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AT just 24 years old, Rizalman Muhammad Yakin from Semporna channels the struggles and spirit of his community into his art.

Three of his works are featured in the Fresh Lines exhibition  two in wet media and one in dry each exploring the identity, resilience, and cultural beauty of the Bajau people. 

Among them are Lallah Dorogan, Graduan Laut, and Uncivilised? pieces that bridge cultural storytelling with social commentary. One is done in charcoal on paper, while the other two are oil on canvas.

In Lallah Dorogan, Rizalman highlights a cherished cultural tradition of the Bajau community in Semporna, celebrated through the annual Regatta Lepa-Lepa festival.

He portrays an older man as the embodiment of Lallah Dorogan, symbolising wisdom, experience, and the role of elders in preserving ancestral knowledge and traditions.

“Lallah Dorogan serves as an important cultural platform that educates and inspires the younger generation to appreciate and uphold their heritage,” he said.

The work underscores the importance of safeguarding Bajau culture and promoting its distinctiveness for future generations.

In Graduan Laut, Rizalman turns his attention to the aspirations of the Bajau Laut, also known as Pala’u a seafaring people often marginalised by modern society. The artwork delves into themes of hope and identity, reflecting their decision to remain at sea despite the conveniences of life on land.

“This decision is not an act of resistance to change,” Rizalman said. 

“It is a conscious effort to preserve their cultural roots and ancestral way of life. Their refusal to fully assimilate into modern norms symbolises strength and resilience an achievement in maintaining cultural integrity within an increasingly uniform world.”

He added that while the Bajau Laut live on boats or stilt houses rather than in urban environments, their strong sense of family, perseverance, and community remains unshaken. 

Through Graduan Laut, Rizalman urges viewers to reconsider the meaning of success and progress, celebrating the Pala’u people for their courage in living authentically and upholding their heritage amid the tides of modernisation.

But his most powerful and deeply personal work, Uncivilised?, draws from an absolute tragedy that struck Semporna in June last year. 

Their homes were demolished and burned under the pretext of disrupting social order and trespassing.

The artwork also reveals the remarkable beauty of the marine environment – one that the Pala’u community has preserved and cared for across generations. Yet, they continue to be labelled as “uncivilised” or PTI (undocumented migrants), despite their long history of inhabiting the waters of Semporna long before Malaysia was established.

“Merely because they choose to uphold their traditional seafaring lifestyle and resist modern development, they continue to be marginalised and misunderstood.

Regardless of public perception, they are human beings too deserving to be treated with dignity and to live on this earth just like the rest of us.

“How can they be called ‘uncivilised’ when they have preserved the beauty and harmony of the sea for generations?” he questioned.

As a Bajau himself, with roots in Pulau Pababag and Pulau Bayu, Rizalman views his art as a voice for awareness and empathy, a means to illuminate his community’s struggles, especially those facing statelessness and discrimination.

“Some may call them PTI,” he said, “but we must learn to tell the difference and not judge too quickly.”

Through Uncivilised?, he hopes to inspire reflection and compassion, reminding audiences that behind every cultural stereotype lies a story of humanity.

“Art allows us to tell stories that would otherwise remain unseen,” Rizalman said. “It’s more than colour and form, it’s a voice for those who are unheard.”

Asru Lakmal Wali

“I grew up in a fishing village. The hardship of the fishermen… that is what I want to show.”

At just 25, Kunak-born artist Asru Lakmal Wali captures the silent endurance and unwavering spirit of a fisherman whose life is inseparable from the rhythm of the sea through an abstract painting approach.

This method is fundamental to his storytelling, allowing him to portray Sabahan fishermen from a fresh perspective – using shapes, colours and form to evoke emotion without relying on literal representation.

Through bold strokes and layered textures, Asru channels the tension between hardship and hope, mirroring the fishermen’s daily negotiation with unpredictable tides.

In creating The Libu-Libu series, Asru’s portrayal was never imagined from afar. Determined to understand the lives he sought to depict, he returned to the sea, quite literally. 

The title itself, Libu-Libu, is derived from the name of his own boat, Kalibu, symbolising both a vessel of survival and his enduring connection to the ocean.

“I followed the fishermen,” he recalled. “I went sailing with them, watched how they worked, and observed everything.”

This experience became his research. Each weary breath he witnessed reflects their struggle against relentless waves and unpredictable storms in search of sustenance. Before dawn, they are already out at sea, braving the cold breeze with resilience. 

Their weathered hands, marked by years of labour, bear silent testimony to their dedication and perseverance. The hardships they endure embody the courage and determination of fishermen who continue to navigate life’s uncertainties.

Asru often paints from aerial perspectives: the tight, cramped arrangement of wooden houses in his village; the boats seen from above; the narrow, intimate spaces fishermen call home.

By stepping into their world, he ensures that every stroke carries both artistic intention and the lived truth of the people whose stories he aims to honour.

Although Asru is of Kagayan descent, he grew up among the Suluk community, absorbing their traditions, language, and way of life. 

This cultural blend shaped his worldview and naturally, his art. One recurring subject anchors the entire series: the kalibu, a traditional boat used widely by the Suluk community and many coastal villagers in Sabah. 

This boat, both symbol and subject, later inspired the title Libu-Libu, making the series a tribute as much as a reinterpretation.

Technically, Asru’s process is meticulous. He works layer by layer, patiently waiting for each acrylic wash to dry before adding the next. This method builds depth and colour maturity the visual equivalent of time, labour, and experience etched into a fisherman’s life.

“People think abstract art is easy,” he said with a soft laugh. “Like you can just conteng-conteng. But no. The colours, the layers, the composition… you have to think about all of it.”

For him, the subject anchors the meaning. “It’s the subject that carries the story,” he explained. “When people look at the painting and ask, ‘Is this a boat? What is this?’ that’s when I can tell them the story.”

Beyond his own practice, Asru carries a quiet hope for Sabah’s emerging artists.

“I hope local artists continue to be given opportunities,” he said. “What we create reflects our identity our country, our state. It’s something important to protect and pass on.”

Eve Eftasonia Simon

From the beauty of traditional garments to the struggles of everyday Sabahan life, 24-year-old Eve Eftasonia Simon choose to brings Sabah’s culture into a space of deep nostalgia – one that fills not only our memories but also our senses, especially taste.

Eve, who is currently pursuing her Master’s degree in Visual Arts, uses food, portraiture and cultural memory as her visual language to tell stories of home. Her works celebrate the richness of Sabahan identity while inviting viewers to reconnect with the flavours, faces and traditions that shape the community.

She showcases three pieces centred on traditional food: Santapan Keluarga I and Santapan Keluarga II, both accompanied by a live display of authentic dishes for visitors to experience firsthand.

The third work, Our Culture, depicts an elderly woman adorned in the traditional attire of Kota Belud – a garment known for its intricate beadwork and symbolic motifs that reflect lineage, identity and pride.

Through this painting, Eve celebrates the elegance, strength, and dignity of the woman while honoring the cultural heritage of the Borneo community. 

Her attention to detail and the use of vivid colors to capture the beauty and craftsmanship of traditional Kota Belud garments. It serves as a tribute to the enduring identity and pride of the community, reflecting the harmony between cultural preservation and artistic expression.

While her portrait work offers an intimate window into familial memory and cultural legacy, the Santapan Keluarga series captures something shared across all communities in Borneo: food, family, and togetherness.

For Eve, the decision to focus on food stemmed from a desire to highlight an often-overlooked aspect of Bornean identity.

“When people talk about Borneo, they often show traditional clothes, performances, or ceremonies. Food is rarely the main subject. 

“But food is something we all share, regardless of ethnicity. That’s why I combined dishes from different communities and called the series Santapan Keluarga,” Eve said.

In Santapan Keluarga I, Eve depicts a traditional Bornean meal enjoyed among family members, capturing the warmth of home and the rich flavours of the region. Each carefully rendered dish symbolises cultural heritage and the emotional significance of gathering to eat.

The painting celebrates unity, gratitude, and the way simple moments; such as sharing food, preserve identity and strengthen bonds between generations.

Santapan Keluarga II continues this narrative, portraying a serene afternoon meal filled with traditional dishes. The composition highlights how even the simplest meals can hold profound meaning, serving as vessels of memory, connection, and ancestral tradition.

Through vibrant tones and a thoughtful arrangement of food, the artwork evokes warmth, intimacy, and the timeless beauty of communal dining in Bornean culture.

Beyond painting, she even brought authentic traditional dishes to the exhibition.

“When you only look at a painting of food, you don’t know how it tastes or what it really looks like. So I brought the real dishes so people can see and understand the experience,” she said.

Portraiture remains her personal favourite medium. She frequently accepts portrait and mural commissions, drawing inspiration from different regions and communities across Sabah.

Like many emerging artists, Eve recognises both the opportunities and challenges of creating art in the age of Artificial Intelligence (Ai).

“Ai is art too. We cannot deny that,” she said. “AI uses examples from real artists online, but personally, it doesn’t threaten me. It actually helps, especially in generating ideas.”

While she acknowledges concerns about Ai drawing from human-made work, she chooses to focus on its potential as a tool to expand creativity.

“If we look from a positive angle, Ai is good for artists. It helps broaden our ideas,” she said.

To young Sabahans with a passion for art, her message is simple: “Keep going. Keep practising. Don’t be afraid to join exhibitions anywhere.”

#  Final of a three-part series