Tell us about the GERIMIS Art Project and how it came about?

GERIMIS Art Project (GAP) is a collaborative artistic and archiving initiative and platform that co-creates artworks and cultural content with indigenous Malaysian (Orang Asli - OA) artisans, contemporary artists, and communities. GAP explores the histories and narratives of the Malaysian natural environment and its residents, and collectively documents and presents the shared stories, practices, and adaptations of OA culture and community through artistic means. GAP aims to be a collaborative partner for OA communities around Malaysia to empower and facilitate the autonomy of their discourses, and combat structural and systemic discrimination to build a more inclusive Malaysian society.

We (Sebastian and Wendi) started the project in March 2018. We have a shared interest towards nature and it eventually coincided with the Orang Asli narratives. The idea came when we went hiking in Ayer Hitam Forest Reserve and learned that there are Orang Asli (OA) living in Puchong (a major township in Selangor, Malaysia)—which challenged all our preconceptions about Orang Asli as we previously assumed that they only lived in remote areas of the forest. This encounter made us realise that we don’t know much about our indigenous people, whose history, stories and narratives have been systematically marginalised from top-down. As creatives, what was the best way for us to learn? Through an art project. But we didn’t want to do an art project about OA. We wanted to do an art project with the OA, to grow together creatively, and to encourage knowledge exchange. Thus, birthed GERIMIS Art Project.

What inspired you to create your two zines, Solastalgia and Mad Weave? And why choose zines as a medium?

One of the projects under GAP is producing zines. There are two reasons why we chose this medium to present information. (1) We wanted to compile and share the stories our Orang Asli friends have shared with us in the forms we are most familiar with, which are writing, illustrations, and design. (2) We wanted to marry art and environmental education, as a way to bring Malaysians closer to the natural heritage that we have and to protect this fast disappearing landscapes alongside the true custodians of the land, the Orang Asli.

We wanted to create something that is digestible and interesting to read, because people are desensitized towards scientific data, and overused words such as ecosystem and green lungs and sustainability. Through reading the zines, we hope our readers not only understand the messages intellectually, but empathise with their hearts, hopefully driving a social change towards how we view and treat nature and towards a more inclusive nation where we build this country with every citizen, especially the Orang Asli to be included in decision-making processes that directly affects the forests and land they live on, and to be given autonomy towards their customary lands and way of life.

Sebastian: Our relationship with Mad Weave began with GAP when we were building our network of Orang Asli weavers to be featured in our art exhibition. We wanted to showcase the craftswomen behind beautiful crafts, to highlight the love and labour put into craft-making, and to tell the stories behind each craft. Through Gerai OA, we were introduced to Master Weavers Mak Yau and her daughter, Nadiawati Miah—the two ladies featured in the zine. Their stories are our biggest inspiration, as each visit to their home would always reveal something new and interesting, and these stories gave an insight into the lives of the weavers apart from the crafts itself.

Wendi: Solastalgia kind of grew with us over the years as we visited more villages and spoke to more weavers and Orang Asli who are defending their customary lands. The more stories we listened to, the more we drew the connection between the forest, crafts, and the people. We felt these stories should be shared with the world, rather than kept in our hearts and written on pieces of paper as fieldwork notes. That’s why we were compelled to put together this zine.

How did you first meet your Orang Asli collaborators? How important has collaboration with your subjects been in the process of creating these works?

Sebastian: We met them from a monthly craft pick up with Gerai OA when we wanted to learn from the weavers about their crafts. There were always more stories unfolding with every visit. They are as much a storyteller as they are weavers. Every word and illustration in the zine is not possible without their input and them welcoming us into their lives. The most heartfelt visit was when we went fishing with the weavers by Langat River, which gave us a deeper insight into their lives.

Sharon: Being with the people, talking to them and knowing them personally have a big impact on my view towards the Orang Asli ways of life, worldviews, spiritual beliefs, passion and talents. Through their expressions, we understand nature isn't just something they rely on but is intrinsically part of them. The face-to-face conversation gave me a deeper impression of the stories and issues because they opened up to us more as friends and we got to ask more complex questions and discover different angles. There are always unexpected stories every time we talk to them. The happiness and sincerity come from within is a treasure. All that I have received widened my imagination as they gave more details and inspired me to paint a better picture. Witnessing with my own eyes and listening to their voices definitely helped me to visually shape my thoughts and feelings in order to tell the extraordinary stories that have happened and are happening to the places and people that we have visited.

Crafts and the space they take in the interrelationship between forests and people plays a central role in Solastalgia and of course Mad Weave, what led to your idea to focus on crafts in your zines?

Crafts have always been our entry point and conversation starter whenever we first visit any village. Naturally, our thoughts and the stories we often listen to are shaped by crafts. Furthermore, crafts wholly encapsulate the issues that Orang Asli are currently facing. The loss of land or forests is reflected through the crafts.

This project has been 3 years in the making, how has it shifted over time since the story began?

Sebastian: Throughout the years, we are slowly piecing together all the fragments of the stories we’ve encountered like puzzle pieces into a larger picture. Every visit brings forth new stories and perspectives. From our initial idea to talk about the crafts shifted into issues of land rights, climate change and the history of our Orang Asli collaborators.

Wendi: What initially started out as an art project (it still is) led us to learn more about land rights, land use, forest management, so on and so forth. We cannot separate Orang Asli’s arts and culture from the forest—and because land matters are extremely political and contested in Malaysia, we cannot divorce from talking about these matters while doing this project.

Before thinking of preserving heritage and culture, we need to first promote the preservation of our forests. Orang Asli culture is deeply rooted to the forests and land. Land is their identity. This ensures the continuity of their arts, culture, and tradition. If we fail to protect the forests, Orang Asli’s culture will just become another museum item, and not a living culture/heritage.

Tell me about the creative process in the GERIMIS studio, with the lino cuts, and the illustrations throughout the stories (who did what etc).

Sebastian did the digital illustrations in Mad Weave. Sharon did the illustrations in Solastalgia.

Sebastian: Most of my process consists of mostly interpreting our Orang Asli collaborators’ words, as Mad Weave holds a more journalistic point of view. A bit of researching is required because of the things the weavers talk about are either locally extinct or from a long time ago. We would also go back and forth with them to confirm parts of the work in terms of accuracy based on their memories.

Sharon: As Solastalgia is broken up to 3 chapters, it’s a chance for me to explore different mediums to tell the different relationships. (1) Forest & People: I used calligraphy brush and freestyle drawing, which is my favourite way of expression. (2) Forest & Crafts: I used linocut art as I also enjoy the work of carving. (3) Crafts & People: I did artline pen drawings, employing a slow process and added more details.

I was amazed to discover that one of the villages you worked in, is situated just 15 minutes from Kuala Lumpur International airport. Your work challenges the assumption that indigenous forest cultures exist as something only found deep in the forests, hundreds of miles from urban centres, would you agree?

Yes, that is the very catalyst that started GERIMIS Art Project.

The zines have a documentarian quality with the use of photographs at the end, could you explain your choice to include these?

Sebastian: In Mad Weave, we included not only illustrations of the weavers but also photos of our visit throughout the past 3 years. The illustrations play a role in reimagining the past through the weavers’ memories, while the photographs capture their lives today.

Wendi: For Solastalgia, I wanted readers to connect with our Orang Asli friends through the photographs. Throughout the whole zine, they immerse in the stories and illustrations, so at the end when they look at the photographs, it creates sort of a grounding effect. Also, I want to share the warmth and kindness that our Orang Asli friends have given us throughout the years, to show them in full pride and ownership of their culture and identity, that they are truly custodians of the land and forests.

What’s next for the GERIMIS Art Project?

Sebastian: There are definitely more stories to be told. I want to explore the dance troupe of Master Weaver Yau Niuk.

Sharon: I’d like to learn more about Orang Asli carving.

Wendi: To branch out from crafts and into traditional ecological knowledge!