Published July/August 2017 issue of ArtAsiaPacific. To read full article, visit the magazine's Digital Library. (Click on the image to scroll through pages.)
"In one corner of the show was a hyperrealistic silicone effigy of the hanging sacrificial halal lamb—In the Name (2015)—that the siblings’ father had to slaughter in their backyard; in the same room was Wednesday’s Child (2013), featuring a resin-cast, taqiyah-wearing child sitting cross-legged on an ornate prayer mat, looking up at a neoclassical chandelier. Close to the skirting of the room laid some of Abdullah’s earliest works, created during his studies at VCA, including a socket outlet fitted with the protruding blades of an Australian Type I plug: a tongue-in-cheek, almost magical-realist-style protest of the mundane.