Saiful Razman confronts the fragility of reality in common perception using Found Objects and disposable items for some kind of profound proposition. In this 2008 mixed media work, Berhala Berkembar, he relies on Pop-inspired collages (acrylic and bitumen) of his Stripes Painting to reflect on the gloomy post-election political climate back in 2008. Describing his work as part of the ‘New Malaysian Non-Objective Art’, Dr. Simon Soon in his essay, Returning to Painting as Painting (September-October 2008), wrote: “Saiful Razman’s paint-rolled stripes, alternativing in bands of red and white, are developed from his previous series, Pelan-Pelan. This body of work came from observing the stain and grime left on the gallery wall after exhibition were closed, when the walls needed repainting to return the space to a former state of working order... The effects of staining illustrates the operation of entropy at hand. The collapse of a system or order is not merely suggested in his works, but also imprinted and performed on the canvas.” Saiful Razman was the joint Major Award winner of the 2016 Young Contemporary Artists competition. He was Rimbun Dahan’s artist-in-residence in 2004, and won the jury prize Justin Louis Award in the 2005 Freedom Film Festival in Kuala Lumpur. He graduated with a BFA from Universiti ITM in 2003. After his first solo, Pelan-Pelan & Bilik Gerakan, at the Annexe Gallery in Central Market, Kuala Lumpur, he featured in three consecutive solos at Richard Koh Fine Art, namely, Ereksi Jeneral (2012), Forms Of Void (2013) and Vertical Speed (2015). He was featured in the Kuala Lumpur Biennale and the Unreal Deal: Six Decades of Malaysian Abstract Art exhibition.