The delicate symbiosis between humankind and the natural world
Published: 10 Jan 2025
Time taken : >15mins
In this interview, Zen Teh and Zulkifli Lee reflect on the ideas and artistic processes behind their works in Symbiosis. Employing organic materials and embracing natural phenomena in their processes, the artists share agency with nature, uncovering narratives and facets of other living realms that are often overlooked.
Symbiosis features three Southeast Asian artists—Syaiful Aulia Garibaldi (Indonesia), Zen Teh (Singapore), and Zulkifli Lee (Malaysia), and explores how human life is enmeshed with the natural world, delving into entanglements between the human and non-human.
Zen Teh explores the impact of human actions on natural environments in two bodies of work that emerged during a residency at Selasar Sunaryo Art Space in Bandung, Indonesia in 2019. Her research centred around Dago Pakar, an area known for its volcanic rocks and minerals, where rapid urbanisation has had significant social, economic and environmental impact. These installations are Teh’s response to the destruction wrought on local geology while surfacing the often-unseen aspects of elements and processes in nature.
During her residency, Teh salvaged volcanic rocks and found construction materials like a metal H-beam and rusted metal sheets. Embedded within the rocks are layers of history that reveal the effects of geological activity and human intervention. In After Monument: The Drift of Echoes Unseen, a collage of images of periphery forests and marshland in Bandung is imprinted onto a salvaged volcanic rock. The work attempts to reimagine nature in a pristine state before urbanisation. A video of a petrographic scan reveals elements embedded in these rocks, hinting at the complex geological histories of the area.
Detail of After Monument: The Drift of Echoes Unseen, Zen Teh, 2024.
After Monument: Aquifer of Time unpacks the importance of aquifers, underground freshwater reservoirs, to local ecology. An image of water marks left by aquifers in caves is imprinted onto a rusted metal H-beam. Together with Bandung's distinctive stratigraphy, these works unveil traces of geological history, enabling Teh to speculate on the site’s history. The works juxtapose deep geological time with human civilisation, contemplating how human action disrupts the natural passage of time. These installations embody ideas of change and regeneration intrinsic to nature, as seen in the process of rusting and marks left by running water. After Monument captures facets of landscapes that are evolving under the pressure of human intervention. The stories embedded within these materials continue to resonate in the present day and speak about our relationship with the world around us.
As the title After Monument suggests, this body of work looks at the impact of rapid urbanisation outside the timeline of monumental architecture built by human civilisation and explores a sense of time outside of mundane daily life. The geological aspects of the work for instance looks at how we can imagine a landscape thousands of years ago of the studied site in Bandung. Similarly, the texture and colours found on the metal and rocks used in the installation are a documentation of time passing. All these forms of interpreting time are non-anthropogenic, for they are not measured by human years or our yardstick of success or what is worth or not worth recording in human history.
Site research by Zen Teh and geologist Rinaldi Ikhram at the Dago Pakar Resort construction site in Bandung, Indonesia.
When this body of work is presented outside of Bandung, they speak of a shared sense of time and invites us to collectively consider the impact of anthropogenic activities on the Earth. The research continues to grow in depth and develop philosophically as we explore this common sense of time and shared awareness of human action.
Photography can capture a moment in time and is a reliable documentation tool that records history. Therefore, by incorporating a particular moment captured on the camera and juxtaposing it with weathered, found material, I bring together a different sense of time. This found material continues to document time through the erosion of its surface, while the photograph depicts a specific scene. The photographs also provide more context to the abstract representation of the environmental impact as seen in After Monument: Aquifer of Time.
Another role of photography is in the ability to construct an image. I collaged images from the periphery landscape of the studied site according to geological knowledge provided by my geologist collaborator to reimagine what the landscape could have been like more than 10,000 years ago. By doing so, I wanted us to consider our role and scale of human action in a larger sense of geological time.
In my works, I wanted to let audiences experience and observe different senses of time and scales of landscapes that are embedded within the visual elements of the works. I have mentioned some ways of conflating time above when I juxtapose different materials and how they document time. This correlates with different scales of landscapes as my works play with the natural elements and photographs derived from the studied site and its surrounding environment.
After Monument: The Drift of Echoes Unseen, Zen Teh, 2024.
For instance, the microscopic video of the rock sample (of a rock similarly found at the studied site in Bandung) reveals the elements deposited in the rock and how the flow of the deposits that was formed due to tens of thousands of years of geological activity such as volcanic eruptions and human activities that shaped the topography of the landscape. Together with the stratigraphic knowledge of the site, this brings localised knowledge of a site that may have been undocumented to the fore, bringing attention and stories to everyday spaces.
Combining this microscopic video and the collaged photo of the reimagined forest that may have existed at the studied site before, a shifting scale of landscape across different time periods and space is achieved. Adding to this conflation of time and space, I brought a live element to the work—the continuous water drip using a water pump on the volcanic rock with printed collage images shaped in the form of water drip marks. This new addition to this series brings awareness of the present to the various forms of documented time in the materials used. The continuous drips highlight the present moment and how it continues to shape the future, like how new water marks will form and continue to shape the rock’s surface.
Through formal and material experimentation, Zulkifli Lee investigates the intersections of human and natural systems. His works explore the boundaries between harmony and contradiction, order and chance. Zulkifli engages with the physical attributes and phenomenological aspects of nature, incorporating forces like fire and gravity in his works. He utilises organic materials such as soil, limestone, patina and rocks sourced from his surrounding environment, presenting them on their own or juxtaposed with manufactured materials. Influenced by Islamic and traditional Malay philosophies and aesthetics, Zulkifli's designs and forms are grounded in principles of abstraction, modularity, successive combination, repetition, dynamism and intricacy.
The combination of industrial and organic mediums in Sidang Genting highlights invisible natural forces that intersect with human existence. Carved wooden pillars are precariously balanced on a steel structure, connected by the tensional pull of strings as gravity exerts its force on the rocks. This work reflects the tension, vulnerability, interdependence and interconnectedness in nature.
Sidang Genting, Zulkifli Lee, 2024.
In Perfect Imperfection and Tatalindung the character and beauty of nature are brought to the foreground. The concepts of transformation and deformation are integral to these paintings. As steel is transformed and deformed into iron oxide, it leaves unrestrained marks of corrosion patina on the canvas, interposing with the artist’s controlled geometrical compositions. Forms created by chance alter the images crafted by the artist and vice versa. These works embrace the tactility and materiality of various mediums, urging us to contemplate our position in relation to the universe at large.
Installation view Tatalindung (on the left) and Perfect Imperfection (on the right), Zulkifli Lee, 2024.
Sidang Genting is roughly translated as "Precarious Meeting." The point of departure is simple: I wanted to create a meeting space. Nature has always been my favourite subject. In fact, Malay art is a creation of the soul, mirroring the harmony between man and nature. The concept of divine essence constitutes the foundation of Malay culture. Everything in this universe possesses this essence. As a Malay, I consistently explore this concept in my works.
When discussing our intertwined relationship with nature, notions like fragility, tension, contradiction, harmony, order, interdependence and balance often come into the discussion. My work attempts to translate and create situations or conditions embodying these elements through installations, which serve as conduits for dialogue between the elements. The presentation is literal but also open to poetic or symbolic interpretations.
I engage with the physical attributes and phenomenological aspects of nature and human intervention. Nature consists of physical, tangible materials and also non-physical forces. I aim to integrate this immaterial aspect of nature. The force of gravity is an integral part of the work. My goal is not to create freely invented forms but rather to create forms within the restrictions of a set of boundaries. I want to work within certain rules and develop pure plastic forms through a scientific translation of reality. In this installation, the law of gravity serves as the central restriction. It is a way for me to understand how nature behaves, reminding us that life is governed by rules. Natural phenomena are part of a set of rules that nature imposes on us. If we break them, we risk causing imbalances with troubling repercussions. This concept emphasises that the performance and stability of the entire system depend on the harmonious functioning of its parts. Any disruption in one part can affect the whole system.
Installation view of Sidang Genting, Zulkifli Lee, 2024.
Industrial and natural materials are combined to highlight the invisible forces of nature that intersect with human existence. Carved wooden pillars are precariously balanced on a steel structure, connected by the tensional pull of strings as gravity exerts its force on the weight of hanging rocks. This alludes to the idea of interconnectedness and the mutual reliance of components within a single system.
Manufactured materials represent human intervention in natural resources through industrial processes. Raw materials exist because of nature’s processes. Things made by machines are innovations of the advancing human mind while raw materials are shaped by environmental processes. Though these materials seem to contradict each other, they somehow complement one another. Mankind’s pursuit of industrial advancement creates tension, leading to natural pollution and disasters. It is crucial to find the right balance between the two.
Each material in my work carries its own connotations. For example, steel is a core material of the industrial revolution, while soil symbolises a return to nature. Old, abandoned wood that is revived reflects the shift in material culture, representing a continuum between the past, present and future. The strings symbolise the spreading energy linking everything together.
Nature exists in my work not as an illusion or imitation but as the real thing itself. By using organic materials that retain their original character without manipulation, I reject my desire to choose based on aesthetic preference. For instance, the rocks were chosen based on the weight needed to balance the structure, not because I liked their shape or colour. This creates a tension between self-acceptance and resistance.
I do not want people to interpret my work solely based on this explanation. A work of art cannot exist within a single, one-dimensional view; it should be open to discussion. Audiences are free to relate my works to anything they choose, beyond my intention. Their interpretations, based on their feelings and experiences, shape their consciousness of reality. For me, the artist’s intention and the audience’s interpretation are equally valid. I believe art should inspire others to become more aware of their own perceptions.
Installation view of works by Zulkifli Lee.
The laws of nature are fixed and consistent but our ability as humans to predict or control them is often limited, sometimes making the outcomes appear unpredictable. Instead of saying unpredictable results occurred because of a natural process, I prefer to think that I (as a human) made it happen.
I explore the dynamic between personal and impersonal forms in my practice. During the making process, I aim to work with something beyond myself. By allowing nature to be an active agent in the creative process, my forms become non-anthropocentric. They are not solely about me but about something greater than myself. I believe we should acknowledge we are bound by others and are always part of something bigger than ourselves.
Personally, working with something predictable is not fun. Unpredictable elements excite me more and unanticipated outcomes are always welcome. I allow chances to intervene. Since much of my work involves repetitive forms arranged in a certain order, the results could easily appear rigid and monotonous. Unpredictable elements break this rigidity, introducing variation and contrast. The process manifests concepts of deformation and transformation. In nature, to create something new, something must be destroyed; elements constantly interpose and interact with one another, like the cycle of birth and death. Opposites are fundamental to how nature operates, reflecting the relationship and harmony between contradictory forces.
Contrast is part of our natural reality and ignoring it would be to overlook the complexities of life. It is not my main concern whether the outcome is balanced. My primary focus is sharing the creative process with nature. Balanced or unbalanced, the result should happen naturally. I fully embrace and accept whatever outcomes emerge.
Detail of Tatalindung, Zulkifli Lee, 2019.
Visually, the work is composed of geometric patterns, taking references from Malay and Islamic design. This has had a profound influence on the philosophical and axiological aspects of my creative practice. I love bridging traditional and contemporary approaches in my work. Much of it is based on the six fundamental characteristics of the aesthetic expression of Tawhid (the oneness of God), as discussed by Ismail and Lamya Al Faruqi: abstraction, modular structure, successive combinations, repetition, dynamism, and intricacy. This is a way of finding harmony between innovation and preserving my traditional values.
Geometric expression is the simplest representation of unity, favouring aniconism. It reflects the order, harmony and unity of the universe, echoing the Islamic concept of Tawhid. For Malays, the central importance of nature lies in its essence as a theophany—a mirror reflecting God’s divine names and attributes. Art is an act of remembrance and contemplation of these divine attributes.
The minimal yet intricate compositions often incorporate systematic and rhythmic geometric patterns. Even though the designs are personal and not reproductions of traditional motifs, they embody the principles and aesthetics found in traditional Islamic and Malay art. A geometric or mathematical approach favours logical forms that stress intellectual and rational engagement, rather than expressionistic forms that emphasise emotion and feeling.
Symbiosis was presented at Jendela (Visual Arts Space) from 4 Oct 2024 to 5 Jan 2025.