Ahmad Fuad Osman Paintings & Artwork for Sale | Ahmad Fuad Osman Art Value Price Guide

Oct. 01, 2023
Ahmad Fuad Osman (b. 1969) Waris, 1997
Est: RM24,000 - RM40,000
It's tough for one so young to carry a globe, signifying the world and what a hazy, uncertain and parlous one at that, on one's head, though the well-endowed girl seems capable despite the grimace. The gender specific is no accident, the female always signifying Mother Nature and the hand of nurture and a heart of love, and of course, the reproductive quality which is about continuity and perpetuity. Too much that the Earth is blessed with, are gone or sullied by deforestation, pollution, overdevelopment and other perils. The destructive forces of climate change are very real today, and this environment-skewed work by Ahmad Fuad Osman in 1997 is a most sobering warning. Ahmad Fuad Osman, one of the members of the legendary Matahati collective, now disbanded, is an artist not restricted by media or style. "Art is something transient, that cannot be set in black and white, cemented in, or immutable. Apart from my moral and religious uphold, I have never set any limitations or boundaries in the pursuit of creating art. I do not believe in single thought process, style, medium or material over another," he had intoned. He was one of the three Jurors Awards in the APB Foundation Signature Art Prize in Singapore in 2008, for the work, Recollections Of Long Lost Memories. He won the Juror's Choice Award in the Malaysian level of the Asean Art Award in 2000 and 2003. He had been selected for biennales in Singapore (2006-2007), Shahjah and residences in Vermont (2004), Goyang (2005-2006) and Rimbun Dahan (2007-2008). He graduated with a BFA from Mara Institute of Technology (now a university) in 1987. Since 2010, he travels between Bali and Kuala Lumpur. His solo exhibition, At The End Of The Day Even Art Is Not Important (1990-2019) was held at National Art Gallery Malaysia from October 2019 to February 2020.
Henry Butcher Art Auctioneers
Jun. 25, 2023
Ahmad Fuad Osman (b. 1969) Nol, 2008
Est: RM10,000 - RM16,000
Nietzsche, the great German philosopher, cultural critic, composer, poet, philologist, scholar of Latin and Greek whose work has exerted a profound influence on modern intellectual history, is portrayed here in this artwork. The artist imagines Nietzsche this character as an intellectual who traps himself on his own ideology that prioritises on status, position, power, titles of the world, neglecting the spirituality matters. He is too proud of his intelligence and intellectual stimulation that influences the mass public with his theories. Ahmad Fuad Osman's mid-career survey exhibition, At The End Of The Day Even Art Is Not Important, at the National Art Gallery Malaysia was a great success, positioning him as the leading contemporary artist in Malaysia. He was artist-in-residence at Rimbun Dahan (2007-2008), Goyang Art Studio, South Korea (2005-2006) and the Vermont Studio Centre, United States (2004). He won the Juror's Choice award (one of three) at the APB Signature Art Prize in Singapore (2008) and the Malaysian awards in the Philip Morris Asean Art Awards in 2000 and again 2003. Fuad was educated at the Mara Institute of Technology (1991). His auction record was set at the Henry Butcher November 2019 auction, for RM 123,200.
Henry Butcher Art Auctioneers
Aug. 22, 2021
Ahmad Fuad Osman (b. Kedah, 1969) Waris, 1997
Est: RM20,000 - RM30,000
It’s tough for one so young to carry a globe, signifying the world and what a hazy, uncertain and parlous one at that, on one’s head, though the well-endowed girl seems capable despite the grimace. The gender specific is no accident, the female always signifying Mother Nature and the hand of nurture and a heart of love, and of course, the reproductive quality which is about continuity and perpetuity. Too much that the Earth is blessed with, are gone or sullied by deforestation, pollution, overdevelopment and other perils. The destructive forces of climate change are very real today, and this environment-skewed work by Ahmad Fuad Osman in 1997 is a most sobering warning. Ahmad Fuad Osman, one of the members of the legendary Matahati collective, now disbanded, is an artist not restricted by media or style. “Art is something transient, that cannot be set in black and white, cemented in, or immutable. Apart from my moral and religious uphold, I have never set any limitations or boundaries in the pursuit of creating art. I do not believe in single thought process, style, medium or material over another,” he had intoned. He was one of the three Jurors Awards in the APB Foundation Signature Art Prize in Singapore in 2008, for the work, Recollections Of Long Lost Memories. He won the Juror’s Choice Award in the Malaysian level of the Asean Art Award in 2000 and 2003. He had been selected for biennales in Singapore (2006-2007), Shahjah and residences in Vermont (2004), Goyang (2005-2006) and Rimbun Dahan (2007-2008). He graduated with a BFA from Mara Institute of Technology (now a university) in 1987. Since 2010, he travels between Bali and Kuala Lumpur. His latest solo At The End Of The Day Even Art Is Not Important (1990-2019) was held at National Art Gallery Malaysia from October 2019 to February 2020.
Henry Butcher Art Auctioneers
Nov. 15, 2020
Ahmad Fuad Osman (b. Kedah, 1969) Parasite, 1995
Est: RM16,000 - RM30,000
Ahmad Fuad Osman and his Matahati brethren are known for their parodies on contemporary socio-political issues. Here, going by the title, Parasite, is difficult to tell who is providing succour to whom, although the figures encased inside the orb on top look effete, with a listless arm dropping out. An umbilical cord serves as a conduit of nutrients and sustenance, and is tightly held by the nondescript ‘creature’ at the bottom. It’s aspersions against the hangers-on, right-wing political NGOs perhaps serving their masters’ bidding in return for financial support. Fuad’s credo is that he does not subscribe to a single-thought process, style, medium or material, over another. “Art becomes a window through which I am given a freedom to get to know life, the world and its Creator,” he intoned. Ahmad Fuad Osman was a member of the Matahati artist’s collective. He had won the Juror’s Choice Award in the Malaysian-level Asean Art Awards in 2000 and 2003, and also the Juror’s Choice in the APB Signature Art Prize (Singapore) in 2008. He had residency at Rimbun Dahan (2007-2008); Goyang Art Studio, South Korea (2005-2006); and Vermont Studio Centre, USA (2004). He had his art tutelage at the Mara Institute of Technology in 1991. His mid-career survey exhibition held at National Art Gallery Malaysia in 2019/2020 was well curated, totally impressive, bolstering his position as the leading contemporary artist in Malaysia.
Henry Butcher Art Auctioneers
Aug. 23, 2020
Ahmad Fuad Osman (b. Kedah, 1969) Tunku & Hussein, 2016
Est: RM60,000 - RM90,000
A moment innocuous enough between two political luminaries, Tunku Abdul Rahman and (Tun) Hussein Onn, two former prime ministers but their status then nor occasion or date are not known. Independence Father Tunku, in side profile, is helping Hussein light a cigarette as he puffs for the incipient smoke, his hands clasping and cradling the Tunku’s outstretched hand like a shield. There is a palpable warmth between the two Umno leaders, but is there more to it than a smoking respite perhaps, was anything of great political portent discussed or is this just a warm-up to whatever that is to come. With the author Fuad Osman’s experience in film and theatre productions, he sets a film noir mood by using a photography veneer for some false authenticity and certainly a nostalgic mood, like maybe a Kurosawa flick set in modern-day, and certainly a precursor to Fuad’s 2009 Recollections Of The Long Lost Memories series. “History is false memory,” as he had intoned. Ahmad Fuad Osman, one of the nation’s most prominent experimental artists, became an international sensation when four of his works in his mid-career survey exhibition, At The End Of The Day Even Art is Not Important, were removed by and from the National Art Gallery, Kuala Lumpur, in February 2020, two months into the exhibition. The exhibition bolstered Fuad’s position as leading contemporary artist in Malaysia. Fuad was one of the members from the cult Matahati artist’s cooperative. Educated at the Mara Institutue of Technology (1991), he won acclaim when his work won one of the three Juror’s Award in the APB Signature Art Prize in Singapore in 2008. He also won the Malaysian component of the Philip Morris Asean Art Awards in 2000 and 2003. Fuad had residencies at Rimbun Dahan, Selangor (2007-2008), Goyang Art Studio, South Korea (2005-2006) and the Vermont Studio Centre, United States (2004).
Henry Butcher Art Auctioneers
Mar. 15, 2020
Ahmad Fuad Osman (b. Kedah, 1969) Untitled, 1999
Est: RM24,000 - RM40,000
So much pain, twitching and writhing in agony, caused by the barbed wire... a result of war that leads to destruction, torture, and annihilation of mankind (where weapons of mass destruction are used). The blood stained fingerprints on the wall cause one to tremble and shiver... there seems to be no way out, from the brutality, enormity, cruelty of the world. Ahmad Fuad Osman intoned: “To me art is a journey like life itself. It is something transient and must not set in black and white, cemented in, or immutable. Apart from my moral and religious uphold, I have never set any limitation or boundaries in the pursuit of creating art. I do not believe in single thought process, style, medium or material, over another. Art becomes a window through which I am given a freedom to get to know life, the world and its Creator.” Ahmad Fuad Osman’s mid-career survey exhibition, At The End Of The Day Even Art Is Not Important, at the National Art Gallery Malaysia was a great success, positioning him as the leading contemporary artist in Malaysia. He was artist-in-residence at Rimbun Dahan (2007-2008), Goyang Art Studio, South Korea (2005-2006) and the Vermont Studio Centre, United States (2004). He won the Juror’s Choice award (one of three) at the APB Signature Art Prize in Singapore (2008) and the Malaysian awards in the Philip Morris Asean Art Awards in 2000 and again 2003. Fuad was educated at the Mara Institute of Technology (1991). His auction record was set at the Henry Butcher November 2019 auction, for RM 123,200.
Henry Butcher Art Auctioneers
Mar. 15, 2020
Ahmad Fuad Osman (b. Kedah, 1969) Parasite, 1995
Est: RM20,000 - RM35,000
Ahmad Fuad Osman and his Matahati brethren were known for their parodies on contemporary socio-political issues. Here, going by the title, Parasite, is difficult to tell who is providing succour to whom, although the figures encased inside the orb on top look effete, with a listless arm dropping out. An umbilical cord serves as a conduit of nutrients and sustenance, and is tightly held by the nondescript ‘creature’ at the bottom. It’s aspersions against the hangers-on, right-wing political NGOs perhaps serving their masters’ bidding in return for financial support. Fuad’s credo is that he does not subscribe to a single-thought process, style, medium or material, over another. “Art becomes a window through which I am given a freedom to get to know life, the world and its Creator,” he intoned. Born in Baling, Kedah, Ahmad Fuad Osman was a member of the Matahati artist’s collective. He had won the Juror’s Choice Award in the Malaysian-level Asean Art Awards in 2000 and 2003, and also the Juror’s Choice in the APB Signature Art Prize (Singapore) in 2008. He had residency at Rimbun Dahan (2007-2008); Goyang Art Studio, South Korea (2005-2006); and Vermont Studio Centre, USA (2004). He had his art tutelage at the Mara Institute of Technology in 1991. His recent show at National Art Gallery Malaysia is totally impressive!
Henry Butcher Art Auctioneers
Mar. 15, 2020
Ahmad Fuad Osman (b. Kedah, 1969) Nol, 2008
Est: RM13,000 - RM23,000
Nietzsche, the great German philosopher, cultural critic, composer, poet, philologist, scholar of Latin and Greek whose work has exerted a profound influence on modern intellectual history, is portrayed here in this artwork. The artist imagines Nietzsche this character as an intellectual who traps himself on his own ideology that prioritises on status, position, power, titles of the world, neglecting the spirituality matters. He is too proud of his intelligence and intellectual stimulation that influences the mass public with his theories. The last door to the spirituality dimension couldn’t be opened by him because he is only looking for ‘answers’ and ‘truth’ through his mind capability and thoughts. The artist painted the lost, struggling figures (at the bottom of the painting) in a room, in a chaotic atmosphere... a reflection of being stuck, creating an unease feeling... Ahmad Fuad Osman’s mid-career survey exhibition, At The End Of The Day Even Art Is Not Important, at the National Art Gallery Malaysia was a great success, positioning him as the leading contemporary artist in Malaysia. He was artist-in-residence at Rimbun Dahan (2007-2008), Goyang Art Studio, South Korea (2005-2006) and the Vermont Studio Centre, United States (2004). He won the Juror’s Choice award (one of three) at the APB Signature Art Prize in Singapore (2008) and the Malaysian awards in the Philip Morris Asean Art Awards in 2000 and again 2003. Fuad was educated at the Mara Institute of Technology (1991). His auction record was set at the Henry Butcher November 2019 auction, for RM 123,200.
Henry Butcher Art Auctioneers
Nov. 03, 2019
Ahmad Fuad Osman (b. 1969) State Of Confusion, 1993
Est: RM15,000 - RM25,000
This work done with a colourful maelstrom but one with defined, mildly recognisable shapes of human forms and faces in particular, marked a crucial phase in Ahmad Fuad Osman’s art and life. The Baling kampung boy had moved to the big city, with new expectations and hopes, and even with the spiritual support of being in the Matahati coterie, he was lost in the big jigsaw of things, thus, the Lost Series. It’s interesting to note the mosaic-like scheme of things of Anak Alam’s Mustapa Ibrahim, but in Fuad’s case, with an intrusion of a human face or form here and there. Carmen Nge wrote: “Fuad’s Lost Series and pieces like State Of Confusion (1993) and Identity Crisis (1994) are potent indices of the angst of an urban lifestyle ⁠— moral confusion, personal and romantic relationships that waxed and waned, erosion of existentialist assumptions about religious and ethnic identities. Fuad is a member of the cult Matahati artist’s collective. He had residency in Rimbun Dahan (2007-2008), Goyang, Korea (2005-2006), and Vermont, USA (2004). He won the Juror’s Choice in the Asean Art Awards (Malaysia level) in 2000 and 2003, and the APB Signature Art Prize (Singapore), in 2008.
Henry Butcher Art Auctioneers
Nov. 03, 2019
Ahmad Fuad Osman (b. 1969) Imitating The Woods, 2004
Est: RM50,000 - RM80,000
A bleak, wintry landscape with denuded trees and snow underfoot, much too cold for one to venture into the woods, what more in the buff though with the man back to viewer. The numbing cold is used as a metaphor for being alone, lost and alienated even and certainly confused – probably the emotions gripping him during a two-month residency in Vermont (plus a two-week travel grant to New York) in the United States in 2004. It’s also about how humans and Nature relate in the age of the Anthropocene. The scene is described by academician-critic Carmen Nge in her article, Ahmad Fuad Osman: Evolution On his Own Terms: “… a lone man blithely encountering a stark, wintry locale entirely in the buff… his unclothed state is neither aesthecised nor idealised… A stronger in a foreign locale, Fuad himself was unused to the harsh, wintry climate… the naked body also signals an openness, a willingness to shrug off prior affiliations and identities so as to embrace the new environment.” Fuad started doing figures in 1994 and progressed to nudes in 2002 and male nudes in 2004. Fuad is a member of the cult Matahati artist’s collective. He had residency in Rimbun Dahan (2007-2008), Goyang, Korea (2005-2006), and Vermont, USA (2004). He won the Juror’s Choice in the Asean Art Awards (Malaysia level) in 2000 and 2003, and the APB Signature Art Prize (Singapore), in 2008.
Henry Butcher Art Auctioneers
Jun. 30, 2019
Ahmad Fuad Osman (b. 1969) Study For Fly Me To The Moon, 2007
Est: RM12,000 - RM20,000
The canvas is stretched long vertically and dense with vegetation to emphasize the tough task ahead. A half-naked emaciated man looks determinedly upwards to the moon, which represents hope and light, and with his hands strapped with makeshift wings, outstretched. This work was produced during Fuad’s residency at Rimbun Dahan in 2007, but is not part of the residency’s series. Born in Baling, Kedah, in 1969, Fuad received his degree in Fine Arts from the University Mara of Technology. He was a member of the Matahati artist’s collective. He won the Juror’s Prize in the APBF Signature Art Prize in Singapore in 2008.
Henry Butcher Art Auctioneers
Jun. 30, 2019
Ahmad Fuad Osman (b. 1969) Parasite, 1995
Est: RM22,000 - RM38,000
Ahmad Fuad Osman and his Matahati brethren are known for their parodies on contemporary socio-political issues. Here, going by the title, Parasite, is difficult to tell who is providing succour to whom, although the figures encased inside the orb on top look effete, with a listless arm dropping out. An umbilical cord serves as a conduit of nutrients and sustenance, and is tightly held by the nondescript ‘creature’ at the bottom. It’s aspersions against the hangers-on, right-wing political NGOs perhaps serving their masters’ bidding in return for financial support. Fuad’s credo is that he does not subscribe to a single-thought process, style, medium or material, over another. “Art becomes a window through which I am given a freedom to get to know life, the world and its Creator,” he intoned. Born in Baling, Kedah, Ahmad Fuad Osman was a member of the Matahati artist’s collective. He had won the Juror’s Choice Award in the Malaysian-level Asean Art Awards in 2000 and 2003, and also the Juror’s Choice in the APB Signature Art Prize (Singapore) in 2008. He had residency at Rimbun Dahan (2007-2008); Goyang Art Studio, South Korea (2005-2006); and Vermont Studio Centre, USA (2004). He had his art tutelage at the Mara Institute of Technology in 1991.
Henry Butcher Art Auctioneers
Mar. 24, 2019
Ahmad Fuad Osman (b. 1969) Lost Series #1, 1993
Est: RM18,000 - RM32,000
It was relative early years still for Ahmad Fuad Osman, a staple of the cult Matahati art collective, as the Baling kampong-boy grappled with studies in a big-city and all its attendant distractions and temptations. The initial abstractions with hints of caricatures afforded him a shot at a personal visual language incorporating musical sensibilities ala Kandinsky, to express himself, though later he was to plunge into figurative. This first work of his abstract phase, a tabula rasa as it were, around the time of Matahatiâs first group show, LIFE, at Galeri Maybank in 1993. He described the self-predicament as putting himself in âan unknown place, an unfamiliar situation, uncharted territories, like a deep jungle you donât know of, and instinctively trying to find the way out.â The art critic Carmen Nge wrote: âFuadâs Lost Series is potent indices of an angst of an urban lifestyle â moral confusion, personal and romantic relationships that waxed and waned, erosion of essentialist assumptions about religious and ethnic identities.â His tenor of works often subvert history with ironic interventions of mediated Reality like the Recollections Of Long Lost Memory (2007) which won the Jurorâs Prize in the APBF Signature Prize in Singapore in 2008. Fuad had art residencies in Rimbun Dahan in Malaysia, South Korea and Vermont, USA. He is a founding member of the loose Matahati art collective, together with Bayu Utomo Radjikin, Hamir Soib, Ahmad Shukri, and Masnoor Ramli, the batch of â91 from the Mara Institute of Technology. 123 x 76cm
Henry Butcher Art Auctioneers
Oct. 28, 2018
AHMAD FUAD OSMAN (b. 1969) Waris, 1997
Est: RM28,000 - RM48,000
It's tough for one so young to carry a globe, signifying the world and what a hazy, uncertain and parlous one at that, on one's head, though the well-endowed girl seems capable despite the grimace. The gender specific is no accident, the female always signifying Mother Nature and the hand of nurture and a heart of love, and of course, the reproductive quality which is about continuity and perpetuity. Too much that the Earth is blessed with, are gone or sullied by deforestation, pollution, over-development and other perils. The destructive forces of climate change are very real today, and this environment-skewed work by Ahmad Fuad Osman in 1997 is a most sobering warning. Ahmad Fuad Osman, one of the members of the legendary Matahati collective, now disbanded, is an artist not restricted by media or style. â€œArt is something transient, that cannot be set in black and white, cemented in, or immutable. Apart from my moral and religious uphold, I have never set any limitations or boundaries in the pursuit of creating art. I do not believe in single thought process, style, medium or material over another,â€ he had intoned. He was one of the three Jurors Awards in the APB Foundation Signature Art Prize in Singapore in 2008, for the work, Recollections Of Long Lost Memories. He won the Juror's Choice Award in the Malaysian level of the Asean Art Award in 2000 and 2003. He had been selected for biennales in Singapore (2006-2007), Shahjah and residences in Vermont (2004), Goyang (2005-2006) and Rimbun Dahan (2007-2008). He graduated with a BFA from Mara Institute of Technology (now a university) in 1987. Since 2010, he travels between Bali and Kuala Lumpur. His recent solo was held at A+ Works Of Art, Kuala Lumpur.
Henry Butcher Art Auctioneers