Peti Seni: The Beginning of Spatial and Immersive Experimentation

Photos: All photos are credited to En. Ameruddin Ahmad

Looking back, my first real experiment with space as a conceptual element began with Peti Seni in 2005 at the National Art Gallery of Malaysia. The project took place within a cabin-like structure, which provided a unique opportunity to explore ideas of containment, transformation, and reflection.

This project was deeply personal and political. That same year, Denmark became the center of global controversy due to the publication of cartoons mocking the Prophet Muhammad in a Danish newspaper. Living in Denmark at the time, I found myself caught between two cultural realities, experiencing the tension from both sides. This moment of conflict and dialogue made me reflect on several crucial questions:

• How do we hold space for multiple perspectives without erasing each other?

• How do materials, space, and text function as carriers of meaning?

• How can installation art act as both a response and a site for contemplation?

In Peti Seni, I used the 99 names of Allah as a central theme, writing each name on pieces of blank paper and attaching them to the walls of the cabin using satay sticks—similar to the sticks used to make satay. These pieces resembled small flags, creating a layered and immersive experience within the space.

The decision to shape them into small flags was intentional. Flags are powerful symbols of identity, belonging, and territory. By transforming sacred names and daily news into flag-like forms, I was questioning the idea of ownership over narratives—whether religious, political, or personal. Who gets to define identity? Who claims space? At the same time, these fragile paper flags, unlike national or institutional banners, were temporary, delicate, and easily moved by air or touch, reflecting the impermanence of power, faith, and information. The way they covered the walls of the cabin created a visual experience akin to waves of shifting messages, mirroring the fluid nature of identity and belief.

The rest of the installation followed the same format, but instead of using blank paper with written text, I cut daily newspapers into the same size and attached them in a similar manner. Newspapers, as carriers of contemporary discourse and political narratives, provided a stark contrast to the sacred names. This juxtaposition of divine words and transient, worldly news emphasized the tension between permanence and impermanence, spirituality and media, and the sacred and the profane. The repetition of these paper flags, whether inscribed or left blank, also suggested a meditative rhythm—an attempt to create a space of reflection amid the chaotic influx of daily information.

Later, I opened the door for public participation, inviting visitors to create their own little flags and place them on the walls and floor. This interactive element transformed the installation into a collaborative experience, emphasizing the communal and evolving nature of meaning-making within the space. By allowing others to contribute their own flags, whether blank or inscribed, the installation became a living space where personal reflections and public discourse intersected.

This was my first significant attempt at using installation art to navigate complex themes of identity, belief, and coexistence—concepts that have continued to shape my artistic practice today.

The experience of Peti Seni laid the groundwork for my ongoing engagement with spatial and immersive installations. It taught me the power of space in storytelling, the potential of text as both material and meaning, and the importance of creating spaces that invite reflection rather than dictate conclusions.

As my practice has evolved, these foundational inquiries remain central to my work. From installations using maps, gauze, and text to performances involving cultural objects, my exploration of space continues to be a dialogue between the personal, the political, and the poetic.