FROM the delicate inspection of beadwork and colour, to a tender portrait of a mother and child, from the shimmering seas of Sabah painted with a hint of tragedy, to the simple nostalgia of local cuisine, and the abstract rhythm of a fisherman’s struggle and pride in his vessel.
Fresh Lines: Exploring Sabah Through Five Artistic Voices captures the heart of Sabah through new eyes.
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In this exhibition, five young Sabahan artists: Asrul Wali, Jasper Junior, Rizalman Mohd Yakin, Slyvernie Belinda Angelbert and Eve Eftasonia, breathe new life into familiar stories, each transforming their cultural roots into powerful visual narratives.
Showcasing 20 artworks, the exhibition reflects the vitality and diversity of a new generation of creative voices, united by a shared desire to express their identity, emotions and sense of belonging.
Each piece speaks in its own language, some intimate and symbolic, others bold and abstract, forming a dialogue between memory and modernity, between what is remembered and what is being redefined.
The title Fresh Lines embodies both a beginning and a breakthrough, symbolising how every artist’s journey starts with a single line, one that connects people, places, and stories.
Through renewal and reinterpretation, these artists show how heritage and experimentation can coexist in harmony. Their works reinterpret Sabah’s textures, traditions and ways of life, revealing how art can capture the rhythm of change while preserving the pulse of home.
Supported by the Institute for Development Studies (IDS Sabah) and hosted at Galeri Azman Hashim, Fresh Lines stands as both a platform and a celebration honouring the promise of young Sabahan talent while inviting audiences to experience the stories, emotions, and lines that continue to shape the future of contemporary art in Sabah.
Jasper Junior
The Fresh Lines embodies both the beginning of an artistic journey and the exploration of new directions in visual language.
A single line, simple yet profound, can evolve into a story, an emotion, and a meaning.
For Jasper, those lines trace a path back to his roots to Kampung Patikang Ulu in Keningau, to the costumes and rituals of the Dusun Kujau, and to a family story he only began to understand as an adult.
His four pieces, two recent works and two from the previous year, form what feels like a brief autobiography. Two are created using charcoal and soft-core colour pencil on paper.
At the same time, the other two are rendered entirely in soft-core colour pencil.
A recurring detail across the works is the interplay between kain batik and Siah Tondu – the latter being the traditional female costume of the Dusun Kujau. Jasper’s deliberate pairing of batik with Siah Tondu becomes more than visual ornamentation; it is a statement that heritage can be dialogic, allowing cultural forms to coexist and converse, thereby expressing Malaysian unity without erasing their differences.
Koginawaan Songulun Tina (A Mother’s Care) serves as the anchor piece: a mother nursing her child during a festive celebration.
The mother, depicted in vibrant Siah Tondu attire, cradles her child in a kain batik, a symbol of the convergence of cultural identity and universal love.
“By contrasting the colourful, richly detailed fabrics against the grayscale portrayal of the child, I wanted to elevate the universal theme of unconditional maternal care against the backdrop of a complex cultural identity,” Jasper said.
It is the piece he calls his favourite, the one that most closely reflects his relationship with his mother and his younger self.
His second artwork, Antara Kami (Between Us), immortalises a decisive moment from the Unduk Ngadau pageant, a celebration of beauty, grace, and cultural pride.
Two finalists stand poised in their heritage attire, each representing a distinct lineage of the Kadazandusun people.
The Dusun Penampang contestant radiates elegance in her classic Sinuangga.
At the same time, beside her, the Dusun Kujau finalist captivates in the Siah Tondu, distinguished by bold geometric motifs that echo ancestral craftsmanship.
The earlier works, Keramaian Satu: Tapai and Keramaian Dua: Sazao, expand the frame further. Village gatherings burst into motion clusters of figures and fabrics, capturing the sounds, scents, and rituals of celebrations such as Kaamatan and traditional weddings.
In these pieces, Jasper does not merely depict festivity; he portrays unity and joy through vivid depictions that capture the essence of Dusun Kujau culture, its warmth, connection, and enduring traditions.
What gives Jasper’s art its emotional depth is the story behind it. He admits that he never fully understood his Dusun Kujau roots until his mother shared their family history, explaining how they came from Keningau and the significance of their traditional attire.
That late discovery, which he transformed into his final-year project in 2024, continues to shape his creative direction today.
This rediscovery makes his contribution to Fresh Lines particularly meaningful. The exhibition’s title speaks of beginnings and experimentation for Jasper; that beginning is both personal and cultural, branching outward into shared identity.
“When I combine batik with the Siah Tondu, it becomes a symbol of unity not just for Sabahans, but for all Malaysians,” he said.
“Through my art, I want people to see that our culture isn’t fading. It’s still alive, we need to look closer.”
For Jasper, Fresh Lines is more than just an exhibition. It is a platform that invites viewers to see how young artists in Sabah are redefining visual language, balancing experimentation with cultural memory.
“Sabah has so many talented young artists,” Jasper said. “But not all of them get the platform to share their stories. I hope exhibitions like this give us the visibility we need – because our art carries not just our skills, but our histories.”
Slyvernie Belinda Angelbert
When Sylvernie Belinda Engelbert speaks about her art, her voice carries the quiet conviction of someone who paints not to impress, but to understand.
“I don’t create art just because something looks beautiful,” she said. “I create because I want to understand why something exists, the deeper meaning behind it.”
Among the six pieces she exhibits, two are new works, both centred on the Kimaragang ethnic group from Pitas. All her works are painted in acrylic on canvas.
Her most celebrated piece, Kinaling Kimaragang: Soul of Tradition, stands as a deep, textured homage to traditional attire and the stories woven within it.
The inspiration began with something seemingly ordinary: watching the annual Unduk Ngadau pageant, Sabah’s renowned celebration of beauty, heritage, and womanhood. But what caught Sylvernie’s attention wasn’t the crowns or choreography; it was the dress.
“I noticed people online were questioning why the contestant from Pitas didn’t make it into the top seven,” she recalled. “She wore the Baju Kinaling, and I was curious why.”
Her curiosity led her to cultural archives and academic research. What she discovered fascinated her, that the Baju Kinaling was traditionally worn by married women. In contrast, the Baju Lapoi was reserved for unmarried individuals.
The attire features a black blouse adorned with colourful embroidery, beads, and buttons, paired with a striking red-and-white patterned hip adornment that highlights cultural artistry.
Beaded necklaces and chokers add symbolic weight, reflecting beauty, pride, and the importance of identity in the community.
However, in the modern context, this distinction has blurred; these costumes are now worn more as expressions of cultural pride than as markers of social status.
The painting preserves the dignity and grace of the Kinaling, celebrating it as more than attire. It stands as a visual testament to the Kimaragang women’s heritage, values, and enduring cultural legacy.
That discovery reshaped her creative process. “It made me realise that every thread, every pattern has a story,” she said.
“It’s not just about aesthetics. There’s meaning in what people wore and when they wore it.”
Another of her works, Sinudaan Kimaragang: Threads of Legacy, depicts the Sinudaan, a traditional costume of the Kimaragang people historically worn by commoners.
Like the Kinaling, it features black fabric adorned with colourful embroidery and beadwork. The green waist sash signifies cultural pride, while the intricate bead necklaces enhance its ceremonial value.
Today, the distinction between Sinudaan and Kinaling is less rigid, with both worn freely as expressions of identity.
Through this artwork, Sylvernie presents the Sinudaan not merely as clothing but as a bridge between past and present, a reminder of the collective identity and traditions that shape the Kimaragang people.
Her exploration of identity extends beyond the Kimaragang. In Rungus: A Timeless Charm, she beautifully captures the essence of the Rungus community, an indigenous group from Kudat, celebrated for its rich cultural heritage and vibrant traditions.
The four companion pieces, Rungus: Heritage in Beads, Rungus: Unfading Legacy, Rungus: Ageless Artistry, and Rungus: Charm of Tradition, highlight the cultural significance of Rungus accessories, demonstrating how adornments complete and define traditional attire.
“That piece means a lot to me,” she said softly. “It’s about identity, about the stories that aren’t told on stage.”
Though not Kimaragang herself, Sylvernie’s connection to traditional attire runs deep.
She joined the Unduk Ngadau pageant in 2021 and grew up surrounded by her grandmother’s stories about conventional culture.
“When I see a traditional dress, I don’t just admire its beauty,” she said. “I want to know its history because every piece of clothing carries a story.”
That curiosity extends further. One of her earlier works explored the Baju Suku Kopiok from Tuaran, an attire that, until recently, was undocumented and rarely seen.
For Sylvernie, uncovering these visual traditions feels like cultural detective work — tracing identities that risk fading into obscurity.
“When I find an outfit that catches my eye, it sparks something,” she said.
“I start reading, researching, trying to understand where it came from and what it meant to the people who wore it. It’s about giving recognition to something that deserves to be seen.”
Her interest doesn’t stop at women’s attire.
She also paints traditional male costumes, distinguishing between those worn by ordinary villagers and by titled men or community leaders. Her piece for Fresh Lines represents the everyday attire of ordinary people, dignified yet straightforward, stripped of ornament yet full of presence.
While the Fresh Lines exhibition celebrates innovation, her art reminds viewers that new directions can emerge from old wisdom.
Her belief in art as a form of preservation is apparent. “Art plays a big role in promoting our traditions,” she said.
“Sabah has more than 50 ethnic groups, maybe even 60. Through art, we can carry our culture beyond borders.”
That belief has already taken her work abroad. As part of the Indonesia Art Educate programme, she and her peers showcased Sabah’s visual culture internationally.
“When people saw our art overseas, they were curious,” she said. “They’d ask, ‘What is this costume? It’s beautiful!’ That’s when I realised art is a bridge. It connects our small stories to the world.”
# Second of a three-part series
