Kosmo – Seni Daripada Kaca Mata Saintis

January 29, 2018

Kosmo – Seni Daripada Kaca Mata Saintis https://lyneismail.com/wp-content/themes/fildisi/images/empty/thumbnail.jpg 150 150 Lyne Ismail Lyne Ismail https://lyneismail.com/wp-content/themes/fildisi/images/empty/thumbnail.jpg January 29, 2018 April 4, 2025

http://www.kosmo.com.my/k2/varia/seni-daripada-8232-kaca-mata-saintis-1.599161

Dr. Roslina Ismail, or her artist’s name as Lyne Ismail has always been fascinated with the dual conceptions of art and science and how they influence one another. She graduated in 2017 with MFA in Fine Arts and Technology, majoring in Painting from UiTM, Shah Alam, Malaysia. She also has a PhD in Engineering (Nanotechnology) and MEngSc. in Advanced Materials from the Faculty of Engineering, Universiti Malaya, Malaysia. Her first degree is in Chemistry from the UMIST, United Kingdom. She believes that her career in science and life experiences are essential to expressing her creative works. Immersing herself in art-making creates the in-between space that thrives in mystery and ambiguity. This process spurs her creativity like a fountainhead overflowing insides of her. Her arts speak of her ideas and views of abstraction that uses a visual language of shape, form, colours and lines to create a composition without direct visual references. It somehow converged the similarities of reductionisms in both science and art. By relaxing the structured criterion that requires one-on-one mapping, she realised that art and science could correspond in non-literal and creative analogies that create a safe space for experimentation and exploration over new possibilities. Her paintings come in different series that communicates her imagination on the concepts of birth, the existence of parallel worlds, and the beauty of micro landscapes of the seemingly mundane surface. She has been actively taking part in art shows and exhibitions in the Malaysian art scene since early 2017. Dr Lyne Ismail’s practice investigates the threshold where matter becomes perceptible. Her paintings do not depict; they register forces—colour, rhythm, and resistance—before form stabilises. Positioned between scientific thinking and intuitive making, her work reframes abstraction as an encounter with material intelligence. Rather than resolving meaning, her paintings hold it in suspension. They invite viewers not to interpret, but to linger.