Nursyafaasyurah Binte Mohamad Zamari
About
Nursyafaasyurah is an artist whose practice centres on memory, time and change, explored through printmaking.
She is interested in memory as both fragile and enduring, something that can fade, fragment or resurface unexpectedly. Her work reflects on how lived moments leave emotional imprints, and how memories are carried, altered and reinterpreted over time.
As a printmaker, Nursyafaasyurah's practice engages with the passage of time and the relationship between the past and the present. She approaches image-making through layering and reworking, where each mark holds a trace of what came before. Time is treated as fluid rather than linear, with images becoming spaces for return and reflection.
Using material experimentation and image-making as her primary medium, she allows process to guide her work. She expands beyond print when needed, incorporating materials such as fabric, paper or found objects in response to each project. Her practice remains open, allowing materials to carry their own histories while contributing to the work.
Jejak
Singgah
Singgah, meaning to pause or stop by briefly, reflects a return to memory without ever fully arriving.
The work draws from family archive photographs of the artist's kampong and former homes—places that can no longer be physically revisited. Personal histories and past environments shape the visual language of the prints. Through cyanotype and printmaking, these images are approached slowly, using repetition, layering and material experimentation to hold fleeting experiences.
The project consists of five series, each exploring different ways in which memory is fragmented, reconstructed and reinterpreted through material processes. Across these series, she translates memory into a physical form, creating a quiet bridge between the past and the present. In doing so, the home is momentarily revisited and gently reimagined through print.
Menjalin
Research methodology and theoretical framework
The artist drew from family archive photographs of her kampong and former homes, using them as primary visual sources to explore memory, loss and place. These images are not treated as fixed documentation but as starting points for reinterpretation.
Through printmaking and material-based processes, she experiments with repetition, layering and material translation to investigate how memory can be reconstructed through tactile making. The process is reflective and iterative, where making and thinking develop together. The artist also refers to personal observation, lived experience and visual research as part of her investigation into how inaccessible spaces can still be emotionally accessed through material practice.
The work is informed by theories of memory, nostalgia and photographic representation. It considers photography as an indexical trace of the past, but also as something that becomes altered through time, repetition and reinterpretation.
The idea of Singgah, to pause or stop by briefly, frames the artist's conceptual approach. It suggests a non-linear engagement with memory, where revisiting the past is temporary, fragmented and never fully complete. This connects to ideas of absence and presence, where memory exists as a layered experience rather than a fixed narrative.
The artist also draws on the concept of the archive as something active rather than static, where materials can be reactivated through artistic intervention. In this sense, the work sits between documentation and reconstruction, using material processes to explore how personal and familial histories continue to exist through touch, repetition and transformation.
Wang Runxin
Natalie Savann Oh
Emma Chong Ai Chzer (张爱慈)
Manasi Agrawal
Tanika Gupta
Justine Enriquez (Redd)
