Nature Unites Artists Across Cultures, Borders

 Upon entering HARTA Space, an art gallery in Ampang, Selangor, visitors are greeted by a distinctive artwork featuring what looks like seed pods, each embellished with a unique painted pattern.

Arranged in a wave-like formation within a frame measuring 232 cm by 20 cm, the “objects” resemble butterflies in flight when viewed from a distance, with each appearing to tell its own story.

The creator of the piece, a bespectacled, grey-haired man, is nearby, describing his work to a group of visitors. He is Juhari Said, a 65-year-old woodcarver and artist whose creations are inspired by nature.

The unique artwork titled ‘21’ was produced by Juwari

Pointing to his unique artwork titled ‘21’, he told Bernama that it was created using 21 rubber seeds.

“These are actually rubber seeds,” he said, adding, “I am the son of a rubber tapper from Gopeng (Perak). The work reflects my childhood growing up with my parents on a rubber plantation.

“Rubber seeds are unique because when the fruit ripens, its outer shell splits open and bursts, scattering the seeds.”

His piece is among 36 artworks featured in the ‘Barehands Residency 2026: Jejak Alami, Jiwa Membumi – Bridging Art Across Asia’ exhibition, which is being held at HARTA Space from Nov 4 to 29.

Bringing together 22 artists from five countries – Malaysia, Indonesia, Japan, the Philippines and Timor-Leste – the exhibition serves as a platform for the exchange of artistic ideas and experiences, while celebrating the region’s cultural diversity and contemporary art perspectives.

Anchored by the themes ‘Jejak Alami’ (Earthbound Traces) and ‘Jiwa Membumi’ (Rooted Spirits), the artworks explore not only the relationship between humans and nature but also questions of cultural identity, lived experiences and the artists’ personal interpretations of their roots and surroundings.

Founder of Barehands Residency, Juhari Said

RETURN TO NATURE

Juhari, founder of the Barehands Residency programme – which he established in 2010 as a platform to bring together local and international artists to exchange ideas and create works collaboratively – said the exhibition is not merely a platform to showcase creative works but also a reflection of how art can serve as a universal language that transcends cultural differences, backgrounds and national boundaries.

“Although each artist has a different approach and technique in producing their work, our shared experiences of interacting with nature and navigating everyday life serve as common ground that connects us across countries and cultures.

“When we undertake projects such as this (exhibition), we are constantly drawn back to our respective backgrounds and roots.

“No matter how far we venture, we must always reconnect with and understand where we come from,” he said when met at the exhibition.

According to Juhari, the exhibition is not merely a platform to showcase creative works but also a reflection of how art can serve as a universal language that transcends cultural differences, backgrounds and national boundaries

For Juhari, his connection with nature is not only expressed through his artworks but is also an integral part of his daily routine.

He said after performing the dawn prayers, he enjoys spending time soaking up the morning sunlight, walking barefoot on the ground and feeding his pet chickens and fish – practices associated with ‘grounding’, which involves reconnecting with nature and one’s surroundings.

“We all come from nature. No matter how far humanity progresses, we must eventually return to understanding our roots,” he said.

'El Niño' by local artists, Awang Damit Ahmad

FRIENDSHIP AN IMPORTANT FOUNDATION

Elaborating on the Barehands Residency programme, Juhari said the idea first emerged in 2002 after he explored various forms of artistic collaboration for several years. The initiative took shape more seriously in 2010 through collaborations with artists from Jordan, Indonesia and Japan.

“The word ‘barehands’ means coming empty-handed, symbolising an approach rooted in good intentions, sincerity and an open heart. This is because friendship is the most important foundation, paving the way for greater, far-reaching and more meaningful possibilities.

“Unlike conventional artist residency programmes, which typically follow formal schedules and structured work arrangements, we emphasise communal living in a family-like environment, where participants live, work and carry out activities together under one roof,” he said.

Juhari (fourth from the right) with participated artists during the launch of 'Barehands Residency 2026' at HARTA Space

Juhari’s residency programmes are usually held at a 1.5-hectare property called Akaldiulu, located in Hulu Langat, Selangor. For the Barehands Residency 2026 programme and exhibition, the participating artists developed their artworks in three residency spaces: Akaldiulu, Pantai Iraga (in Sijangkang, Selangor) and Chetak 17 (Wangsa Melati, Selangor)

“This approach allows (participating) artists to understand one another’s personalities, strengths and weaknesses, fostering more meaningful relationships that ultimately contribute to the creation of better-quality artworks,” he said.

He added that an artist might possess exceptional talent but not necessarily be able to work harmoniously as part of a group. Hence, as project director, he needs to understand the psychology, background and compatibility of each participant.

“A wrong choice could affect the entire group because creating artworks and putting together an exhibition are not merely individual efforts but also require teamwork,” he said.

One of the distinctive features of Barehands Residency is its approach of bringing together three generations of artists: established artists aged 65 and above who serve as mentors, mid-career artists aged 40 and above, and young artists aged 30 and below.

Juhari said this combination allows knowledge and experience to be passed down naturally through daily interactions, discussions and the creative process.

“We organise a month-long retreat to achieve this. Besides taking participants on visits to museums, galleries and several art studios around the Klang Valley, we also arrange group discussions and artwork critique sessions with the mentors,” he said.

He said the process is particularly important for young artists, who often work independently in their studios and may not have experienced individuals to offer feedback on their creations.

BAMBOO, MOUNTAINS SYMBOLISE WISDOM, RESILIENCE

For Barehands Residency 2026 participant Inu Bere from Timor-Leste, nature is more than just a source of artistic inspiration. It is also a medium through which the artist introduces his country’s rich cultural heritage, values and identity to the world.

Hailing from Aileu, a mountainous region about a two-hour drive from the capital, Dili, Inu said nature and local culture have always been the starting points of his creative journey.

Among his works featured in the current exhibition is a print depicting bamboo, which carries a deeper meaning of wisdom and humility, reflecting traditional values deeply rooted in Timor-Leste’s culture.

“In my hometown, bamboo, which bends as it grows taller, symbolises the importance of remaining humble regardless of how much knowledge or experience one has gained.

“The more we know and understand, the more we realise that there are still many things we need to learn.

“A wise person is like bamboo; the higher it grows, the more it bows. The more we learn, the more humble we become,” he told Bernama. 

Inu Bere

He said the philosophy also shares similarities with traditional proverbs and values found in other Southeast Asian countries, including Malaysia, demonstrating how art can connect people across different cultural backgrounds.

Inu also uses his artwork to express his observations and concerns about the environmental and development challenges facing his own country, including deforestation, forest clearing through burning for agricultural purposes, and economic pressures that drive some communities to cut down trees to earn a living.

He said environmental degradation cannot be viewed in isolation as it is closely linked to poverty, employment opportunities and access to education.

He also sees art as a platform to introduce Timor-Leste to the international community, not merely through traditional cultural representations but also through the human values and historical experiences that have shaped his country’s identity.

“I'm more interested in our traditional knowledge, our culture and the way we use nature as a metaphor to talk about life and education.

“These are things that I want to translate into my art and share with the public because they are not just about Timor-Leste; they are values that go across cultures,” he said.

ARTWORKS DOCUMENT LOSS, SUFFERING

For Malaysian artist Haslin Ismail, art is not merely an avenue for expressing creative ideas but also a medium for documenting human tragedies and commemorating individuals who have left a profound impact on his life.

Through prints produced using the drypoint technique, Haslin explores organic forms inspired by parts of the human body, including hands, feet and the abdomen, to portray suffering and destruction caused by violence.

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He said some of his works were inspired by the humanitarian tragedy in Gaza, using images of human bodies and homes to depict the devastating impact of conflict on civilian lives.

However, alongside works depicting the suffering of communities are pieces carrying a more personal significance for Haslin, particularly one created in tribute to his friend Samsudin Wahab, a fellow artist who died of cancer early this year.

He said the artwork was produced while accompanying his friend for treatment at the National Cancer Institute, before being completed as a tribute to their friendship and the late artist’s contributions to the art world.

Haslin described his friend’s passing as a great loss, particularly as they had shared a passion for and extensive experience in printmaking.

He said memories of his friend continued to resurface whenever he returned to the art studio where they had once worked together.

“Whenever I return to the studio, everything reminds me of him... it is difficult because every corner holds a memory, but at the same time, his spirit is still strongly felt,” he said.