteran artists in Brunei. Dato Shofry Ghafor helped with the public relation matters and Osman Mohamad helped in the curation process and with media communication. I was happy with the outcome because the exhibition received visitors everyday, my guestbook filled up, and I even managed to sell 10 paintings, which was a nice surprise.

It was not easy organising a solo exhibition but I am thankful for the space and support given to me. The government and our private galleries help support our practice, even if our industry is so small. Many artists in Brunei are learning as they go and I believe we are setting the foundations for what is hopefully a thriving creative ecosystem.

What were the most interesting pieces of Bruneian culture you have come across while creating your working series, ‘‘Darussalam’’?

There is a culture of peace that shows up in the way we greet others. It is evident in our charitable nature, our strong family ties, and even in how we share our food. These simple acts are what I explore in my work because I want to preserve and protect the beauty we have in our everyday life. So even if the subject matter seems prosaic, ‘Darussalam’ is about looking at Brunei through childlike eyes and appreciating what we already have. Now that I have children of my own, I also realise how blessed I am to raise them in a country like Brunei.

However, what I find most interesting about Brunei culture is the connection we have with our traditions. For example, in my ‘Curhat over Ambuyat’ (2022) piece, I captured a scene where friends are seen bonding over a table full of our traditional food. The Malay word “curhat” means pouring our hearts out. Though this act may seem simple and maybe old-fashioned, many Bruneians still do it today. The Jongsarat, a traditional Malay cloth woven with threads of silver and gold, is a piece of our culture I find interesting too because I am naturally drawn to pattern-making. I have recently started observing how intricate and sophisticated its patterns and colours are.

Given that you are half-Korean, why do you draw inspiration solely from your Bruneian heritage?

I do not draw on my Korean heritage simply because I do not believe I have enough exposure to it. My only connection to my Korean heritage is my mother. As a child, I remember receiving my first Korean origami set and being told that folding 1000 cranes would make my wish come true. It is a sentiment about hard work and attention to detail– traits I admired in my mother and what I personally see as being Korean. Origami is a ritualistic practice I explored when I started my pattern-making journey. I have also found that South Korea and Brunei both have very colourful cultures. You see it in our national clothing, designs, and architecture. In fact, the patterns I make always end up looking very similar to Korean traditional patterns. It is not a coincidence since the philosophy of pattern-making involves ritual, contemplation, and repetition to create sacred spaces.

Maziyah Yussof, ‘Creator I (Revisited)’, 2019, acrylic and cardstock on perspex, 61 x 61cm. Image courtesy of the artist.

Maziyah Yussof, ‘As-Samad: The Perfect/The Eternal’, 2009, wood, cardstock and photography, various dimensions. Image courtesy of the artist.

Your ‘Creator’ series (2018-2019) is an extension of your much older ‘As-Samad: The Perfect/The Eternal’ (2009) piece and ‘Reverie’ series (2008-2014) as they all explore Islamic ideologies. How have you translated your growth over the years onto canvas?

In my practice, I found that you can create multitudes of patterns with right-angled triangles. However, in recent years, I started creating patterns with squares instead. I am also currently journeying through the 99 sacred names of Allah in Islam, which inspired ‘As-Samad: The Perfect/The Eternal’ (2009), but have decided to blend Kufic calligraphy with the Jongsarat to create mosaics.

Despite respecting the rules of Islamic Art in your works, you mentioned in a 2021 panel discussion with Borneo Bengkel that you do not consider your works to be that of Islamic art. What are the reasons behind this? Has this changed?

There’s a saying: “don't judge a religion by its followers, but by its teachings”. Islamic rules are precise so I do not want any of my pieces to be misinterpreted as such. My artistic journey simply documents my spiritual beliefs and personal growth as a Muslim. My works also seek to glorify Allah by highlighting the beauty of His creations, an intention similar to other Muslims who explore ideas of Paradise. I ultimately seek to convey a sense of peace with my works. So instead of my works being religious Islamic art, I see them as more spiritual in nature. That will never change.

‘Into the Mangroves’ children's book written by Jessie Haliluddin and illustrated by Maziyah Yussof. Image courtesy of artist.

Green envelopes designed by Maziyah Yussof , commissioned by Progresif for Hari Raya Aidilfitri 2020. Image courtesy of the artist.

Maziyah Yussof posing with her Seven Padians floor mural at Jalan Roberts in Bandar Seri Begawan, Brunei Darussalam. Image courtesy of the artist.

“Art holds purpose in society, whether that is to tell a story, educate, inspire, highlight a cause or even simply make someone happy. ”

In 2022, you illustrated and published a children’s book with writer Jessie Haliluddin called ‘Into the Mangroves’. Prior to that, in 2020, you engaged with corporate projects with telecommunications company Progresif to create the Raya Packets and with the Bruneian Ministry of Culture, Youth and Sports to paint one the Seven Padians floor mural. What advice would you give younger artists on collaboration and community?

Art holds purpose in society, whether that is to tell a story, educate, inspire, highlight a cause or even simply make someone happy. Your artistic interests can align with someone else’s and there are many opportunities you can take advantage of. So be open to collaborating but stay aware of the value you bring. In my case, ‘Into the Mangroves’ was a passion project born out of a desire to document and share a slice of Brunei’s culture and natural history; and it aligned with the perfect partner-in-crime. I am constantly motivated to create more art because my goal is to leave a good message behind.

Keep up to date with Maziyah Yussof here.