| Summary: | This paper will discuss a few wori(s of Ismail Zain in the larger context of ambivalent aesthetics and
artistic approach that can be suggested in the reading of his earlier wort<s prior to ·Digital Collage"
(1988}. Ismail Zain (1930 - 1991}, was born in Alar Setar, Kedah and educated at Ravensbourne
College of Art. United Kingdom and Slade School of Art. London Unive~jty. He was the former
Director of the Malaysia's National Art Gallery; Director-General of Culture, Ministry of Culture. Youth
and Sports; and Director-General of tha National Film Development Corporation (FINAS}. Despite his
demanding and hectic career, Ismail zaon was never out of touch from the Malaysian art world and in
his life. he has produced a significant number of art wort<s that holds great importance in the
Malaysian art history developmenl This first part of thos paper will discu&S Ismail Zain's works that
employs the ornate and floral motives and how his works need to be contextualised and understood
within the inclinations or Malay/Islamic-centred art inherent during the 1970s and 1980s and also
within the incoming of postmodem art tendencies in Malaysia. Hence, I argue here that through these
works he negotiated his artistic and aesthetics position within these two proclivities. The second part
o f this paper will discuss briefly the artistic strategies of his more renowned work in the context of
postmodern art approach.
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