Zainal Abidin Musa, a Malaysian artist

Working with wood

2011-09-08T09:24:00.001+08:00

In recent months, much of the studio floor space at Pohon Rimbun has been taken up by all kinds of wood -- angsana lah, rambai lah, and other wood types we have yet to identify (I think we can get this done at the Malaysia Timber Board...nantilah...). Oh, and the floor is literally littered with wood shavings, too!

The reason for all this mess -- or shall I say, creative mess -- is that I have embarked on a new project doing wood sculptures.

The outcome? Perhaps we shall see the full outcome by next year. All I can say for now is that I have completed 3 wooden sculptures which look pretty amazing, whimsical and a touch lewd, too, if I may add!

Well, hope the creative process runs smoothly for me...will keep things posted soon!

Printmaking workshop with the Bingley family

2011-04-15T09:30:00.043+08:00

Another outdated post, but one I feel that should have its place here.

During one of Bingley's visits to the studio/gallery, we did something a little different with his two children, Imen and Iza. While Bingley toured the gallery space (which was exhibited with Tengku Sabri's drawings and wood sculptures), the children had their first experience of a printmaking workshop.

During my ITM days, I had actually majored in printmaking. It's actually a form of art that requires great patience, discipline, technical knowledge, forethought and the ability to imagine in a "reverse" way. Printmaking is a great mental exercise that challenges your set perspectives and the way you view things! Also, doing woodcut prints is a very tactile form of art -- from the sketching, the carving, application of colour and the final imprint of wood onto paper -- something that I truly enjoy. One can be totally immersed in the process of printmaking, oblivious to current surroundings!

That afternoon, Imen and Iza worked with wood; first, making the image selection, then sketching it out with pencil on a piece of wood block. After that, they used the carving tools to scrape away on the wood, creating various interesting textures. Finally, the ink was applied and the image was transferred onto paper. The two of them never had any experience in printmaking previously, but the results were pretty amazing!

Awie also did a spontaneous print of the two children hard at work. Awie has been polishing up his skills in printmaking and is enjoying this art form immensely!

Life in a time of monsoon

2010-12-04T12:50:00.002+08:00

The 25-year old wreck made of cengal

29 November 2010.

Going around Kuala Besut has led me to meetings with really fascinating people. This time, I met a man named Pak Eden. He goes around looking for old, abandoned boats, repairs them and sells them. He prepared five boats for U-Wei's latest movie, Hanyut. He offered to do up a small boat for me, an 25-year old wreck...but a beautiful wreck nonetheless, made of kayu cengal. I might take him up on that offer...who knows it will soon be displayed at my studio!

Later that afternoon we bade goodbye to Lan and Long and headed south to Batu Rakit where Awie's parents and his kids live. We stopped at Penarik, revisiting old haunts and did some waterclolours and pastels. Just some small sketches.

Painting the monsoon has taught me new lessons. I can't look at the landscape like i used to when I was doing the sunrise and sunset. The colours are not the usual.

Sometimes it's wet, no sun. Then, in some cases, like in penarik, it's bright and sunny and you get the colours and contrast and clear forms. I have to do something to show how different the light, colour and ambience are during this monsoon period. Maybe I will show this through the subject matter. I'm not sure yet. For now, I will just go along, observing and painting what I know -- the coconut leaves, the wind, the sounds, the morning activities, the sunrise, the food, the people...There's just too many places and things going on. I'm glad to have my camera to record all these as reference.

By the time we reached Batu Rakit, it was already dark. Awie's daugther is so pretty, she's about Musa's age. But his son, Saiful, is already in Sepang for his berkhatan with his cousin.

In front of Awie's house there stands a pokok rambai which is estimated to be more than 70 years old. In a few days' time, the village people are planning to cut it down. Great, timber for my sculpture! I'm making arrangements for someone to cut the pieces up and with the help of Awie's brother-in-law, we plan to take these back by lorry.

That night, we managed to get Ikan Lembat Salai, a delicacy here in Batu Rakit Darat. It's a seasonal fish, netted among the marshland only during the monsoon season when it's too rough to go out to sea. It's smoked to bring out the great flavours. That's for lunch tomorrow!

We woke up early next day and headed to the Batu Rakit beach to catch the sunrise. This time of the year, you get to see many fishing boats lined up next to each other on the sand -- a holiday for them and their owners. Still, if the weather permits, the brave ones go out to sea.

One of the last remaining British forts built during WW2.
And in the background, our trusty wheels!

The sunrise was cloudy and tiny drops were descending from the sky. You can't really see them but you feel the gentle rain on your skin. It's so cold and grey, and suddenly, the sun appeared! That's how it is here...the weather catches you by surprise and you never know what to expect from one minute to the next.

The locals here are forever grateful for any little bit of sunshine they can get during this period. At least, the clothes will dry. Funny, though, whether it drizzles or rain, you don't see anyone here carrying an umbrella. Nobody minds getting a little wet!

We later visited the famous Pasar Payang and got a batik shirt for a friend and a kain sampin for myself. After that, we went to Merang to do some sketching. The mood there is simply beautiful, especially the sunset during this tengkujuh time.

More photos here.

From Besut to Bachok

2010-12-02T10:19:00.007+08:00

Pok Seng

After our harrowing journey from Pulau Perhentian Kecil, we made our base in Kuala Besut for a couple of days.

At the jetty, I took some photos of the place -- fishermen were repairing nets, some were just lepaking, the boats were bobbing quietly against each other...

One particular man caught my eye. An old Chinese fellow, probably in his 80s. As he walked around the area, it seemed like everybody knew him. I found out that he was an anak jati terengganu, having spent some time in batu rakit since 1947 and later moved to Kuala Besut in 1949. He works repairing boats and engines. His name was Pok Seng, and, boy, could he tell stories of Kuala Besut -- its history, the events that happened here.

According to him, in those days, there were no fancy technologies for fishermen to depend on. They only had their skills and simple observations of nature to rely on. Before going out to sea, they would literally "read" the signs in the air and the water. For example, the presence of many dragonflies foretold of the coming monsoon. Or counting the number of waves would reveal the exact moment to cut through the water to get to the rivermouth. And looking or putting their ears to the surface of the waters would enable them to identify what fish lay beneath.

He was quite a character!

An Abdullah Badawi lookalike

At noon, we had nasi kampung with ayam kampung goreng and the ulam-ulam that we brought with us. The day before, we had gulai itek, ikan keli masak lemak, ikan singgam, ikan tawar, budu ikan perkasam and lots of ulam. Delicious!After lunch I went to Tok Bali and to my surprise I saw the signboard to Bachok and Melawi. I didn't realise how close Bachok was to Kuala Besut. I used to live in Jelawat, Bachok, many years back in 1975 when I was in my mid-teens, with my eldest sister who was teaching in one of the schools there.

Monsoon in Melawi

So I re-visited the house we used to stay in and the beaches of Bachok, Pantai Irama. It has chaged so much. Pantai Irama used to be so clean and quiet -- I would go there almost every week. I realise now why I like to paint scenes of the beach and the sea. It has got something to do with my past experience there. Oh, but now, the beach is so dirty.

One of the specialities in Tok Bali is the pulut with ikan tawar (grilled ikan selayang). Very nice, but not good for me!

Boats at Tok Bali

More pictures here.

Caught in the monsoon!

2010-11-30T22:34:00.002+08:00

The brewing storm

"Jangan lalai!"

Those were Lan's last words of caution before we all jumped into the tiny boat in the drizzling rain, pushing off the shore for the mainland. He meant it for Long, the boat driver.

They've made the journey together countless times, from Perhentian Kecil Island to Kuala Besut jetty, a trip that, in good weather, usually took only about 30 minutes. But this time, with the winds threatening to blow again, and the rain picking up, we weren't even sure if we'd reach the mainland in one piece. The monsoon had claimed many lives before this.

One quick prayer, and with my trust in Long, we shot straight into the dreadful, brewing weather.

Our tiny boat

Lan and I sat in front, while Awi took the middle row. Long, navigating from the back, had earlier warned us not to panic and, no matter what, to be quiet, he would handle the boat.

I was thinking of my wife and kids the entire way, and what I was going to hold on to should we capsize! Lan, as though reading my mind, whispered, "If anything happens, just hold on to the boat."
Mid-way, we encountered huge waves that just kept hitting hard on the boat, non-stop. Then one particularly monster wave rolled up and almost overturned the boat! I could see Lan's face. We were all scared. Then Lan switched places with Awie; he took a piece of rope and tied it to a petrol container. I knew that he was preparing something for us to grab on to should the boat capsize.

The ride was rough but Long was a fine driver. His skill was once again tested as we approached the river mouth of Kuala Besut. The waves and current at the breakwater were extremely strong, pushing the boat backwards. There were two big fishing boats there as well, both struggling as much as we were.

We could actually see the jetty and knew that if we could just pass through this part of the water and enter the river mouth, we would be home free. But the choppy waters kept throwing our boat back and forth, left and right.We looked at each other's pale faces. I could only think of my family.

Long slowed down the boat engine, waiting for just the right moment to cut through the waves. He finally made a decision, revved up the engine and shot through the waters. I wasn't sure if we would make it, and just left it to fate. After several seconds or minutes, I don't know which, of struggling to ride the waves through the opening in the breakwater, we finally made it!

Safe on land

What a relief! Long immediately cut the engine and the boat just bobbed in the calmer waters. Muka Long yang hitam pun boleh nampak putih! Well, he's the driver with four lives in his hands...I guess he felt the pressure!

Once on land, I rushed to pee! I wanted to text Ena to tell her I was safe, but I couldn't find my phone. A few people came by, surprised to learn that we had made it from the island in this weather.

It was almost 1pm when we reached the mainland. I don't know how long we had been in the water, but it was the longest ever ride for me.

C-3PO: Sir, the odds of successfully navigating an asteroid field is approximately three-thousand-seven-hundred-twenty to one!
Han Solo: Never tell me the odds!

From The Empire Strikes Back

More pictures here.

"All right, Chewie. Let's get outta here!"

2010-11-27T13:30:00.003+08:00

"All right, Chewie. Let's get outta here!" Han Solo, Empire Strikes Back

Last night, after that fantastic ebek dinner, I sat down with Awie and Lan to discuss our plan for the next few days. I was hoping to experience the monsoon on the island but Lan said we shouldn't wait for it here. Because once the monsoon hits, we might not be able to get out of the island for at least two weeks, due to the continuous bad weather. And we couldn't stay that long because of limited supplies.

So the plan was to leave the island on Sunday morning. Well, that very night, it started to pour and the wind blew in great gusts, howling away, "here we come!" It was a frightening sound, one I can't imagine how to paint! The moon was bright so I could see the coconut trees swaying roughly from where I was sleeping.

This morning, when I woke up, the weather was very cold and it was still raining very heavily. The cloud formations were huge and dark. The entire sky seemed like it was crying. The winds were blowing intermittently. Huge waves were rolling in and I could see the contrast in colour between the greyish blue sky and the greens of the water at the shoreline. It was impossible to imagine any kind of sea travel today!

But when Lan woke up, he took one look at the sky and said we would have to leave immediately when the rain stopped. Otherwise, we would be stuck here for two more weeks without food and clean water supply.

It was a grim moment for all of us as we quietly but hurriedly packed up our things and water-proofed them in plastic bags. Luckily, before we left the mainland on Wednesday, Lan had already advised us to pack light.

To be honest, I was very frightened to go out into the sea in this kind of weather. Furthermore, our boat was small, tiny compared to these monster waves, and worst of all, we didn't have any life jackets...

More pictures here.

Fresh!

2010-11-26T13:13:00.015+08:00

Me with the barracuda and ebek

On the island. Perhentian Kecil, Terengganu. The weather's been inconsistent. Sometimes it is bright and sunny, and in an instant, a matter of seconds, minutes, the winds can blow in these huge, dark clouds overhead. The atmosphere, when it is dark and gloomy like this, is charged with an electric feel. Cold.

My mornings are spent with my camera and watercolours. There is total silence here. Hardly a soul is in sight. Lan's place, Keranji Resort is the only cluster of chalets on this beach, and we, the four of us, are its only tenants.

Awie cleaning the fish

Around 4 pm today, we went out to sea to catch some fish for our dinner. I was hoping to get something like mandi abu or ebek. Lan was lucky to catch the ebek. It's a beautiful fish that looks like an angel fish. It's upper (dorsal) fin curves long towards its tail and has a kind of flower-like bud. I understand it's expensive too. I caught a barracuda, the locals call it ikan kacang. We also fished some kerisi, selar kuning, tamban and others.

Back on the island, I cooked the fish -- made curry and fried some of them. Dinner was lovely, especially the ebek -- no wonder Mie Pak Lah always raved about it!

Simple but delicious dinner

More pictures here.

Monsoon island

2010-11-24T16:24:00.003+08:00

I woke up early this morning to prepare for our trip to Perhentian Kecil. Feels a little bit like playing Russian roulette. We might be hit by a bad storm in the middle of the journey, we might not.

Anyway, we packed some supplies – veggies, ikan masing, fishing hooks, fruits, water – and by 10 am were already in the boat. There’s the four of us – Lan and his assistant, Awie and me. There were feelings of apprehension, excitement, foreboding.

Shh! Artist at work

The journey was surprisingly smooth. Weather was calm, the waters were as still as glass. But you know what they say about the calm before the storm. Heh.

When we landed on the island, not a single tourist was in sight. Jetty was deserted. Lan’s place looks like it hand been abandoned for years instead of just weeks! The chalet I stayed at the last time has been smashed during the first monsoon. Seems like we landed on adventure island!

Halfway on the journey here, we stopped to fish. Oh, seronoknya, The last time I fished like this was like some 13 years ago! We caught kerapu and kerisi for dinner. Fresh fish is divine!

One of my watercolour pieces

So, I’m safe on the island. No monsoon, though. Some of the local folks are saying that the monsoon might arrive late like last year, in January or February. We’ll see.

In the meantime, I’ve got fresh fish to fry!

More pictures here.

From Cherating to Besut

2010-11-23T15:13:00.007+08:00

Dear Sayang,

We have left Cherating. We plan to drive non-stop to Besut and meet Lan there. While the weather’s still good, we might as well make the most of it and head for the islands. According to the locals, the first monsoon wave has passed but the second will be coming any time soon.

Breakfast this morning was in Kemaman – I was looking forward to my first nasi dagang on this trip. Unfortunately, it was a super sweet. I couldn’t finish it.

The river at Rantau Abang

We drove up to Kuala Dungun to check out the old ITM hostel where I used to stay. Well, it’s gone now. Only memories are left.

We made a stop at Rantau Abang for lunch. The lempeng kelapa was so nice. This was my “comfort food” when I was little. Eating this today made me remember my childhood days again.

Our next stop was at a place called Kelulut, for keropok lekor by the beach. Sayang, its so nice having tea and keropok by the beach, with the sea breeze blowing. We must come here with Musa and Maryam. I’m sure Musa will like it. I miss you all.

Kepok at Kelulut

The drive to Kuala Besut was bright and sunny all the way. Except in places near Kerteh and close to Besut where we experienced some rain but it did not pour.

The weather is unpredictable. The sky changes all of a sudden from sunny to dark but doesn’t really rain. We passed Penarik but didn’t stop this time because it was already late. By the time we reached Kuala Besut, it was almost 6pm.

Dinner tonight was nasi lemak with lauk ikan which you can’t get in KL. The gerai here makes four large periuk of it every day. Can you imagine how many bungkus they sell every day?

Tonight, we are sleeping at Keranji Resort’s office in Besut.

More pictures here.

Chasing the Monsoon

2010-11-23T09:54:00.002+08:00

Been talking to Ena about making a trip to the east coast during the monsoon season to paint and see how the grey and charged atmosphere of the rainy season there would translate on canvas. At first I had wanted to bring the entire family. Rent a kampung house near the sea, we'd sleep and cook there. Fish, paint, wander. And at the first sign of clear weather, make the sea journey to the Perhentians.

Our chalet at The Moon in Cherating

But practicalities took over -- as they always do -- and we decided that it was best that I make the trip on my own for work. So here I am, on the road again, chasing the monsoon.

My friend Lan Pulau who runs Keranji Resort at Perhentian Kecil Island had called to say that the weather is still good for island travel. The next few days might be the last chance to go to the island before the monsoon season descends proper. Immediately, I packed up my supplies to head for the island.

If before, I had made the trip with Suhaimi or Mie Pak Lah, this time, it is with Awie. He's been assisting me with running the studio for many months now, and in return, I teach him what I know. He's also one of Musa's "best friends"!

Need my coffee fix

From KL, we pushed off on 22 Nov, and made a stop at Kuantan for coffee (Good coffee is an indispensable companion), before moving on to Cherating. There, we put up the night at The Moon chalet (at RM30 a night, it was cheap). During my advertising days, I had always made The Moon my pit stop on my way to Kuala Terengganu for work. The owner at that time was some British chap who's philosophy in running a chalet was pretty simple...books, beer and conversations.

Now, though, the place is run by Indonesians. It looks almost abandoned, uncared for.

I couldn't wait to leave.

More pictures here.

Drawings by Tengku Sabri

2010-11-06T13:08:00.001+08:00

From L-R: My wife, Ena taking notes; curator Sau Bin, myself and Pokku

A couple of nights ago, The Art Room welcomed some visitors for an important meeting.

Tengku Sabri and Yap Sau Bin came over to discuss an upcoming project with The Art Room. My wife and I are planning to hold an exhibition for our dear friend, talented sculptor, voracious reader, our personal art critic, knowledge-person, and hard-core rocker (although this last description has only been revealed by the artist to very close friends, and even then, never before midnight!), Tengku Sabri, or as we sometimes call him, Pokku by virtue of his Terengganu heritage. We look forward to showing many of his drawings from what we are now calling the "Gunung Daik" series as well as other collections.

So there we were, a little before midnight, with about 20 to 30 pieces of Pokku's drawings from the Gunung Daik series assembled on the floor. We listened to Pokku speak passionately about these works that were done some twenty years ago. Works that told stories not only about this mythical land --Gunung Daik -- he created in his head, but also about the state of the real world he lived in at the time.

With any work of art, the viewer benefits from two levels of appreciation. The first, is the surface appreciation for the beauty or skill presented in the work. However, the experience is enhanced when the viewer is able to understand the work of the artist on a deeper level, i.e. what drove the artist to create the work, the so-called "story" behind it all.

One of the drawings to be exhibited for the Gunung Daik show

This collection of drawings, I think, promises to be a unique exhibition of Pokku's works that have never been publicly available before. While many know Pokku for his skills in producing fine sculptures and for his frank commentaries on art, I believe this series will show a darker, intense side of the artist that will be equally intriguing.
With Sau Bin as the curator of the show, we look forward to introducing viewers and art friends to this series of rare drawings and observations by Pokku. Details of the exhibition will be released at a later date.

Thirty Art Friends

2010-06-22T22:57:00.000+08:00

Many weeks ago, Bingley Sim, one of my very first collectors, and now family friend, presented me with a book, "Thirty Art Friends." Published by a group of 30 art collectors in Malaysia and Singapore, it features some of the art works in their collection.

In the book, Bingley had chosen to talk about one of my paintings, "Memories of Pulau Lang" -- in his words, "the first of the many Zainal paintings I have bought."

I remember that first visit by Bingley and his wife, Ima, to my home. It was late morning, and my then-fiance (and now, wife) had shown them the way over to this new housing area where I was renting. At that time, I didnt' receive many visitors over, what more collectors, so this visit was pretty memorable!

Bingley was interested to see my paintings and I brought out my landscapes one by one from my store room. But his curiousity got the beter of him and he peeked into the store room. That was when he saw the "Memories of Pulau Lang" painting which I never intended to show in the first place!

That particular painting was done while I was teaching at an art college, and times were hard. I hadn't been able to travel to paint the landscapes and could only paint from memory. Thus was born "Memories of Pulau Lang" because on that canvas I poured my feelings and memories of that beautiful island in Terengganu.

When he expressed his interest to purchase it, I was hesitant. It was one of very few abstract pieces that I had done at the time and it was of significant importance to me -- I didn't want to "lose" it and never see it again by simply letting it go to any buyer.

However, I was also facing some financial difficulties and needed some extra cash for the impending wedding. In the end, after Bingley assured that I could come over to his place any time I wanted to view the painting, I relented. I guess you could also say that without Bingley and Ima, there wouldn't have been a wedding! Haha!

Well, true enough, Bingley and his family remained close friends to us and we've both visited each other's homes many times. I'm happy and not at all regretful of letting go "Memories of Pulau Lang" to him. He has been very encouraging of my development in art and for him to feature my painting in "Thirty Art Friends" is a great honour for me.

On a related note, nowadays, whenever Bingley comes over to the house, my store room is one of the "must see" places in his agenda (proven in the pic below; Bingley is the guy in white t-shirt with his back to the camera)!

Anyway, to Bingley, Ima and their children, thank you!

The book "Thirty Art Friends" and a related exhibition will be officially launched on Saturday, 26 June, at the National Art Gallery. All are welcome! In the meantime, read more about it here and here.

Open house!

2010-04-06T22:27:00.000+08:00

On 14 March, we had a small minum petang with neighbours, friends, family, artists and art collectors at my studio. It was a sort of a studio/gallery warming tea party.

The afternoon started off with a great big storm, but after it cleared, the guests started arriving. The last ones left at 2am!

I'd like to thank everyone for coming and sharing this little space of mine. More pictures here.

Directions to my studio

2010-03-11T21:26:00.000+08:00

My studio is about 20 to 30 minutes away from most parts of Klang Valley, i.e. Kuala Lumpur and Petaling Jaya. It may be a little out-of-the-way, but it's along a major highway/road, and with the instructions below, you should be able to find it. If you think you are lost, you can always send an SOS to us on our mobile phones!

The Art Room
No. 10 &12, Jalan PUJ 4/10A
Taman Puncak Jalil
43300 Seri Kembangan
Selangor
Tel: 012 321 9137 (Anis) / 019 617 3706 (Zainal)

NOTE:

If you’re coming from KL, get on the Federal Highway and go towards PJ area. After the Guinness factory on the left, stick to the left lane and go up the flyover that looks like the Jambatan Pulau Pinang, then take left. (The landmarks at this flyover are Freescale factory and the Bali building). Proceed straight all the way to the Sunway Toll, then follow instructions below.

If you’re coming from PJ / Taman Tun Dr. Ismail, get on the LDP, you will drive past Kelana Jaya LRT station, Giant Mall, Kelana Seafood Centre, Yamaha Music School, etc. Soon, you will pass Western Digital on your right and LDP Furniture Mall on your left. Once there, you should get on the flyover and go straight on, heading towards the Sunway Toll Plaza. Then, follow the instructions below:

From Sunway Toll Plaza, basically, you just need to go all the way to Taman Teknologi Malaysia / Technology Park Malaysia (there are appropriate signages). At TTM, you need to do a U-turn which will then take you to Taman Puncak Jalil. However, below are the detailed instructions with some landmarks highlighted for you. Please read these notes carefully before you begin your journey, they will get you safely to The Art Room.

1.At the Sunway Toll Plaza, pay the toll (RM1.60 post-hike)

2.Follow signage to “Sungai Besi and Taman Teknologi Malaysia”

3.Go up flyover, stick to the left-most lane

4.Come down flyover, and continue to follow signage “Sungai Besi and Taman Teknologi Malaysia” – just stay on this main road

5.Pass 2 Shell stations – on on your left and another on your right

6.Pass Giant Hypermarket on your right. Quite a long road, a couple of kilometres

7.MAJOR LANDMARK: Road will slope downhill, and you will come to traffic lights. At the traffic lights are Petronas and Shell on your right.

8.Go straight at traffic lights, there will be a flyover to Taman Teknologi Malaysia.

9.GO UP FLYOVER. Traffic lights, turn right. Another traffic light, turn right again. (You are making a big u-turn to come back down to the main road but this time heading towards the way you just came.)

10.Once on the main road, the Petronas and Shell will now be on your left. Drive past.

11.IMPORTANT: Drive slowly and stick to left lane, and take the first left turn. There is a small signboard that says “Taman Puncak Jalil” just before the turning.The left turn is just before a building (this is Sirim building). Once you have made the left turn, the Sirim building will now be on your right.

12.Stick on this road and it will swerve to the left, just follow it.

13.Traffic lights, go straight.

14.You will see an Esso gas station on your left. Proceed on this main road until you see a Pasaraya Khas on your left. IMPORTANT: There will be a junction further up. Stick to the right lane and proceed straight uphill at the junction.

15.Eventually, the road will take you up a slope and you will be facing a small hill. The road will swerve left. Once you have made this left swerve, take the 3rd right turn (you will see a small TNB substation). If you see a small surau on your right, it means that you’ve just overshot it – backtrack a few paces).

16.You are now on Jalan PUJ 4/10A – it’s a dead end road. Look out for house No. 12 with the big cherry tree in the garden. It faces a hill with a tree-like tower. You are now at The Art Room.

Apprenticeship at The Art Room

2010-02-19T22:51:00.001+08:00

(Me using pastels)

These days, the studio is seeing quite a bit of activity with the arrival of two people who are apprenticing at The Art Room. Yes, things are getting a bit busy and the studio space is feeling a little bit cramped since Awie and Khairunissa joined me here.

But I'm not complaining. They are here to learn and I am rather glad to have their company and assistance. I try to instruct them what I know. It's in no way formal education. Nor is there a particular system employed to ensure their enlightenment.

(Musa observing Awie's observational skills)

Daily, they do drawing exercises -- blind contours, vertical and horizontal lines, etc. They learn about tonal values, observational skills and such.

Besides the instruction of basic skills, I also let them learn about cutting the canvas, stretching it and basic carpentry skills to make the stretcher. In the studio, they assist me with displaying the artworks on walls, and also, occasionally paint the undercoat for my works. This last exercise, I believe, will help them get comfortable with the oil and acrylic mediums -- how each feels on canvas, how the brush works with these different media, etc.

(Me trying to capture the fleeting evening lights at Putrajaya)

Last weekend, we arranged an outing to Putrajaya Botanical Gardens for some outdoor live drawing sessions. The beautiful scenes there made for some really interesting inspirations and I think it was a change of scenery for both Awie and Kharunissa.

(Khairunissa practising her vertical and horizontal lines)

New paintings

2010-02-16T16:21:00.002+08:00

I've just updated my Flickr account with photos of some works done in 2009 and 2010. Some are waterlilies, some are sunset landscapes and others are...ermmm...well, see for yourself lah!

These paintings are also currently up at my studio...before I bring them down for the group show of paintings from the Penang Art Marathon.

In the meantime, enjoy...!

Visit to Pakharuddin Sulaiman's gallery

2010-02-14T22:36:00.004+08:00

When a whole motley crew of artists and collectors get together, it is usually at an exhibition opening, and it is usually a kind of an awkward affair -- you're there for the sake of the art gallery owner or the artist whose works are being displayed...well, not all the time lah...Other than these two people, you hardly know anybody else there, and pretend to look very interested in the paintings to escape from having to make small talk.

In November last year, such a gathering came together. But it wasn't at any of those commercial art galleries, and it wasn't for any exhibition opening. It was at Pakharuddin and Fatimah's gallery of their collected art works somewhere in Ampang. It wasn't the least bit awkward, thanks to Pakha's unique personality to bring all sorts of people into the conversation.

It felt, rather, like a much-anticipated tour -- the ones my school always arranged for its students to go on some educational field trip -- headed by Pakha himself! The "students" in this case included artists, friends and collectors. Among them were Tengku Sabri, Raja Shahriman, and U-Wei.

Pakha's gallery was really impressive, filled with paintings and sculptures. He knew every piece in his collection, the story behind each work and the reason for collecting them. Another part of his collection that was mind-boggling was his books -- lined up neatly against the walls. Another voracious reader, Tengku Sabri, was similarly impressed with his books, too!

After the gallery tour, Pakha and his wife took us to lunch -- the first choice, to eat assam pedas, had to be cancelled because the restaurant was closed. We finally went to an Indonesian restaurant where we all gathered around a long table like a big artist family gathering!

Pakha, as always, was very lively and had an interesting opinion, or unique perspective, on everything...entertaining us with all the latest news in the art circle...and the gossips! Tak kering gusi langsung to be in his company!

(The last two photos of me are with Raja Shahriman the sculptor whose works were at the time being displayed in a solo at Petronas Gallery, and with one of Pakha's collection which was my favourite, a work by Amron Omar)

Doa Selamat at the Art Room

2010-02-13T23:44:00.000+08:00

On 14 January, we had a little doa selamat kenduri for the new studio/gallery. There were about 20 guests, mostly friends, family and neighbours.

I had the help of my friend, Awie, to clean the place up, cook and basically make the entire place more welcoming for the occasion.

The menu was simple food -- mee hoon goreng, roast chicken, roti jala and beef curry, salad and pudding for dessert. I must thank my mother-in-law and sister-in-law for bringing some of the food.

And to those who came to give their blessings, many thanks to you. I hope that this new place will be the beginning of many more inspirations, productive work and gatherings.

More pics, from top to bottom: what's left of the food; the "ustaz section" in deep discussion; the "artist section" headed by Tengku Sabri and Hanafiah; the "family section"; and Chef Awie carving the roast chicken; at the end of the night, my wife and me.

Comment moderation

2010-02-10T15:12:00.000+08:00

Recently, I've been getting so much comment spam that I've decided to activate the comment moderation on blogger. Hope that this will help to reduce spam, but not genuine comments from you!

Please keep on reading (I promise to update real soon!) and sharing your thoughts with me.

In the meantime, have a nice work week!

Lautan 3 online gallery

2009-12-17T10:25:00.003+08:00

Just to share with you a link to the Lautan 3 online exhibition which was created by Art Village gallery. In it, you will be able to view from the comfort of your home or office the paintings by myself, Suhaimi and Tuan Azhar that were exhibited recently.

The exhibition is over...thank you to everyone who gave their support -- Art Village gallery, especially Kenny and Gary; Mr. Hee, my picture framer and logistics manager; Bingley Sim, who introduced me to many of his friends; the collectors who made time in their busy schedule to view the artworks; my family and friends who gave their support, encouragement and motivation; and not forgetting the media for featuring us on TV, radio and the newspapers (I've updated the section "Zainal in the news" on the right with the latest links to our media interviews).

Thank you from the bottom of my heart!

If you would like to see more of my works, please, you are welcomed to visit my studio gallery...just give me a call before-hand so I can spruce up the place and give you directions to come over.

Launch of Lautan Tiga exhibition at Art Village, Bangsar South

2009-11-22T11:16:00.004+08:00

Zainal presents a painting to Bingley for officiating the Lautan 3 exhibition.

Looking on are Suhaimi and Tuan Azhar

Yesterday, Bingley Sim, personal friend and art lover and art collector, officiated the Lautan 3 3-man show at Art Village Bangsar South.

In his speech, he said he was "a small-time art collector," but I beg to differ. His enthusiasm for Malaysian art has made a huge impact in the lives of many Malaysian artists, myself included.

His wife, Fatima, their children, Bella, Iza and Imen (please correct my spelling!), and Bingley himself are avid fans of art. Their support and encouragement has helped many artists to move forward in developing their works and careers in art.

Thank you, Bingley, for giving us your precious time to officiate the Lautan 3 exhibition. And thank you to everyone for sharing your Saturday with us and to enjoy the paintings we have ourselves enjoyed producing!

I also want to record my appreciation to Kenny Teng of Art Village for giving us this opportunity to showcase our works at his premises.

For pictures, go to our Facebook page.

Lautan Tiga Exhibition

2009-11-13T22:27:00.006+08:00

(please click for larger image)

Dear friends,

I'm happy to announce my upcoming exhibition "Lautan Tiga" at Art Village, opening on 21 November, 4pm (and continues till 13 Dec). I'd like to personally invite you to the launch and share my latest works with you.

The exhibition is personally something that I've wanted to do with two of my close friends, Suhaimi (Mie Pak Lah in this blog) and Tuan Azhar, my buddies from ITM "those days." I'm glad for this opportunity to exhibit with them finally!

Moreover, the exhibition will be launched by Mr. Bingley, who has been a great supporter of the Malaysian art industry, and who has encouraged me in the development of my work.

I'm also thankful to Mr. Kenny from Art Village for giving us the opportunity and space to exhibit at his chic new gallery in the esteemed neighbourhood of Bangsar South. (View map)

As to why we've named the show "Lautan Tiga," well, you will just have to be there at the show to find out!

Please come by and say "hi" to me...I look forward to seeing my old friends and new acquaintainces there!

Lastly, please spread the word. For Facebook promo, click here.

Work in progress

2009-10-22T13:09:00.005+08:00

Funny how the year 2009 started out quite bleakly with the world economic recession hanging over our heads and art business everywhere suffering a slow period. And now, here I am in the last quarter of the year running on 5th gear!

The most recent news is that I've managed to secure the house next door to be turned into my studio/gallery. Right now, I'm busy supervising the contractors to do up the place a bit, i.e. turning the garage into my work area, minor spruce-up works inside so that it will be a presentable art gallery, making my work-bench, etc.

Over the next few weeks/months, I will be installing the lights, getting the curtains, designing and making the storage equipment, and making my own simple furniture and minor storage accessories.

At the same time, I'm juggling my time to finish up some works for my up-coming exhibition in Bangsar which will hopefully happen in November.

And as the maiden exhibition at my studio, which I've simply called "The Art Room," I'm planning a show with some friends of the Penang drawings we made during the marathon. Hopefully that will be ready before the year-end.

It's quite a headache, but I don't mind this little pain knowing that there is an outcome to look forward to.

And so, who says an artist's life is one of leisurely pursuits? Sigh...

The 1st Malaysian International Drawing Marathon 2009

2009-10-12T23:02:00.010+08:00

(At Suhaimi's house before we left for Penang)

(My drawing) (Suhaimi's drawing)

(Tengku Sabri's drawing)

(Tengku Sabri preparing to draw)

(Professor Fauzan Umar standing in as model)

(One of the participants of the marathon)

(Deep in discussion)

(Suhaimi and Lennon)

(The Cathay Hotel on Leith Street)

(Plumber on the move)

I am proud to say that I took part in the 1st Malaysian International Drawing Marathon 2009, the inaugural programme hosted by the School of Arts, Universiti Sains Malaysia in Penang from 5 to 7 October 2009.

It was partly a male-bonding session with my friends and I who drove up together in my trusted station wagon. There was me, Lennon, Tengku Sabri and Mie Pak Lah, all excited, partly because of the drawing marathon, to meet my lecturers and artist friends, my art collector, and also because we wanted to make it a "food marathon," too!

It was literally a drawing marathon where some 20-plus artists stayed up the entire duration for 72 hours to draw. Drawing is one of the first things they teach you in art school, and it forms the foundation of your artistic strength in later years. It is so basic that many art students today disregard its importance.

For me, the drawing marathon was a welcome break from my paintings. Besides the invigorating exercises that pushed me to explore my drawing skills, it also rejuvenated my spirit in making art.

Being at the University, meeting Professor Fauzan Umar who first taught me drawing at ITM all those years ago, being in the company of other artists furiously sketching away -- these all combined to create an atmosphere filled with creative energy. Being there was truly an inspiring experience and sparked my ideas and motivation to create and explore the possibilities in my work.

It was a shame that the outdoors of Penang was not utilised much. Instead, the drawing sessions were held indoors (with the exception of the first day when we had a scheduled outdoor sketching session), with settings that immediately brought back memories of art classes from my college days!

I look forward to a yearly installment of this marathon, and hope that next time the organiser will encourage participants to freely explore Penang. After all, the city is a UNESCO World Heritage site, and every street, every corner that you turn, you can feel the vibration and the energy from years of accumulated history, heritage and trade. Now that would make for some interesting output!

And as a little something new (because I always believe in lifelong learning and progress), I compiled the photos above in a little video. Enjoy it!

For the love of art (The Edge, 3 August 2009)

2009-10-08T11:54:00.002+08:00

This article appeared in The Edge (Options) 3 August 2009.

Cultural Index: For the love of art

Full Circle

2009-10-08T10:35:00.011+08:00

This article appeared in Accountants Today (August 2009), written by Anis Rozaimah Ramli. Please double click on each image to read the story.

Never a dull moment around here

2009-10-01T22:12:00.004+08:00

(Raya at Pakharuddin's place)

I feel very bad for neglecting this space for so many months, but truthfully, with so many things going on in my life recently, and the puasa and raya festivities, I find that I hardly have time to update this blog.

My wife has been on a long leave from her job and we have been spending a lot of time at home together with Musa. It is nice to see her spend her time leisurely with me, instead of rushing off for work at the break of dawn and only to see her late at night.

My kids have also returned from their school in Jakarta for their annual holidays, and they, too, have kept me preoccupied. We recently went on a holiday together to Langkawi, all nine of us, and it was a very memorable trip for all.

Despite the demands on my time, I have also been working non-stop the past few months to produce works and to paint based on my trips this year.

In fact, there is an upcoming exhibition I am preparing for -- a three-man show with my good friends and artist comrades, Suhaimi Abdul Wahab (Mie Pak Lah) and Tuan Azhar. It's called Tiga Lautan and will be organised by Art Village in mid November. At least, that's the plan...one that I look forward to very much. It's meaningful to me because Mie and Tuan share the same feelings that I have on art and on the whole matter of "why we paint" and hopefully, the exhibition will materialise to enable us to share our feelings with others.

Finally, I'm taking part in an international drawing marathon organised by Universiti Sains Malaysia's art faculty. I'm also excited about this one because I've managed to rally up the interest of fellow artist friends to take part in this event with me up in Penang. As I understand it, the event will bring in artists from all over the country, and the world, for a gathering to do drawings with fellow artists. It starts this Monday, and Lennon, Tengku Sabri, Mie Pak Lah and myself are driving up for it.

My time is fully occupied these past few months and the next, for sure...I will be in 5th gear, moving things along...there are many things I want to record in this blog, but they can wait for the mean time.

And oh, almost forgot...God willing, I will be occupying the house next door very soon, and make it into my studio and gallery. My wife will be happy to have my paintings, easels, canvas and brushes and paints (which are now lying haphazardly on the floor of our current abode) out of the way, for sure...

Rolex and art

2009-08-01T11:33:00.003+08:00

(Above: Waterlilies at Janda Baik, Acrylic, 2006)

When I was a kid in school, I remember we always had to write an essay or karangan about our hobbies. Mine, of course, was painting. Friends would write about collecting stamps, catching fish, playing marbles, etc.

These days, I think our kids' hobbies are very different from my generation's. Theirs are probably more advanced and high-tech due to the new invention of things!

Recently, I got to know a new art collector based in the north. Besides collecting paintings, he is also an avid collector of rare and vintage watches, and specifically Rolexes! From his website, I learned about the history of this fine brand of watch and why even to this day, a Rolex is an esteemed timepiece that people are willing to pay thousands for as an investment or a much envied accessory.

Of course, many want to own a Rolex simply for the name and prestige that it commands today. But, for those like this Penang collector, his love for the Rolex is not only about the brand, but about the passion, fine workmanship and the commitment that goes into each vintage piece.

I hope this means that he collects my paintings, such as the one above, for the same reasons! Hehe...

Janda Baik sunset

2009-08-01T10:56:00.008+08:00

Last week, we went to install a few paintings at Kevin and Dwina's house. Their main "feature" wall was red in colour, something that was of concern to the couple when they were looking for a painting.

But when we hung "The Janda Baik Sunset" against it, the red wall framed it quite nicely.

This particular piece was my wife's favourite because we both have a certain fondness for Janda Baik. It's one of those places that we used to frequent on the weekends for a quick getaway. My in-laws have a nice little apartment at Bukit Tinggi, and we have friends who live there, too, operating a little chalet business.

It's amazing that in just about an hour from the congestion of KL, we can already be amidst nature. Being partly in the highlands, Janda Baik is very cooling in the daytime, and extremely cold at night!

Like everywhere else, development is encroaching upon this tiny village, but there are still some very nice places there, with the rivers and streams, the thick jungle, the hills and valleys and wildlife there.

My wife wrote a poem about the place once, and I'd like to post it here...but will have to search for it first. She wrote about being at peace, the solitude there, the colours of nature -- a magenta-coloured dragonly -- and about doing absolutely nothing!

UPDATE: The poem by my wife:

The dream of pink dragonflies

We sat there by the pond

counting dragonflies

that flitted here to there

on paper-thin wings

of red, magenta-pink,

blue and gold.

I had never seen pink

ones before, I said,

Only dreamt them up

in my dreams.

But sitting there

by the water's edge

with tadpoles

swimming at my feet

and you lounging at my side,

it came to me,

-- a quiet smile --

my dreams had just

come true.

Readings

2009-07-21T09:37:00.002+08:00

Our house is littered with books everywhere...in the living room, under the table, by the bedside table, and of course, in our throne room!

Even from a very young age, my son has shown a love for books. He is currently into Malay rhymes like "Aci, Aci buka pintu," "Can mali can," and "Suriram." The blue book (pic above, top left), "That's Not My Robot" is a particular favourite at the moment.

My wife buys books for all of us. Her recent book presents to me include The Artist Revealed (pic above) which she got during the Malaysian book fest at PWTC a few months ago. It features a short story about major artists through the years as well as their self-portraits. I think she is enjoying reading about them because unlike other art books, this one features the artists on a personal level and talks less about their works. She particularly loves reading about the female impressionists such as Berthe Morisot and the wealthy American artist, Mary Cassatt, who were both supportive of and influential to the artistic development of their Impressionist male counterparts.

Also, I think she is secretly smitten by the outwardly-gruff Edouard Manet!

The book isn't of great photo quality but it gives a glimpse of how all the artists were friends with or related to each other, and how they supported each other.

She also borrowed a book for me from her office library written by Ilse Noor, which features beautiful prints of Malaysia as well as some poetic writings of her travels around Malaysia. The book was commissioned by Shell.

So, these are some of the books we are reading now...although most times, we do tandem reading of several books at once!

Weekend visitors

2009-07-20T09:38:00.019+08:00

It was quite a busy weekend for me and my wife. On top of that, our maid wasn't feeling very well, and our son was extra active! But, it was a great weekend with friends, art and food!

First of all, I had invited my friend, Awie (pic above), to visit my studio and help me manage it this weekend. Musa simply adores him! The picture above makes him look very fierce, but personally, Awie is a gentle and soft-spoken person and a good friend. That's us having breakfast in my garden.

On Friday night, Azma brought her friends (pic above) over to view some of the paintings. One of them wanted to buy a painting for her future husband who is very much into art. She says that he picks up a piece of painting wherever he travels. It would be her maiden purchase. I think it's nice of her to surprise her man with something he likes! I hope that whatever painting she chooses, he will appreciate not just the artwork but also her gesture!

Azma's other friend was quite well-versed in art and has visited many of the famous art museums to view the original artworks. How I envy her! The above picture is of us having dinner -- roast chicken and potatoes.

On Sunday afternoon, we had invited Bingley and his brother (pic above, Kevin and wife, Devina) along with their wives over. Bingley's brother, Kevin, had expressed his interest in art, too, previously and finally managed to clear some time to visit my studio on Sunday.

He chose two paintings that were different from each other -- one was a soothing sunset landscape of the beach, the other was a vivid piece of the Janda Baik sunset.

I like these two pictures of Bingley and Musa below. Bingley was looking at some of my sketches done in the East Coast, and Musa was very interested to take a peek at them also!

It was very encouraging for me to know that the interest in art is spreading among more Malaysians...I feel very happy about this and it renews my semangat to continue with my paintings and to stick to this path!

To Azma, Bingley, Fatimah and friends, thank you for spreading the word.

The East Coast Chronicles: Cherating

2009-07-10T23:17:00.003+08:00

Cherating was another disappointing stopover. I remember Cherating fondly from many years back as a small kampung that was considered a must-stop among backpackers and foreign travelers.

Swaying coconut trees,
small wooden huts and chalets,
walking barefoot along the small lane,
the sandy beach across with the pounding waves and
blue, blue sky that stretches forever.
RM20 chalets a night.
Homely hospitality.
De'moon chalet up on a little hill.
Nightwalks by the beach.
Staying up to count the stars.
These are the Cherating I recall in my mind.

That day I arrived in Cherating, I thought that I might have made a wrong turn into a different town, yes, town! Like almost everywhere else in Malaysia, the place has been over-developed with tall buildings, cement structures, etc. There are brick walls instead of wooden ones, there are astro dishes everywhere, karaoke blaring away, air-con boxes jutting out of walls and making that awful hum to break the day.

I guess the community there was not able to maintain the uniqueness of Cherating that made it so appealing in those days. Maybe the Cherating today is run by the new generation, I don't know.

It just seems stuck in between. Not really traditional, and not really modern. Confused, more like!

The East Coast Chronicles: Kemaman

2009-07-01T22:42:00.003+08:00

I used to go to the East Coast a lot during my days in advertising. Some of our best clients were in Kuantan, Cherating and Kemaman.

In Kemaman, things sure have changed since. Small towns got bigger. Narrow roads got wider. Roadside stalls got demolished. The fishing village is vanishing, the makciks that used to sell keropok lekor are now fewer in numbers.

There was a small roadside stall in those days along Pantai Geliga, run by all the females of a family. They sold the best satar I've ever tasted.

Satar is mainly made up of fish, coconut, shallots, chillies and ginger, mixed to a paste and wrapped in coconut leaf, then grilled over low fire. The best ones are the savoury ones (so many people make it too sweet), and this particular stall at Pantai Geliga is rather famous, even in those days. Apparently they were among the first ones to sell satar. Today, they are even listed in the Tourism Terengganu website!

When I went there recently, it just wasn't the same anymore. It used to be a place where you could hang out with good food, pleasant company and scenic views. Now, the beach road is no longer there, replaced by a big and busy road. The patrons of the stall are mostly locals from around the area, and the overall ambience just isn't as friendly and laid-back as in the old days.

The place was jam-packed with people, and we couldn't get a table. In the end, we just ordered some to take-away. Despite the unwelcoming changes, one thing still remained the same...the satar was still damn good!

The East Coast Chronicles: Kuantan

2009-06-17T08:56:00.001+08:00

Our first stop on this journey was Kuantan partly because Mie Pak Lah had a job to complete there -- an artist's impression of an old building in Kuantan that was scheduled for restoration.

We also had a contact there by way of Atord and his English wife, owners of Kuantan's most happening restaurant, Crocodile Rock. The restaurant is a converted bungalow near Teluk Cempedak, serving up really good food like pizzas, pastas, etc. From the looks of it, the place is pretty popular. No matter how packed the place was, Atord always welcomed us with food, drinks...and even accommodation! Yes, we put up our nights in Kuantan at his office. To Atord and wife, we thank you so much for your hospitality.

On the second night in Kuantan, we were introduced by Atord's wife to the Tengku Puan of Pahang. It was quite an honour for us to meet her, especially when we learned that she paints, too! I even managed to ask her to draw something in my sketch book!

Overall, Kuantan, I think, is well-placed as the gateway to the East Coast, especially now that the East Coast Expressway has opened, linking Kuantan to Kuala Lumpur within a couple of hours. However, this only leads to a disturbing juxtaposition of old and new in this capital city of Pahang.

On one side, you see the busy, thriving city and its young people chasing after their modern lifetstyle. On another, you see the older generation toiling away on their fishing boats at the nearby rivermouth, doing what they've traditionally done for years before.

On this journey, Mie and I sought out the old places which we feel were much more beautiful than any modern architecture or city could offer. We looked for the quiet spaces where the Kuantan of old still resides. And while these pockets of peace may have been rare and few in urbanised Kuantan, we did manage to find them in places like Pantai Gelora and Tanjung Api...even the names evoke a certain romance and nostalgia, don't you think?

Tanjung Api is a little fishing village where you can still see the fishing boats going in and out to sea at the Kuantan river mouth...all this within a short distance of Kuantan town itself. It was quite a sight to see a thriving, bustling town like Kuantan on one side, and the fishermen and their boats on another. It's a reflection of the see-saw balance between modern and kampung that is essentially Kuantan!

Teluk Cempedak was beautiful, too...tapi sayang, the view from the road leading to it was unceremoniously blocked by two very imposing Western influences, the red-haired clown in yellow overalls and the old guy with white hair...Those two just tipped the balance of Kuantan into ugliness.

The East Coast Chronicles -- My travel buddy

2009-06-13T12:55:00.004+08:00

Suhaimi Abdul Wahab, also known as Mie Pak Lah, was my travel buddy to the east coast. He was my junior at the MARA Institute of Technology (ITM), studying fine art, those many, many years ago. That's how I first knew him.

When he went for the entrance interview at ITM's art and design school, he brought along an art porfolio when everyone else, his peers, brought along only themselves! Needless to say, he frightened the other candidates away!

But that is Mie Pak Lah and his desire for perfectionism. When he does something, he wants it to be as perfect as possible. (This, of course, becomes a problem when he has to depend on other people and their work doesn't meet his exacting standards!)

As a student, he was outstandingly skilled, especially in his drawings. He impressed the lecturers when many other students failed them.

Mie has never worked for any establishment, management or organisation, except that sometimes he teaches art on a part-time basis at some universities/colleges. Upon graduation, he traveled the world to Europe and many parts of Asia, living the life of a so-called bohemian. Wherever he went, he would do paintings and sketches, getting whatever payment he could get for them, surviving only on this.

I guess this makes him a naturally seasoned traveler -- one who can survive in any situation.

It was good to do this road trip with him because both of us wanted to paint live, and we both wanted to document the state of Malaysia at this time. It was a great opportunity for us to bounce ideas and challenge each other.

Furthermore, when Mie crits my work, he doesn't sugar-coat his comments. Sometimes it's tough to swallow, but then it is the bitter pill that makes us better.

The East Coast Chronicles -- Summing up

2009-06-12T21:26:00.009+08:00

I'm back from my road trip to the East Coast. Mie Pak Lah and I travelled 13 days, through four states, and visited numerous little towns, secluded beaches, quiet villages.

Our journey started on 12 May and ended on 24 May 2009. From Petaling Jaya, we used the East Coast highway that brought us to our first destination, Kuantan, where we stayed for three nights.

Using Kuantan as a base, we explored the surrounding areas of Tanjung Api, Teluk Cempedak, and Pantai Gelora.

We left Kuantan town on 15 May and headed for Cherating, making a stop at Kemaman. In Cherating, we put up the night there and pushed off for Kuala Terengganu the following day.

Between Cherating and Kuala Terengganu, we passed by Kampung Rusila, Rhu 10, Kampung Cik Wan, Kijal and Kemaman.

We stayed in Kuala Terengganu for two nights, and visited the boat-making facility at Pulau Duyong. It was simply excellent.

We pushed off for Kuala Besut on 18 May, taking the scenic coastal road. Along the way, we stopped at Merang and made beautiful discoveries in Batu Rakit, Penarik and Mangkuk.

Our stay at Kuala Besut was hosted by a good friend, Lan Pulau. He made arrangements for us to go onwards to Pulau Perhentian Kecil, where we stayed at his place in Mira Beach.

We spent two nights on the island before we headed back to the mainland and onwards, with Lan Pulau, making us a threesome, to Golok, Thailand.

After putting a night at Golok, we left for Kuala Besut the next day, then Kuantan again, spending one night in each town.

By the 26 May, I was already on my way home.

I could easily say that the trip was about me and Mie Pak Lah. But, honestly, it wasn't just about us. My trusty station wagon, with its own character, also played an important part.

It was also the people we met along the way. Strangers would just come up and sit with us for hours as we painted. The fishermen, tired from days of work at sea, would beckon for us to share their fresh catch and lunch.

It was the food we had at simple stalls. The little roads we took by chance, which eventually led us to special and secret places so beautiful, we never imagined it could have been there. It was the atmosphere of the east.

We went without map or compass. Just with the serendipitous hope that we would be lucky.

We had gone with the intention of painting en plein air and we came back with the loot to show for it -- lots of watercolour paintings, studies and sketches in pastels, charcoal, watercolour and ink. We also took loads of photographs of the places we visited, and these will be our reference for our future works.

The next few postings will be on some of the places we visited and the experience of mixing with the locals.

One thing that struck me as weird, though, was when during one of my conversations with my wife, she asked me if I ever felt like a tourist when I was traveling to the east coast. And in answering her, I was surprised that yes, strangely, I did feel that way!

Painting outdoors

2009-05-14T15:32:00.011+08:00

On location at Pantai Pasir Tengkorak, Langkawi, 2006

The French have an expression, en plein air which means "in the open air" that describes the act of painting outdoors.

Many of the Impressionist artists in mid-19th century painted under natural light because they wanted to study the effects of light and capture the fleeting scene.

Several developments in the art scene at that time facilitated this trend greatly. One was the introduction of tube paints which meant that ready-made paints were available to be carried around. Previously, each artist would have to grind up pigment powders in bowls and make them into paint mixtures before using them.

The second development that made plein air painting more popular was the invention of the French Box Easel which was essentially a portable box the size of a briefcase that opened up into a proper easel, complete with paintbox and palette.

Plein air painting poses a whole new challenge to me. I have to work fast, so much so that the final product looks "unfinished" due to the rough and loose strokes and patches of colour.

I suppose this is the "controversy" that Monet's paintings brought about among his peers who, at the time, painted in their studios and whose "traditional" works were very detailed.

The road begins here

2009-05-11T21:42:00.004+08:00

I am off on a road journey tomorrow for a working tour with friend and fellow artist, Suhaimi aka Mie Pak Lah. We both hope to do lots of traveling and live painting in the outdoors, documenting the scenery, the atmosphere and the spirit of the east coast of Malaysia.

The plan is to leave Kuala Lumpur and cut across central Malaysia and head for the coast, covering Kuantan, Beserah, Cherating, Kijal, Kemaman, Dungun, Kuala Terengganu, Pulau Duyung, Kuala Besut and Pulau Perhentian...but not necessarily in that order.

I'm very excited about this road trip we are taking. We're bundling up our art tools and equipment -- lots of paper, some canvas, watercolours, acrylics, charcoals, brushes, etc. -- and stuffing everything into the back of my Benz station wagon.

It will be classic! Just two artists, the open road, the sea, our canvas and paints. It's like Monet and gang in the Impressionist period!

Wish us luck!

A Sunday affair of art, food, books and conversation...

2009-04-28T23:43:00.003+08:00

On Sunday, Bingley, Fatima and Azma came over to the studio to view my works. Azma has just started to collect artworks with the guidance and advice from Bingley and Fatima.

We first met at Eric Quah's exhibition in Starhill where we shared a table with Bingley and Pakharudin, talking about art, artists and collectors. After that first meeting, I often saw her at other art exhibition launches. I suppose, fired by Bingley's own interest in art, she, too began to develop a taste for it. With Bingley's advice and guidance, I believe she is off to a good start!

So that Sunday, my wife and I prepped up our home studio for the arrival of the special guests(my wife said that for the first time in many months, our house actually looked like a home instead of a makeshift store room for my art work and materials!).

After watching Scandinavian Cooks on the Asian Food Channel a few days ago, Ena was inspired to make something Swedish, so she tried her hand at making Swedish meatballs, complete with the cream gravy and lingonberry sauce! We served elderberry juice with some fizz -- the elderberry is a Nordic berry but with the addition of club soda, it tasted a bit like 7up! She also made some really nice potato mash.

And since we recently discovered the joyful combination of grapes and cheese, we served that up as dessert. For anyone who has never tried this before, you are in for a real treat! The sweetness of the grape combined with the tart creaminess of the cheddar cheese went down beautifully! My contribution to the Sunday lunch was my own creation of swiss brown mushrooms baked with mozzarella cheese...these were gobbled up the minute they were served.

In the end, the Sunday affair was filled with art, food, books and lots of conversation. Azma chose two pieces of my landscape works -- one was Ferns at Janda Baik and the other was Sunset at Tanjung Rhu, Langkawi. After seeing all the works, these were two that she wanted, she was sure of that. They struck a chord in her.

To Azma, I hope that you will always enjoy having them in your collection. I wish you all the best in your new adventure of appreciating and collecting art.

In aid of Force of Nature

2009-04-18T23:05:00.019+08:00

I haven't updated my blog for such a long time. Actually, I have many stories to tell, just that I don't have the time! This entry should have been written in January, but I kept postponing it. Well, here it is now.

When my friend and art collecter, Bingley Sim, called to ask if I would like to donate a painting for the 7th Inter Malaysian Accounting Group's Golf Tournament 2008, which he was organising, I obliged. The above painting was to be the prize for the Hole-in-One winner of the tournament.

As it turned out, there was no winner for that category. However, during the golf tournament, I was introduced to Dato' Ali Kadir who was there for the prize-giving ceremony. He is a prominent figure in Malaysia's financial sector, and was among the few individuals called by our former PM, Tun Mahathir, to help the Government during the financial crisis.

Dato' was interested to purchase the painting in aid of a cause that he was supporting, i.e. Force of Nature Aid Foundation. Apparently, the Force of Nature Aid Foundation and PACE Art Gallery were working together to sell selected paintings to raise funds for the survivors of natural disasters. The artists involved included Ivan Lam, Yusof Majid, Ahmad Shukri Mohamed, Bayu Utomo Radjikin, and Ahmad Zakii Anwar. Dato' Ali Kadir had been invited to officiate the event.

To cut a long story short, on the night of the launch event, my painting was exhibited together with the works of other artists who had been invited by PACE Art Gallery. It was a rather awkward moment for me since my work wasn't part of the show's original lineup and only became part of it due to Dato's interest in it.

I hope I didn't step on anybody's toes on that night, and I sure didn't intend to offend the owner of PACE Art Gallery with the sudden showing of my painting. At the same time, I wasn't able to decline when Dato' Ali Kadir insisted on putting my painting, the one he purchased for the show, at the gallery.

It was, however, an honour for me to be part of the show and to do my bit to help out the survivors championed by the Force of Nature team.

Farewell, Ibrahim Hussein

2009-02-20T09:01:00.013+08:00

Yesterday, we buried one of Malaysia's most prominent artists, Datuk Ibrahim Hussein.

Suhaimi and I were among the first at the cemetery, and we watched the mourners file in one by one to pay their last respects to a man who, in his lifetime, epitomised dedication and hard work in his art. I recognised his brothers, Datuk Abdullah Hussein and Tan Sri Ismail Hussein, Datuk Shahrir Abdul Samad, Datuk Elyas Omar, A. Samad Said, and Tan Sri Sanusi Junid, as well as art collectors Pakharuddin and Farouk, and the Pelita Hati artists, among those present.

I felt it was a pity that not many of Datuk Ibrahim's peers were there, but perhaps they were by his side at the hospital or home earlier.

The funeral rites were carried out amid silent weeping and swollen eyes. The afternoon heat dissipated quite suddenly for a few moments as the air cooled under the threat of some rain clouds, but the moment passed just as quickly without precipitation.

Throughout, and actually since I received the breaking news at dawn yesterday from Pakharuddin, who has to be given credit for being the eyes and ears of our art industry and the people populating it, I had been reflecting on my limited encounters with Datuk Ibrahim.

One of my strongest memories of him is of the grand appearance he made at the Persatuan Angkatan Pelukis Malaysia meeting at Balai Senilukis Negara in 1982. I was a student at the time, hanging out towards the back of the hall and listening to the panel discussions. Suddenly, Ibrahim Hussein arrived, making quite an entrance. The discussion ceased abruptly for a few seconds as everyone in the hall turned to take in this short and stout figure of a man sauntering in with no lack in style!

Looking back, I suppose you could say that Ibrahim Hussein's appearance at the meeting created a similar stir as his artworks -- and the prices they fetched-- did in the Malaysian art industry. Very few artists of the time dared to price their paintings as high as Ibrahim did. And the issues he dared confront through his art made him out to be a provocative -- some would even say audacious -- artist.

During the meeting, some unflattering remarks were made about "certain artists" who sold their works far above the market price. It seemed clearly directed to Ibrahim, who, during the question and answer session, didn't hesitate to walk up to the mike and state his mind on the matter.

He criticised the Malaysian artists for their tendency to keep works to themselves, and for always flocking together to complain instead of venturing outside of their comfort zone to reach out to the public. I talk about my art to everyone, from business people to gardeners, he said. The problem, he said, was that artists felt as though they were special people, direct from God. Artists, he said, need to work hard and not hope for fortunes to fall into their laps.

His little speech left everyone speechless after that. It would be the first and last time he ever went to an all-Malaysian artists gathering.

His opinions probably offended the feelings of some people, but whether you like to admit it or not, there was a whole lot of truth to what he said.

His words have stayed with me through the years.

I remember Ibrahim Hussein for more than this, too. I remember him for his My Father and the Astronaut. I remember him for his Senyum SeOrang Monyet. I remember him for his presence in the Malaysian and overseas art industry. And how he boosted the morale and confidence of my generation to continue our work and commitments to fine art.

Many people recognise Ibrahim Hussein for his groundbreaking efforts in elevating the standards and value of Malaysian art. For that, we must give him credit. He influenced many people and inspired even more.

To know that Ibrahim Hussein no longer walks among us, and that we will never see a new Ibrahim Hussein piece of painting, that is a real shame.

To Ibrahim Hussein, I bid you farewell. Semoga rohmu dicucuri rahmat.

To his wife, Datin Sim Hussein, and daughter Alia Ibrahim, I offer my deepest condolences.

Some paintings for Langkawi

2009-02-04T22:16:00.004+08:00

Here are some of the paintings I recently developed. Maybe I will take them to Langkawi, maybe not...I haven't decided which yet. More paintings in future days.

Tanjung Rhu, Langkawi, 55x48 in, oil on canvas, 2009

The Harbour, Sunset #2, Langkawi, 49x46 in, oil on canvas, 2009

The Harbour, Sunset, Langkawi, 49x46 in, oil on canvas, 2009

Langkawi Sunset #2, 49x46 in, oil on canvas, 2009

Langkawi Sunset #1, 55 x 48 in, oil on canvas, 2009

Cenang Sunset, Langkawi, 55 x 48 in, oil on canvas, 2009

Langkawi exhibition

2009-02-04T13:45:00.004+08:00

So much time has passed and now we meet again in the new year -- two new years, in fact, the Gregorian and Lunar.

I wonder how we will all fare this year financially, mentally, emotionally...healthily, I hope!

I kick off the new year with my first exhibition. It will be a group exhibition among 5 men and 1 woman at Sheraton Langkawi at the end of this month.

The island threads us all into one common woven fabric because otherwise, we all have different views, different painting styles, different strokes. They are all friends from different times of my life. Some friendships were made in ITM, forged stronger over the years. Other friendships waxed and waned but cemented recently. Some work with hands and marble. Some with paint and brush.

I do not know what each of us are producing other than the requirement that each artist must offer five paintings for the show.

Lately, I have been painting Langkawi landscapes. Perhaps because I have been there last year maybe a half dozen times already. They are almost ready for the show except for some minor touch ups and framing.

I have been having trouble deciding which five works to bring to the show. Logistics is another matter I must think about. It is not easy to bring heavily-framed artworks over 200 kilometres and on a ferry passage to the island.

I will paint some more and think about this.

The Malaysia Young Contemporary Awards

2008-12-01T16:25:00.004+08:00

I wanted to share the following text which I found on this website. It talks about the Young Contemporary Art Competition and how important and influential it was to the art scene and community in Malaysia.

Note: Dato P.G. Lim delivered the following official speech at the presentation of awards of the Young Contemporary Exhibition 2000 at the National Art Gallery, Malaysia, on 30 January 2001. P.G. Lim was the first Chairman of the Exhibitions Committee and Deputy Chairman of the Board of Trustees of the National Art Gallery Malaysia, former Director of the Kuala Lumpur Regional Arbitration Centre Malaysia and art patron. She was Malaysia's first woman Ambassador to the United Nations and is currently a legal consultant.

“Since its inception in 1974, the Young Contemporaries Exhibitions (Malaysia) have become a platform for exhibiting and exposing the works of young artists below the age of 35 to the eyes of the general public. More than that, they have over the years, served to motivate them to develop meaningfully and effectively within the context of modern Malaysian art.

This year there was a panel of six judges which included a guest judge – an art lecturer from the University of the Philippines. The panel was headed by Joseph Tan, himself an artist of note and a former part-time director of the Balai Seni. A total of 83 works were received out of which 27 are on display and from which the winners have been selected.

The Judges’ Report draws attention to the fact that the works displayed are dominated by installation and multimedia works; paintings are in a very small minority. This is very evident when one views the works. It is a development upon which globalisation even in art has had a profound impact. The predominance of installations present in this exhibition irrespective of which school of art you may come from is proof enough of that.

Installation art is not new, but it is of recent origin. In the 1970’s it was a newborn term, and did not rate as a term of specialization until the 1980’s. The term used was mixed media; now such works are described as multimedia. For example, the Balai Seni (National Art Gallery, Malaysia) from the very beginning in 1975 has used the term media campuran (mixed media) to describe its prize-winning installation works of the seventies and eighties. In today’s catalogue however the term used is simply campuran (mixed) – no less and no more, but we may conclude that they are in fact installations.

We may, I think take a little pride to discover that our own young artists of the seventies and eighties were already involved in creating their own three-dimensional works which did not fall into the category of painting or sculpture. Specialisation in installations had not yet begun. But the creative process among our young artists was at work. If you will take a little time to browse through that excellent Review of the Young Contemporaries Malaysia – Imbasan Bakat Muda Sezaman – from its inception in 1974 to 1997, you will discover to your surprise that at the second Y.C. Exhibition in 1975 the major award was won by Lee Kian Seng for his installation Permainan Poker or Process in Poker Playing then described as Media Campuran (mixed media). But before that he had won an award in 1973 with another installation work called Mankind (created in 1972) now in the collection of the Balai Seni (National Art Gallery, Malaysia).

This was in the seventies before installation art had acquired its name as such. Lee Kian Seng whom I would describe as the progenitor or father of installation art in Malaysia was already exploring the limits and dimensions of painting on canvas by his installations. He admits in a newspaper interview that at the time he created them he did not know what to categorise his pieces. “I only knew I wanted to create something new” said he. “Art is about discovering the unknown and an artist should be able to work with many types of media”.

Lee Kian Seng was followed in 1981 – the year when the Y.C. Exhibitions were resumed after a hiatus of some four years by another major award winning installation by Ponirin Amin with his Alibi Catur Di Pulau Bidong. The following year 1982 it was Zacharia Awang who won the major award with his installation work Al Rahman. From 1988 onwards both major and minor awards have been given to multi media and installation works. It seems that the entries were dominated by such works. Little wonder then that these developments have culminated – with one exception – in all awards whether major “Jurors” or special mention being won by multi-media and installation works in today’s exhibition.

You will find works which involve groupings of objects in three dimensional space which can be walked around or through or handled and felt. The installations are formed of many components and the materials diverse and complex. Sometimes they are presented elegantly sometimes in ways which are ugly or inelegant as in some exhibits in the Royal Academy's hyped up show last year entitled Apocalypse Beauty and Horror in Contemporary Art, but they are always challenging. There are in today’s exhibited works ,a melding or the multicultural ethos in our society in which all the cultures are involved as shown by the diversity of expression and which give room for cultural optimism. Installations which in the early days were often regarded as impermanent are now regarded as collectible and worthy of permanent display.

I congratulate the Young Artists for having participated in this competition and showing us the level of their achievements. By doing so they are making a positive contribution towards the development and promotion of the visual arts. “ ---------- Dato' P.G. Lim / 2001/01/30

The Malaysia Young Contemporary Award: over the years

2008-11-27T16:38:00.000+08:00

Here is an essay about the Malaysian Young Contemporary Exhibition which I found at this website. I am not sure if this was written by P.G. Lim or Zanita Anuar -- in any case, the transcription isn't grammatically correct, and I apologise. However, I am not at liberty to make any corrections in case I misrepresent the facts even more.

Regardless, the essay is very enlightening. It talks about how the MYCE was initiated and its development/growth over the years.

I was mentioned as one of the minor award winners here.

Past Tense and Future Stance

An exposition which is centered upon the issue of the greatness of art is often if not always highly dependent upon notions of art historicity.

The element of time, a very crucial factor in legitimizing greatness. While some of us seem to be dwelling too much into the past, some may be too preoccupied with the present, while others just strive for the future.

Hence, only the visionary among us actually take into consideration all three dimensions of time, the past, present and the future in the attempt to achieve such greatness. Among them are the founders of the Young Contemporaries Competition and Exhibition of 1974: Johan Ariff, Farid Wardi, (Mohamed)Redza Piyadasa, Mat Yassir Juli, Joseph Tan, Zuraina bt Majid, Ismail Zain and T.K. Sahapathy. These individuals believed in investing in the future of the present young generation, whom they believe will one day make history.

The actual idea to initiate this program is inspired by a visit to the Young Contemporaries Exhibition in London in the 60s, as mentioned by Suliman Esa . A panel of individuals were called together to discuss the matter and then, a decision was made in which the National Art Gallery is to invite thirteen of the country’s up and coming artists below thirty years of age to compete and win the Major Award of two thousand ringgit.

The thirteen artists below the age of thirty who were invited to participate are: Kok Yew Puah, Long Thien Shih, Chong Buck Tee, Siti Zainon Ismail, Tajuddin Hj Ismail, Zulkifli Mohd Dahalan, Shamsudin Daraman, Normah Nordin, Ruzaika Omar, Omar Abdullah, Adman Salleh, Mustaffa Hj Ibrahim and Lim Eng Hooi. Only seven artists accepted the invitation: Siti Zainon Ismail, Tajuddin Hj Ismail, Zulkifli Mohd Dahalan, Normah Nordin, Ruzaika Omar, Adman Salleh, and Mustaffa Hj Ibrahim. The panel of Judges awarded the 1st Young Contemporary award to Zulkifli Mohd Dahalan. Zulkifli chose to use the award to travel to India.

The event was launched without an official opening ceremony and had attracted 1674 visitors who enjoyed the thirty seven artworks by those who heeded the call for participation.

This competition was also held in 1975 with an open invitation to all artists below 30 years of age. A total of 37 artists entered 93 artworks to win the two thousand ringgit prize money and a roundtrip ticket to any ASEAN destination or to India. The panel of judges which included Farid Wardi, Sulaiman Esa, Ismail Zain, Joseph Tan and Syed Ahmad Jamal selected 19 artists to exhibit 29 artworks.

Lee Kian Seng was nominated the overall winner. His entries for the competition were Process in Consumption and Resumption, and two other works which the title: Process in Poker Game.

This program continued on almost as an the most important annual affair for the young and emerging artists. Aspiring artists were beginning to contemplate entering the prestigious competition while past winners stood behind with full encouragement. Zulkifli Dahalan during his travels in the Middle East, had even dropped a line to wish the next batch of young artist good luck …”Ya! ya! yu! would like to know about the young contemporaries. Congratulations to the winner”.

In organizing the event for the year 1976/1977, the National Art Gallery was given ticket sponsorship by the Malaysian Airlines System. The panel of judges which consisted of Farid Wardi, Yeoh Jin Leng and Sulaiman Othman applauded the efforts of Bahruddin Bador for his serious conviction in attaining a unique visual presentation and Zolkeply Maulana for his graphic skill in visually evocating the social mindset of the ‘Jeans Generation’ of the time.

This competition seem to have ceased to exist from 1978 until 1980. This possible explanation to this could be the fact that the organizing institution had to focus their resources and manpower towards other programs including the National Art and Graphic Competition 1977/1978 sponsored by Esso and the Salon Malaysia.

In 1981, this competition is held once more, attracting 44 artists to present 151 artworks. The winner this time is Ponirin Amin whose work entitled ‘Alibi catur di Pulau Bidong’ in the form of a clever fish net and origami files installation, reflected on the harsh reality of human migration. This work became the first Young Contemporaries installation artwork ever collected by the National Art Gallery. Prizes were also made available to award other fine artists who had won minor awards, they were Sharifah Fatimah Syed Zubir, Ruzaika Omar Basaree and Syed Shaharuddin Syed Bakeri. The three month long exhibition attracted up to 2424 visitors.

Traditional Syntax, Contemporary Context

The following years seem to reflect a new found consciousness among the judges of the competition. The judges began to show a clear biasness towards works of art which were uniquely local in spirit and in the use of material, yet answered to all the challenges of existing contemporary contexts.

In 1982, the competition rules were amended to allow for artists below the age of 35 to enter. This attracted 78 participants to enter 191 artworks. In the end 97 artworks by 39 artists were shown to the public.

The judges this time established the judging criteria which included: the uniqueness of the works within the context of an evolving modern Malaysian art tradition, consistency in the artists exploration of ideas, maturity in the artist’s handling of his chosen idiom, the relevance of cultural influences presentation and standards of technical excellence in the handling of medium

The judges were unanimous in awarding Zakaria Awang the Major Award for ‘Al-Rahman’, his truly lyrical and delicate installation which succeeded to synthesize east-west sensibilities and incorporate Islamic elements in a complex yet controlled manner. Minor awards were given to the following artists: Fauzan Hj Omar, Amron Omar and Wan Ramli Wan Ibrahim.

Interesting to note that the following year’s rules of entry was again amended to allow artists below the age of thirty and not thirty five, to enter. The organizers felt that it was a necessary move to contain the period of development of younger artists before he/she has settled to a more established line of commitment. The panel of jury based their evaluation on the following criteria: originality and innovative quality, consistency in the use of chosen idiom, understanding in the handling of medium, and relevance in societal / cultural context presentation.

The Major Award winner, Mat Zali was said to make a breakthrough with his presentation of the ‘Step’ series in which he has transposed the banal shoe form to a larger than life art situation representing the vigorous spirit of the youth. The other minor award winners are Muna Musa, Zainal Abidin Musa, Geh Ah Ang and Zakarie Othman. The judges also noted that what was lacking was the sense of discovery in exploring the medium of rattan, wood, clay or other local materials.

Malaysian Tobacco Company began to show interest in sponsoring this competition in the year 1984. That was the year when the judges exclaimed that creativity is the essence of art and hence nominated Thangarajoo s/o M.A. Kanniah as the overall winner of the competition. The judges appreciate his ‘expressive forms and strong sense of human values opening out, positioning greater potentials.’ The artist is the first Malaysian Indian ever to have won this award. The other Minor award winners were Bahaman Hashim, Rafiee Abdul Ghani, Mohd Nasir Bahruddin, Fadilah Abdullah and Zheng Yuan De. The embossed prints entered by Bahaman were so sophisticated that the judges voiced hope that the artist should further develop and enrich the role of printmaking in the Malaysia art scene.

The exhibition was held in the new premises of the National Art Gallery at that time which was the former Hotel Majestic building on Jalan Sultan Hishamuddin.

The competition in 1985 was sponsored by Esso Malaysia Sdn Bhd which allocated a total of eight thousand ringgit for total prize money to be given to six winners. The judges this time set forth to clarify certain terms such as ‘creative’, ‘innovative’, ‘exploratory’ and ‘proficiency’ as was required to provide the conceptual framework by which works could be identified. ‘Creative’ is said to imply certain achievement attained within a given area that can be viewed as being individual and outstanding beyond a point of saturation within the same area. This achievement is arrived at through experiment, awareness and realization.

To innovate meant to change, to modify, to transform accepted norms and conventions into something different or new. Exploratory meant an attitude of constantly exerting to review visual effects and expressive possibilities for oneself. Proficiency mean doing something skillfully with full mastery of material and form.

The judges unanimously selected Jelaini Abu Hassan as the overall winner. His work is said to be provocatively evoking socio-cultural connotations with a hauting patina of nostalgia. The other minor Award winners are Awang Damit, Azimah Ahmad, Rafiee Abdul Ghani, Kasran Mat Jidin and Ismail Ibrahim.

The concept for the following years competitions seem to be organized around themes in conjunction with the International Year of Peace, the theme for the 1986 Young Contemporaries is to explore the ways of understanding the meaning of peace in the visual context.

The 1986 overall winner for the first time in history is a woman. Mastura Abdul Rahman was lauded for her serene portrayal of harmonious forms and space. Her sensitive and detailed floor, mat, screen, pottery and religious books only serve to enhance the Malay cultural context. The other minor award winners are Chang Fee Meng, Chua Cheng Khoon, K. Chandran, Mohd Nasir Baharuddin and Romli Mahmud.

In 1987, the UNESCO theme for the year again became the theme for the competition. Thus, Shelter for the Homeless became inspiration to many young aspirants to produce plastic expressions for the critical eyes of the judges.

The judges were with the opinion that the strong social content afforded by the theme actually provided for interesting works given the wider scope of approach for the artists. Haron Mokhtar was awarded the Major Prize. The judges appreciated his presentation of the local context arranged in a flat space, the negation of three-dimensiality and his incorporation of Eastern perspective. The other memorable entries were the minor award winners which included Wong Hoy Cheong, Mohd Akif Emir, Kungyu Liew, Romli Mahmud and Chang Fee Ming.

The competition continued in 1988 supported by Esso and with the theme ‘Materials and Creativity’. Skill, creativity and innovation were the major criteria in the decision making process of the panel. Quite a few endeavoured to fulfill the principal theme by using local materials such a pandanus leaves, bamboo, wood, tin, batik and other home-made textiles. The organizers achieved the desired: works that challenge the status of oil, acrylic and other Western-based materials in contemporary art.

The dramatic and allegorical work entitled ‘Tanpa Tajuk’ by Zulkifli Yusoff which consisted of black low lying broken bridges and chess pawn pieces, was hailed as ‘a strong sociological work which is abstract yet allows for meaning to be released by subtly allegorical signs’.

The other impressive winning works were by Tan Chin Kuan, Kung Yu Liew, Leong Chee Siong, Mohd Fauzin Mustaffa and Taufik Abdullah. These artists were impressive for the high level of technical achievement and ambitious scale of production: none were less than 120 cm in length.

The next few exhibitions served as an arena for a very interesting competition between two of the more accomplished young artists of the country. The strife and trials of Tan Chin Kuan and Zulkifli Yusoff from 1988 through to 1990 made for interesting observations by art enthusiasts. In 1989, the competition hailed them both as overall winners of the prestigious event.

Sixty nine artists entered the competition in that year in which the theme had been ‘Literacy’. One of the more innovative entry was the one entitle “Passage to Literacy” submitted by Kungyu Liew, who attempted to collaborate dance / drama performance and multi media (audio visual, light and sound) techniques. And Tumian Jasman’s giant Pepsi Cola Drums inscribed with the Malay pantun, surely made the audience re-think about the seduction of commercialism. Still, the judges decided to award two artists, Zulkifli Yusof and Tan Chin Kuan, the Major Prize as ‘their works show continuity in commitment’. The other Minor Prize winners were Chan Chin Huat, Mohd Khalil Amran and Mohd. Azlan Ahmad.

The trend towards a thematic setting to the competition continued in 1990. The theme for the year was ‘Visit Malaysia 1990’. The artists were faced with the problem of painting a wide range of situations: at one extreme a tropical paradise with happy inhabitants in harmony and at the other end a cynical view of the effects of invading hoardes of tourists from East and West upon the values of the local society. The panel was of the opinion that the theme may be less than demanding of the emotional and intellectual capabilities of the young artists, hence the overall standard seem less than satisfactory.

The best effort of the year was Tan Chin Kuan’s ‘Moral means behind Visit Malaysia 1990’ which presented a strong visual statement. The artist sheds light on two aspects of tourism – one ‘veiling’ the popular picture of multi-racial society, the other, the norms and taboos – delivered with iconic significance. The other minor award winners were Ali Mustaffa bin Othman, Chow Chin Chuan, Rohayati Razak, Din Omar and Mohd Azlan Ahmad.

The exhibition continued on in 1991 under the theme ‘Our Heritage’. Although many of the entries were bigger in size, the standard varied considerably. The panel searched for works which questioned cultural identity, authenticity, within the context of our historical, social and cultural matrix.

The Major Award was given to Bayu Utomo Radjikin for his work entitled “Bujang Berani”. The panel commented on how his work epitomizes the collision between two contradictory forces and conflicting desires; that of the individual and that of the society. Anugerah Utama diberikan kepada Bayu Utomo Radjikan yang menampilkan “Bujang Berani”. This tension reflected the Fruedian struggle of the eros and the thanatos. Tan Chin Kuan had not failed to impress the judges that year. His haunting installation entitled “The Sink of Our Heritage” displayed the names of major media institutions like CNN, TV3 and RTM on a white screen which was flanked on both sides by gigantic gold rockets from which were hung black human figures. The other minor prize winners were Mohd Azhar Mana, Din Omar and Ahmad Shukri Mohamed.

1992 was the year in which the organizers decided to discontinue the practice of allocating themes for the competition. That year the entries totaled to a record high of four hundred and twenty five, the highest figure ever recorded in the YC history.

For that year, the major award winner was Azman Hilmi. His work is said to be reminiscent of Jim Dine as evidenced by his formal usage of common tools such as the hammer, saw, chisel etc. The tools serve as metaphor for the spirit of collectivity and interdependency between different members of society. The five minor award winners were Kow Leong Kiang, Eng Hwee Chu, Pang Ngiap Kang, Puah Chin Kok and Nor Azizan Rahman Paiman.

New Awareness

A total of 294 artworks were evaluated in the 1994 Young Contemporaries Competition/ Exhibition.

The panel of judges which comprised of Ponirin Amin, Tan Tong, Rehim Harun and chaired by Zainol Abidin Ahmad Shariff discussed the form of the award and the effectiveness of the show in nurturing artistic practise.

The panel also reflected on art-marketing as a major motivational factor in the contemporary practice of young Malaysian artists. They also commented on the ambiguity of ‘post-modernism’ and how it leads to ‘the total absence of original creativity’. The young artists seem to be influenced by the guru (mentor) and follow in the guru’s footsteps by regurgitating the guru’s art.

Finally, the judges could not find any work accomplished enough to deserve the major prize but agreed to award minor awards to eleven of the entrants. As a result, the total prize money is equally divided among the eleven. The artists were Chuah Chong Young, Hasnul Jamal Saidon, Khairun Nisah Musa, Noor Azizan Rahman Paiman, Nur Hanim Mohd Kahiruddin, Pang Ngiap Kang, Rosli Zakaria, Shia Yih Yiing, Tan Vooi Yam, Wan Jamarul Wan Abdullah Tani, and Zakaria Shariff.

The competition ceased to continue in 1995. nevertheless, when it started again in 1996, the organizers took in consideration the comments made by the 1994 judges and introduced one new element: the travel-study grant award. The Major winner of the 1996 Young Contemporary Competition will be given RM 6000.00 and a travel grant worth RM 3000.00 for research in any ASEAN country. Three minor awards awarded will be worth RM 2000.00 in prize money and RM 3000.00 in the form of a travel grant to any ASEAN country.

In 1996, a total of 297 artworks by 222 artists were evaluated. The panel of judges headed by J. Anu proceeded to survey the works by slide review and then to look at the original artworks. The judges considered the relevance of symbols employed like the awareness of the history of media, of contemporary issues in art and the acknowledgement of local history and traditions. There seem to be a penchant for installation works among the budding artists, which were produced in a very crude fashion and neglected the finer points in converting space.

The National Art Gallery had agreed to the judges’ request for an additional award that year. The minor award winners were Syed Alwi Syed Abu Bakar who impressed the panel with his ‘magical’ synchronized lights, Faizal Zulkifli for his delightful art video depiction questioning the legitimacy of art education, Sharmiza Abu Hassan for her innovative miniature train coach constructs, and Chan Wei San who painted the dark world of nightmares. The major winner was Nur Hanim Mohd Kharuddin who produced a carefully crafted spell book entitled ‘Grimoire’.

These artists managed to travel in a group to Philippines where they developed contacts with other Asian artists and returned to Malaysia, to exhibit together in an exhibition entitled Papahayag. This exhibition was officiated by Datuk Syed Ahmad Jamal, the National Art Laureate, at the Creative Centre.

The structure of the competition for 1996 changed to allow for artists to enter the competition via four categories: painting, sculpture / installation, print / photography, and multimedia / experimental. In that year also the organizers invited a foreign judge form a country in ASEAN to judge this event alongside three other local judges.

The judges decided that it was impractical to categorize entries as it impeded creative exploration and puzzled art judgement. Setiawan Sabana the judge from Institut Teknologi Bandung, Indonesia commented:

Is it necessary to limit the young talents artistic productions into boundaries / definitions like this? Is it not more appropriate that the artworks themselves later define their categories / definition?

After two days of contemplation, the judges decided that the Major Award should be given to Susyilawati Sulaiman. Her installation work entitled 96 & 97 (Kedai Obat Jenun) revolves on the issue of ‘dementia’ and the creative ‘madness’ of the artist. The winner of the painting category is Ong Sing Yeow, winner of the print / photography category is Suhaimi Tohid, winner of the sculpture and installation category is Ahmad Shukri Mohamed and the winner of the multimedia / experimental category is Noor Azizan Rahman Paiman. A special Jury Award was created and presented to Rashidah Salam for her highly engaging mix media collage painting. The winners of the 1997 competition had traveled to the various ASEAN country of their choice and reunited in an exhibition entitled Kembara Tenggara at the new Creative Gallery in 1998. Hence, The National Art Gallery made the decision to spend the next years introspecting and in review of the project, so the project may continue again in the year 2000.

Several factors which should be taken in consideration when evaluating the program are:

1. The Recognition of Emerging Art-Student Artist:

Each year the art schools exercise pressure on the art student to participate in the Young Contemporaries. In the 80s there seem a clear competition between the emerging artists of two main art institutions namely the Mara Institute of Technology and the Malaysian Institute of Art. There seem to be a monopoly by the ‘leading’ art school whose winners were employed by the school to teach the ‘winning formula’. Hence, in the early 90s there grew a small population of emerging artists creating works which mimic their teachers.

Now that the number of art institutions has increased around Malaysia and art teaching methods become varied, we can only look forward to more unique and extraordinary presentations. The art institution must play a role in allowing their students to engage in the event so as to personally discover their true potential and not act merely as promotional tool to the institution. Every emerging artist should be learning from the process of ‘failing and then failing better next time’, to use Samuel Beckett’s phrase.

2. Cultural Reconstruction:

Emerging image makers are often those much anticipated in presenting fresh cultural ideas and messages, in its own way the YC has become the arena to showcase the current generation’s interpretation of the present socio-cultural condition of the country. The young artist’s voice is often regarded as the voice of the young who is still free of influence and hence will speak with much hope and sincerity. This could be the reason why the judges insist in maintaining the entry level age limit of 30 and not 35 years old.

Most artists’ idea is never really isolated from the prevailing socio-political condition. The content of the YC artists in the 80s reflect their awareness of the social condition and realities of the country at the time, with the mention of the ‘Jeans Generation’ and the highlight on the migration complex in the ‘Pulau Bidong’. However, in the next few years, the judges of the competition noticed the lack of social content in the entries and at the end of the 80s started creating themes which were to shape the artists content towards a more pronounced nationalist and cultural preservation sensitivity. The themes included, ‘peace’, ‘protection for the homeless’, ‘literacy’, ‘visit Malaysia’ and ‘heritage’. Whether this has been done to propagate a common focus for young artists as compared to the multiplicity of visions, or acted in a way that it limited the creativity and originality of art making, cannot be fully determined. Nonetheless, the artists were allowed free reign again in the mid 1990s to 1997. This could be due to the heightened awareness among the organizers and judges that these young artists should be allowed to participate in a broader global dialogue related to pluralism within or without post-modernist concerns and thus continue cross-cultural exploration in the arts.

3. Media Exploration:

The exploration of media by emerging artists has become increasingly important. Each competition becomes the stage for the presentation of new manipulation of forms and translation of contents.

Although many believed that on the onset of the 90s, the judges were beginning to marginalize traditional mediums or practices such as oil painting, print and traditional calligraphy, it should be made known that any evaluation of media does not presuppose the greatness of one media / practice over the other, but seek to acknowledge innovative exploration of any media / practice, old and new. Zakari Awang is an example of an artist who succeeded in exploring the possibilities in presenting traditional Islamic calligraphy through his work entitled ‘Al Rahman’ in 1982 and in 1983 the judges had awarded Geh Ah Ang’s ink painting artwork on the same merit. An artist choice of media / practice, whether installation, mix media or multimedia is as equally responsible as ‘traditional media / practice’ in its potential to incite exploration and re-interpretation of current Malaysia art theory and history.

The most important point for re-assessment in the YC is its goal and objectives. Not unlike other mission, vision or policy set by institutions, the program should be evaluated together by past judges, organizers fellow artists, maybe every two years. This is to ensure that the YC does not simply appear as a site for instant endorsement of young practitioners produced according to market trends. Surely, this program should continue as an important ‘rite of passage’ for both artists and organizers in their experience and journey towards artistic maturity. It is hope that the YC can continue as an ‘art laboratory’, an ongoing testing process, a place for reinvention.

Solo art exhibition in Penang, May 2008

2008-11-21T16:14:00.000+08:00

Another writeup, this time, on my solo exhibition in Penang, March 08.

Painting more than what he sees
By ONG YEE TING

Sunrise on the Water, Tok Bali

IT WAS more than just beautiful beach scenes that artist Zainal Abidin Musa wanted to capture on the canvases.

“Painting is different from photography. It is not only capturing images that one sees but expressing your interpretations of that magical moment when you see it,” he said.

The 48-year-old Perak born artist, who is holding his first solo exhibition in Penang, said his recent trips to many islands had inspired him to work on a series of water sceneries.

“Sunrise and sunset are incredible at beaches. It is amazing to see how the lights play magic on the water and create the most wonderful view,” he said.

Zainal said the beach paintings were a record of his personal ‘dialogue’ with nature.

“Every painting is a unique experience with nature and I must be there to feel the thing before I can put it down on canvases,” he said.

Perhentian Sunset

The art exhibition themed Lights on the Water at a2gallery in Bangkok Lane features 29 seaview paintings by Zainal.

He said the paintings also related to his carefree teenage years living nearby sandy beaches in Kelantan and Terengganu.

The artist said he played a lot with colours when it came to painting as he was influenced by French impressionists such as Monet and Van Gogh.

“In Malaysia, most landscape painters are using the British water colourist techniques but I am more interested in the French style where I can put in the perfect combination of lights and colours,” he said.

Zainal said his love for paintings started during childhood but he stopped painting after he worked in the advertising industry upon graduation in the 1980s.

“Working life in Kuala Lumpur was very hectic and I had come to a point when I needed to take a break from everything.

“I took some time off from work every week to enjoy nature and that was when I started painting again after leaving the art scenes for about 10 years,” he said.

Exhibition in South Korea

2008-11-15T16:12:00.001+08:00

A writeup on a group exhibition in Korea in which I participated:

Friday September 5, 2008
A taste of Malaysian art for South Koreans
By FAZLEENA AZIZ

WORKS by Malaysian artists will go on display in South Korea when the 70th Annual Exhibition of Mokwoohoe With 40 Prominent Malaysian Artists is held this month.

Artseni gallery is working with the Mokwoohoe Fine Artist Association Korea on the exhibition that will be held at the Seoul Museum of Art from Sept 23 to 29.

The artists taking part are Tew Nai Tong, Cheah Yew Saik, Eric Quah, Tan Tong, Peter Liew, Ismail Latiff, Patrick Scully, Azman Hilmi, Lim Ah Cheng, Ng Foo Cheong, Pheh It Hao, Philip Wong, Shahrul Anuar, Tan Bee Him, Tang Hong Lee, Teoh Kai Suan, Zainal Abidin Musa, Zaim Durulaman, Yap Poh Sim, Soon Lai Wai, Ch’ng Huck Theng, Gwen Lim Bee Hoon, Suhaimi A Wahab, Tan Kok Cet, Tan Chee Hon, Loo Suenn Yin, Ho Kee Chek, Kuen Stephanie, Nizam Abdullah, Nurazmal Md. Yusoff, Zulkiflee Zainal Abidin, Khairudin, Haris Hamasani, Samsudin Wahab, Samsudin Lappo, Briget Lee, Yvonne Ou Yong, Tan Guat Ling, Lui Cheng Thak and Wong Fook Liung.

Each artist will contribute one painting for the exhibition. The works are in various mediums, like oil, acrylic, etching, transparent spirit glass paint, crayon, Chinese ink, and mixed medium on canvas, paper, perspex and aluminium.

They are mostly abstract pieces and include impressionist, abstract expression, realism, semi abstract and symbolism.

According to Artseni founder artist Philip Wong, the South Korean art scene is very established.

“There are a lot of people who appreciate arts in South Korea and the government is very supportive, too.

“The association found our art works amazing during a meeting in April.

“They asked if would like to have a show in South Korea as they saw a lot of talent in the works.

“We felt that it was a good opportunity for us and we were encouraged to pursue the idea by Unity, Arts, Cultural and Heritage Minister Datuk Seri Mohd Shafie Apdal.

“The selection for this exhibition was done with seven senior artists, more than 20 established artists and some up-and-coming ones.

“These up-and-coming artists have been in the industry for many years and they want to be active. They have the skill, but not the opportunity, so this exhibition provides a great platform to showcase their work.

“All the artists have presented their best work for this show,” he said.

According to Wong, the paintings feature different techniques and styles but the common thread that runs through the collection is that most of the works express colours.

“The collection is every bit Malaysian and the subject matter is very healthy, featuring nature and humans,” he said.

He added that the artists were very happy to be part of such an exhibition.

Pop! Art for Malaysia...

2008-11-06T21:18:00.015+08:00

Marilyn Monroe by Andy Warhol

What is pop art?

Perhaps the most iconic image of pop art, the one that most people are familiar with, would be Andy Warhol's Marilyn Monroe prints. Or the Campbell soup can paintings.

Though many artists with fine art background might disagree about its artistic value, pop (short for popular) art became the art movement to define the 20th century.

And this was basically the topic of discussion brought up by Raja Ahmad at his RA Fine Arts gallery on Wednesday evening at an event to celebrate the works of the late Jeri Azhari, Amir Zainorin and Azmin Hussein. The panel speakers for Art Talk: Pop Fiction and Pop Practice was an impressive lineup -- Syed Nabil of NN Gallery, Tan Sei Hon of Balai Senilukis, and Mr. Zabas (from Galeri Petronas, if I am not mistaken).

I attended, curious to know the thoughts of these individuals fronting Malaysia's art industry, and also because I think Raja Ahmad is doing an important job in supporting the art scene with his series of lectures and discussions. I feel that other galleries should follow in his footsteps -- not just concern themselves with the sale of art but also add value to the industry by spreading knowledge to their audience.

There were about twenty guests that day. As always, I saw the usual suspects...Shutter-happy Pakharuddin was one of them. I was glad to see Tan Sei Hon again. We were both lecturing at a private college some years back and I remember he taught my students about art history and appreciation. He is now a curator at the Balai!

It was interesting to observe how the talk progressed. The panel speakers, much to my disappointment, said very little. I was really looking forward to the thoughts of Syed Nabil and the rest, who I am sure are much knowledgeable on the topic. Perhaps it was time constraint, nerves, or a little of both that they suffered.

But still, I had had my hopes. Especially since there is very little that the Malaysian public know of pop art. It isn't exactly a major movement in Malaysia. Quite possibly, Jeri Azhari was the only Malaysian artist who ever really got involved -- and carved a name for himself -- in that style of work.

By the end of the talk, we were none the wiser about pop art. Pakharuddin probably summed it best when asked to give his comments: "I'm confused about pop art. My brain is popping out!"

Back home, I dusted my art history books and thought back to what I was taught about pop art.

Although pop art is mostly associated with American artists such as Andy Warhol, Roy Lichtenstein, and Jasper Johns, the art movement actually started in the UK in the 1950s. It probably began with this group of artists, The Independent Group, who challenged the traditions of fine or "high" art by focusing on popular culture that was accessible to the public -- the advertising that was bombarding the society, daily news, comic strips, movies, product design, etc.

Thinking of him by Roy Lichtenstein

Pop art is defined by the use of everyday images in expressing art. It was art based on the things that the popular mass had access to and could relate to -- things they associated with daily, on tv, in the newspapers, at the supermarket, etc.

It came about as a result of post-war consumerism in a more affluent society. The market was flooded with products, the economy was on the rise, it was a happy time for everyone. Therefore, much of what you see of pop art is bold, vibrant, loud, in-your-face images.

In my opinion, pop art became such a huge movement in the US probably because the nation didn't have a strong history in visual art in the first place, and wanted to embrace something so desperately for itself. Perhaps it was a need to create an identity for themselves, an American identity with which they could call their own and with which they could take the lead.

Even if that was so, at least, the Americans could now lay some claim to the pop art movement as theirs. But what about Malaysia? What can we lay claim to?

Love me in my batik by Joseph Tan

I remember in the 1970s, some Malaysian artists like Piyadasa and Sulaiman Esa were concerned about the direction of Malaysian art, the peribumi content. They asked among themselves "what constituted Malaysian art, Malaysian content, Malaysian identity, Malaysian originality?"

Sadly, no one had the answer then, and no one has the answer now.

Around the house

2008-10-27T22:02:00.009+08:00

We live on a quiet street, a cul de sac. Just eight houses, fronting a little hill. Most of the homes here are bare and cemented. Electric gates stand guard against trespassers. Then there is our house. So different from the barren rest.

A visit from an old friend

2008-10-25T23:09:00.009+08:00

Since we started living in this house, which we call The Art Room, and established it as our home, studio and gallery, my wife and I feel happy to have received many guests over.

Some come for our intimate dinners, some to feast on our kampung cooking (gulai tempoyak, ulam-ulam and rendang Perak), some to chow down on some seriously delicious barbecues, and some, to view the paintings. We've had neighbours, families, friends, artists and collectors over for Hari Raya, for weekends, for no reason! On special occasions, we bring out the acoustic guitar and sing some songs off-key (no karaoke, please)!

It's always nice to have people over, and we've had an interesting assortment of guests...but last week's visit from an old friend was particularly nostalgic.

Ucop, as I call him, used to work for me some twenty years ago. As a boss, those days, I was a very no-nonsense guy who worked 24/7 and was always on the go...Yes, very different from the "Zainal" now!

Ucop came to my office to apply for his first job in client servicing. During that first meeting, I made him wait for several hours as a preview of what he would be facing on the job. He patiently waited for me to see him and my first impression of Ucop was that here was a guy who was smart and willing to learn. But he was also soft-spoken and thought little of what he could achieve. In client servicing, you had to be tough around the edges, I thought.

Anyway, I gave him the job. Taking him under my wing, I taught him everything he needed to know. From the basics of a good handshake to the details of charming a client. I told him that in my book, impossible is nothing, and challenged him to break the ceiling of his pre-conceived abilities.

In the process, we learned that we both liked jazz (I, Michael Franks, he, Sheila Majid), bonded well, and became good friends.

When he left the company to pursue his studies in the UK, I was upset. Some weeks later, I received a long letter from him. He wrote to thank me for all the things I taught him to change and better himself, for being his mentor. I was very touched...the letter is still in my keeping.

When he came to visit me last week, it was a nice surprise. We had not been in touch for many years. He had read about me and my paintings in a local daily and finally came up for a visit to catch up on news and look at my paintings.

Though he is now the president of a big company, I still recall him as that young chap whom I kept waiting for that job interview! He has definitely become his own man and I am happy for him and the success he has found today.

Visiting Tengku Sabri

2008-09-05T16:48:00.001+08:00

When I arrived at Tengku Sabri’s (Yi) house on Tuesday evening, I was on a mission. However, by the end of our long chat into the late hours of the night, the meeting had turned into a reminiscence of our teenage years at UiTM, an enlightening lecture on Yi’s views on art, and much more.

Stepping into Yi’s house, you would immediately notice the shelves overflowing with books. Children’s books, fiction, non-fiction, religious books, art books, classic literature, the Quran, the Holy Bible, and whatnot. I am sure that if I looked properly, I would find the original Kama Sutra text too, sandwiched between the Bhagavad Gita and something by Stephen Covey. He is a voracious, unsatiable reader, that man.

His home resembles an academician’s office rather than an artist’s residence. This is even more ironic when you understand that he and his wife are both artists. They are well-read individuals and the initial assumption isn’t all that wrong as both of them do teach at the Multimedia University.

An aspect about this couple that truly fascinates my wife is the fact that they are both Ariens, known, perhaps stereotypically, as dominating, creative, impatient, intelligent people – characteristics that perhaps these two display to varying degrees. My wife finds it a little intimidating to be in a room full of Ariens, and she wonders sometimes, how a Pisces like myself survives the triple fiery vibes of the ram when she, herself an Arien, joins them!

But I digress. They are fascinating characters, these two…but the main point of my visit there was to enquire on behalf of a collector about Yi’s works.

When he heard of this interest, Yi went into a room and came out bearing two sculptures – his early, and now considered, rare works. One was “Pengantin” and the other was “Mother.”

“This is the last piece of Pengantin that I have,” Yi explained. The others in the series were already bought by Pakharuddin and Senator Kamarul Ariffin many years ago.

“I’m not happy to have to part with them,” he said, gesturing to Pengantin and Mother, “but if I do, I’d like to know the person who will treasure it.”

I nodded because I understood his feelings. As an artist, we produce our works and a little part of us is forever embedded into it. Maybe a little bit of our emotional state during that period, our artistic knowledge or level, the things we held dear. Each piece says something about that part or period of our lives. Once it is sold, we know we will never get it back.

A piece of our art is like an old photograph of us. A picture captured of our youth. When we lose that photo, we can never study it anymore and see what we were like as a child. We will never see that raw look in our eyes, the innocence, the naivete…

Ah…sentiments of an aging artist….!

Again, Yi got up to show some other works he had in his keeping, as well as photos of his installation works from his residency in Japan some years ago. So many of them were absolutely impressive…the works of a brilliant mind.

One in particular, the Gunung Daik sculpture, done in the late 1980s, caught my interest. Others in the Gunung Daik series are in the possession of U-Wei, Pakharuddin and the Balai Seni Lukis Negara.

As the hours went by, Yi pulled out his photo album of his days at UiTM. So carefree, so spirited, so idealistic, so in love! So much different from the Yi of today, and yet, in some ways, still the same.

Today, he is more philosophical about art. His views are much bigger, more mature, less selfish. He said, “Beauty is not anymore for pleasure but for thought.”

His role as a teacher has perhaps expanded his views of his role in art. He doesn’t see himself as a creator for the sake of self-expression, but more accurately, perhaps, as a guide to open the minds of the many who attend his lectures. Perhaps even, as an advocate for “art for the masses.” He talks about wanting to “merakyatkan seni” in the belief that art should be accessible to everyone, that it should be part of everyday life, like it once was in the days of our forefathers.

His progress as an artist and maturity in thought has perhaps led him to believe that art should provoke sentiments, challenge pre-conceived notions and thoughts, and even instigate action. His understanding of art is of a higher level, while the rest of us still continue to paint and create for the sheer individualistic pleasure it gives.

There is nothing wrong in either because art, too, is personal. Every artist embarks on his own journey, at his own pace, appreciating different aspects of the journey. Some may have already found their destination. Others, reluctant to end the journey, amble along, or pause at a particularly pleasing location to enjoy the scenery for as long as it lasts.

Yet another sentimental reverie here? Perhaps…

But yes, this is, essentially, Yi’s involvement in art right now. He never left the art scene but was quietly absorbing everything that was going on in his head. His love for and strongly-held thoughts on art still simmer in his mind. When the time is right, we will be fortunate to see his new works, a reflection of the Yi of today.

Until then, we can at least look forward to his solo exhibition some time next year which will be a retrospective of Yi’s past works, They include an archive of sculptures, installation works and various documentations of these works.

Lights on the Water at Art Accent, Bangsar

2008-08-26T10:32:00.003+08:00

Apparently, every time I do a solo exhibition, it is bound to rain on the launch day, and this time it was no different! It has happened maybe about three times already. But as they say, rain is a blessing from God for what is to come.

The launch of my solo exhibition at Art Accent, Bangsar Village II, was a casual get-together with friends, artists and collectors.

Tuan Haji Hajeedar, generous supporter of Malaysian art with a big heart, was there to officiate the event. I was deeply honoured to have him speak about me and my progress in art. In his enlghtening speech, he revealed our first meeting way back in 2003 when I had my first solo exhibition in the humble premises of Balai Berita, NST, from which our friendship only grew.

Although he enjoyed seeing my development into abstract works, he said that he still had a soft spot for my landscapes.

Another collecter, Bingley and wife Ima, were there too with their children. I was happy that they allowed me to show "Landscape of the Belum Moth" painting, which they bought earlier, at this solo. This particular painting was an important and highly relevant piece to the show not only because it was selected as the first-prize in the Passions International Art Competition 2007, but also because it was the piece that started me on my abstract series, Belantara. A few of the Belantara pieces are being shown at the solo now.

I was also happy to see Pakharuddin Sulaiman as a guest there. He is Malaysia's respected art collector whose inventory of paintings, sculptures, installation works, art books and knowledge, some would say, could easily put the National Art Gallery's to shame.

I'd like to thank Margaret and her team at Art Accent for the opportunity to exhibit my paintings at their cozy little gallery. I also wish to thank my friends and artists (Soon Lai Wai, Lim Ah Cheng, Ng Foo Cheong) for always lending me their moral support, my collectors for believing in my art, and my family for their constant love which has fuelled my passion in art.

The exhibition will run till Sep 2, and I hope that those who missed the launch will find the time to view my paintings there one of these days. In the meantime, I will try to squeeze some time in to post some pictures of the exhibition and the launch.

Thank you.

Solo exhibition in Bangsar, Kuala Lumpur

2008-08-17T10:35:00.005+08:00

"Lights on the Water"
21 August - 2 September
Art Accent Gallery, Bangsar Village II, Kuala Lumpur
Official launch: Sunday, 24 August, 3pm

My "Lights on the Water" collection of works was first exhibited at Alliance Francaise Kuala Lumpur in February. Having added a few more works to the collection, it then traveled to Penang for my first solo up north in May. The response in Penang to my works was beyond my expectations.

Now, "Lights on the Water" will make its appearance in Bangsar, Kuala Lumpur. Some 25-30 paintings will be showcased at Art Accent Gallery in Bangsar Village II.

Some new landscapes will be exhibited for the first time there. So, audiences can expect to see my sun, sea and sky landscape compositions of some places around Malaysia. My trip to Langkawi early this year gave me some pretty amazing inspirations.

I've also decided to show some of my latest abstract works which I've not shown before anywhere else. These abstracts are a development of my "Landscape of the Belum Moth" painting which won the first prize at last year's Passions International Art Competition. I'm excited to know how audiences will respond to them.

Well, I don't want to say too much about my works...I'd rather have you come over and view the works for yourself and enjoy them!

I cordially invite my friends, family, collectors and those new to me, to my solo exhibition in Bangsar. I appreciate the time you would spare for this. I will be there myself on Sunday, 24 August at 3pm.

Langkawi Triptych

2008-06-01T23:08:00.004+08:00

The past two days saw me working furiously non-stop to finish this latest painting. It is for a show at Artseni gallery featuring XL-sized works by Malaysian artists.

It really is XL! This one is a triptych measuring 7 by 14 feet, done in acrylic. The painting is of a secret place near Kuah town, Langkawi.

I wanted to re-create the sounds and splashes of the sea waves against the rocks. I wanted to show the colours of the dipping sun reflected on the sea, without resorting to painting the sky. I wanted to differentiate the calm of the sea against the frothy surf in the foreground.

Well, at least, I hope that the viewer will see all these from my painting.

Of course, due to the size of this painting, viewing it from a distance is totally different from viewing it close-up. I had a difficult time painting this due to the size. Had to keep on moving back and forth, near and far, to see how my strokes affected the "big picture," so to speak.

I even had to "create" special brushes to do this piece. I attached long pieces of branches to my brushes so they would be longer and help me create the rough strokes for this painting.

The six pictures above show the different stages of the painting. It will be installed on the Muse Floor of Starhill Gallery this Tuesday, 2nd June. To see the final version, do come for the official opening scheduled for 15th June.

The minimalist

2008-05-28T23:44:00.001+08:00

This is Hanafiah Waiman. Artist, friend, teacher, Phillip-Morris award winner. His works are defined by his simplicity. Every stroke, colour or line has to earn its place on his canvas. Nothing is in excess.

His subject matter are often things that are going on in the life he knows, in the kampung he lives. You will see the chess player, the telephone man, the girl with flowers.

Then there are the fairytale series, inspired by the stories he reads to his children. All done with a light hand, making the final work an art piece that really shows off his masterly skill and fine talent in drawing.

His works reminds one of those produced by Gustav Klimt and Egon Schiele. Raw with an unfinished quality, melancholic yet modern. His works look like they have been carelessly put together with scribbles and patches, but they are the work of a precise artist.

Just a few nights ago, Hanafiah came over to my studio bearing some of his 2008 works. These are new works that bear the same Hanafiah style but with a marked development.

My wife and I have sold some of his works to some collectors previously. The new works are currently at our studio for viewing.

The secret places in Langkawi

2008-05-18T23:14:00.005+08:00

Untitled as yet: A painting of the evening scene somewhere near Kuah jetty

I am working on a series of paintings of Langkawi based on my trip there early this year. The painting featured here is just one of them. It will be submitted for a group show at Art Accent Gallery, Bangsar Village II on 24 May.

I remember the trip to Langkawi very well. I was actually torn between leaving my wife who was in confinement at the time, and going to Langkawi to gather material for this year's paintings (I knew that after my son Musa's birth, it wouldn't be easy to just take off). In the end, my wife and I decided that it was best that I go at the time.

Anyway, this piece is of a place near Kuah jetty. If you have been to Kuah, you will know that there is nothing worthy of a second look there. However, on the last evening in Langkawi, my travelling buddy and artist friend, Suhaimi, showed me this "secret" place in Kuah that few people know of or care about.

To get there is an adventure in itself. We had to drive off the main road uphill towards a dead end. We parked the car and made our way on foot down a steep and narrow path lined with bushes and trees. We then came upon a small clearing of rocks and the view of the sea.

I remember being there and waiting for the right moment to come. The sun was dipping into the horizon, the waves were crashing against the rocks, colours were changing by the second, and all of a sudden, the entire scene was bathed in light. The water shimmered, the sky glowed and the rocks were glistening with water and froth.

I took the shot just as the waves crashed against the rock, creating a swirling, frothy surf in the foreground.

After that, the lights diminished colour by colour until it was too dark to see.

What happens after the Belum moth?

2008-05-10T11:22:00.002+08:00

People say that when you do something the same way over and over, it breeds familiarity and boredom...but that is not a bad thing really.

In my case, I have been doing landscape paintings for many years, and yet I never bore of it. The opposite happens, in fact. With each landscape painting that I do, I always learn something new from it -- a new colour to introduce, a new technique to use, etc.

When I look at my works from the late 1990s and compare them with those that I do now, I see a definite progress.

Now, after many years of painting landscapes in my usual way, I have become aware of the many opportunities for me to develop my painting style even further.

A turning point in the development of my paintings can be seen in the piece, "Landscape of the Belum Moth," the winning submission for the Passions International Art Competition last year. The piece is a stark contrast from the usual landscape pieces that I have been known to produce.

I was further prompted to explore this style of painting after having received some positive comments from fellow artists and collectors. I am now working simultaneously on several pieces exploring this new direction. The subject matter is based on my trips and captivating scenes of Langkawi, Janda Baik and Pulau Perhentian.

Back from Penang

2008-05-03T23:55:00.007+08:00

(From L-R): Ch'ng Huck Theng, artist Eric Quah, me, my former student I-Ming, and Lee Khai

Exchanging thoughts with veteran photographer in Penang

It was nice to see even children appreciating art at such a young age!

I just came back from Penang today. I guess you could say that the trip had a 4-pronged mission:

1. Attend the launch of my first solo exhibition in Penang (you can view the online exhibition here)
2. Buy art supplies
3. Look for the Merc classic rims and caps for my car
4. Makan...

Glad to report that all 4 missions were accomplished!

The exhibition in Penang went quite well (a story on it appeared in the Star Metro, Northern edition). I met some excellent people -- Eric Quah, a respected artist now based in Penang; Ming, a former student of mine who has some good plans for the Penang art market; and Tun Daim Zainuddin who visited the show today!

The Penang crowd was a pleasant surprise for me. Quite a number of old-time artists, water-colourists, self-taught artists, and photographers came to the show. It was a nice feeling to know that all these people came over to see my works and give their support and feedback. Penang has always been known as the venue for modern art and has her huge share of talented and creative people. Having some of these people at the show was quite an honour.

When A2 art gallery approached me to show my works up north, I was happy to do so and share my works with the people of Penang. It was an opportunity for me to explore the market there and see the people's response to my art.

After just three days into the show, I guess you could say that there is a market for art there. Perhaps it is small, but it is growing and I think with more art exposure and education, the Penang people, especially the younger generation, will appreciate art more.

I also replenished my art supplies at the famous art supply shop, Nanyang. I bought more canvas, brushes, and paints. Due to the amount spent, I think they should make me their honorary customer of the year!

I was also very lucky to have found the original rims and caps for my 200T Merc station wagon. I got the lead to the supplier from my wife's uncle who told us to visit the Chin Fook service shop near the jetty. My car will now have some proper, "new" shoes!

Malaysia is known for its variety of food and culture of eating, but Penang is the capital city of food in Malaysia! During my Penang trip, one of the best meals I had was with Eric and Ming at Restoran Kapitan somewhere near Little India. The tandoori and briyani chicken was just fantastic.

After dinner, we made our way to Eric's house and that was also quite an honour for us. We got to see his personal collection of works and art books and taste a mean brew of imported coffee.

I've always enjoyed Penang and this trip was one of the most memorable ones.

Solo in Penang

2008-04-30T01:54:00.006+08:00

Pulau Besar, Mering -- Sunset 110 x140 cm,, acrylic on cavas, 2007

This morning, the lorry driver came to pick up 29 pieces of my paintings for my solo exhibition at A2 Gallery in Penang.

Now, my studio feels uncluttered, spacious...empty...a far cry from what it was just days ago when I was running around to meet deadlines for the exhibition!

People always say that it's easy being an artist, but they don't realise that there's a lot of work going on besides painting and "seeking inspiration."

Anyway, the exhibition will showcase pieces from my trips to Penang, Mersing, Perhentian island, and Redang island. The exhibition is kind of an expansion from the one I did early this year at Alliance Francaise. Besides works in oils and acrylic, I have also developed some paintings using pastels on paper. They are sketches developed from my studies of some Penang landscapes at Gurney Drive where I stayed.

The exhibition, "Lights on the Water," will be at A2 Gallery in Bangkok Lane, Penang, from 1-20 May.

If anyone happens to be in Penang during that time, you are welcomed to view my works at the gallery. I will be going up there myself for the launch on Labour Day.

Art talk at Starhill Gallery

2008-04-09T22:59:00.003+08:00

On 29 March, I participated in an event organised by Artseni Gallery at Starhill Gallery to promote art appreciation to the public. The event was just one in a series of many on the issue which gallery owner, Philip Wong, wanted very much to highlight.

He was interviewed in the papers recently:

ART gallery owner and artist Phillip Wong believes that what people believe about art and how they perceive it changes over time, and art appreciation is not as daunting as it may seem.

“Art is for everyone,” declared the 40-year-old who will be conducting a fortnightly art talk show on How Art Relates To People where he will share his knowledge on how to buy and sell art, how to appreciate good works of art and on how to conserve them.

The talk is open to everyone - from people who are new and who would like to learn to appreciate art, to art lovers, collectors and artists. It's an opportunity to learn and get better exposure, while keeping up with the global art industry,” he said.

For details or to register for the talk, contact 03-2144 0782 or pw@artseni.com.

The event started off with a screening of my NTV7 interview by The Breakfast Show. It was followed by the talk conducted in a Q&A format by Philip Wong. At one point, Philip presented a slide show of my works.

The crowd was intimate and I was able to present my thoughts about my painting and works. When it comes to my work, I guess I just want people to know that I paint because I truly enjoy the act of painting rather than highlight social issues in my works. Yet, in a way, the choice of my subject matter, the landscapes, is a statement of protest in itself -- that I want to be away from the hustle and bustle of the city and the ugly side of man.

When people come to me and ask me how to appreciate my works, I just encourage them to lose themselves in the colours and the feelings of the paintings. Some things don't have to be over-analysed.

In the news

2008-03-18T22:48:00.000+08:00

This article appeared in the New Straits Times on 8 March. It was written by my wife's sister who is a writer. I really liked how she wrote the article and articulated my thoughts. In case the link doesn't work, I copy it here (text only) for your reading pleasure:

"Pieces of participation"
by Anis Ramli

Lovely, breathtaking moments are on Zainal Abidin Musa's art works. ANIS RAMLI is enamoured.

At the first meeting with artist Zainal Abidin Musa, he had just completed a collaborative 2008 calendar project with a local non-governmental organisation, themed Paradise, allowing free use of his favourite artwork for charity.

It was the first time his works were immortalised in a calendar and till today, he remains grateful for the opportunity to work on such a collaboration.

“At first it was just the excitement of the entire project,” Zainal began. “It started as a chance to do something good for charity and a way to give back to the community.”

(All proceeds of the calendar sale go towards aiding Pertubuhan Al-Khaadem’s charity home, Home of Hope, a sanctuary for the elderly, orphans and single mothers irregardless of race or religion, while Zainal pledges 20 per cent of sales of the artworks featured to the home).

As the project picked up speed, Zainal began to get excited.

“In terms of the medium and the message, I enjoyed combining art with charity. The calendar had selected verses of the Quran and hadith (sayings of Prophet Muhammad) that spoke of the promise of paradise in the hereafter.

“But ultimately, the project celebrates our connection to nature through beauty and metaphor. Whatever beliefs we have, one can not deny that we are undoubtedly the environment’s custodians.”

Zainal has always been passionate about the environment and his works often revolve around natural beauty.

Having grown up amidst the natural beauty of places like Parit and Batu Gajah in Perak, Kelantan and Terengganu, he certainly didn’t lack the inspiration.

Zainal’s landscapes are simple yet rich. Instead of ‘traditional’ scenes of a kampung house in a padi field, he keeps his compositions basic: land, sea and sky. They are often “silent”, peaceful, contemplative pieces. Some may even say meditative.

Yet they are also rich in the sense that they are not boring to viewers. There are a myriad of colours in each little square area of canvas. These are what make everything in that piece of art interesting.

His work, too, captures the present environment through contemporary sensibilities in terms of the use of light, colour and the expressive paint strokes.

“My landscape paintings are simple to understand,” he says. “The beauty that God has created in this world is already there. I am just conveying how I feel towards it and try to translate the aesthetics onto canvas in my own way.”

There is nothing philosophical about it, he laments, except to simply express his passion for natural beauty and to enjoy the pure act of painting.

In maintaining a dialogue with the environment, Zainal captures the light of day and the effect on the changing landscapes.

A play of light and colour congeals into shadows, waters and the horizon. They all interact with the shape and structure, where palm trees sway somewhat and rivers swirl, displaying Zainal’s expressive strokes in describing his work.

In fact, his has an almost impressionistic quality, to which he admits is very much influenced by the French Impressionists like Monet and his peers.

“There’s an emotional resonance between the painting and the environment,”he says, with the two existing independently.

So viewers are invited to look into rather than at his paintings, and experience the dialogue between what’s painted and what’s seen.

Zainal’s mastery in using colour to capture the fleeting passage of light is evident in each painting.

In Sunrise on the Water, Tok Bali, for example, yellow lights glitter against the blue seas, creating a shimmering effect of a peaceful morning.

And in Shadows on the Water, Pulau Besar, Mersing, rough strokes of blue, green, purple, yellow and red come together perfectly to create the effect of shadow and light of a late morning by the beach.

At a time when the market is flooded with abstract and modern art and experimental works, it’s refreshing to see Zainal’s works that hark back to the basics and his mastery of light.

In his Dusk at North Port #8, for example, the reds of a sunset sky flame fiercely juxtaposed against bold strokes of blues, while in Waterlilies at Janda Baik, fluffy white clouds are reflected against a serene pond of waterlilies.

During Zainal’s 2006 solo exhibition, friend and renowned artist Tengku Sabri Ibrahim says, “Zainal chooses to ignore the contemporary excitement of experimenting, exploring and working with ‘modern’ or ‘expressive’ images and approaches as practised by many artists of today. He hangs on to his romantic attitudes in reading and representing landscapes."

Zainal studied fine art with a major in printmaking at Institut Teknologi Mara (now Universiti Institut Teknologi Mara, UiTM) in the 1980s under the tutelage of various lecturers who themselves were influenced by different schools of thought.

It was an exciting time for the art scene as Malaysian artists were frantically searching for a Malaysian art identity, experimenting with various styles.

Zainal often describes being fortunate to be a part of that era.

After graduation, he completely left the art scene and joined the world of advertising.

Sixteen years later, without having followed the goings-on or trends in the art world, he started painting again.

“Not because I consciously wanted to start an art career, but because it was a means to de-stress from my advertising work, and the act of painting itself gave me a sense of calm and peace,” he explains.

Zainal would go on weekend trips to the East Coast and the surroundings that “naturally inspired me to paint again”.

Today, one can still find Zainal painting over the weekends, travelling to remote places to capture the essence of a special place and time.

He writes of his travels and artworks on his blog, www.zainalabidinmusa.blogspot.com, sharing with his audience the Malaysian landscape we have so often taken for granted.

His recent travels to Mersing and the islands off its coast are now immortalised in a series of artwork presently exhibited at the Alliance Francaise from Feb 27 to March 12, entitled Lights on the Water.

END

First show of the year

2008-02-22T20:19:00.006+08:00

Well, I've just returned from my painting trip up north which included Langkawi (and all the secret and beautiful sunset/sunrise spots) and the magnificent area in Yan, Kedah, where mountains, padi fields, rivers and sea meet!

The trip was quite productive but I was disappointed that the weather wasn't too great. More on that exciting trip later.

But for now, I'm extremely busy with my upcoming show entitled "Lights on the Water," launching at Alliance Francaise on 27 Feb, at 7 pm. It will continue right up till 12 March and will showcase some of my old and new works.

The featured painting here is titled "Sunrise on the Water - Tok Bali," a three-panel painting, each measuring 135 x 155 cm in oil, available for sale, and which perhaps due to its size, will be the piece de resistance of the show.

The writeup about the show which appears on the Alliance Francaise website is here:

Zainal Abidin Musa, one of Malaysia's up and coming artist, will be presenting at Alliance Française de Kuala Lumpur a series of paintings in an exhibition titled, "Lights on the Water."

The paintings are seascapes and landscapes of places around Malaysia that has inspired the artist. Through his masterful use of colour, Zainal has succeeded in capturing on canvas the fleeting moments of places like Mersing, Perhentian Island and Redang Island, with poetic grace.

His studies of clouds and water are simple and focused. His compositions are "silent" except for the impression of moving clouds and waves, and rippling light on water, so audiences feel as though they are part of the paintings. These impressions of time and place, captured on canvas, are reminiscent of paintings from the French Impressionist period, of which he very much admires.

Some twenty pieces of oil and acrylic paintings will be on display – some of them measuring between seven and 14 feet long.

Zainal recently received the Passions International Art Award 2007 (1st Prize), and was a minor award winner in the 1983 Young Contemporary Artist competition endorsed by the National Art Gallery.

Admission is free.

Opening Hours: from Monday to Saturday from 9.00 am to 8.00 pm

Venue: Alliance Française de Kuala Lumpur, 15, Lorong Gurney, 54100 KL

Tel: 03-2694 7880

On the road

2008-02-12T22:19:00.003+08:00

Painting plein air at Tanjung Rhu, Langkawi

The Impressionist painters of the 19th century often went on trips together to some remote places to do some paintings. On these trips, they would pack their colours, brushes and canvas or sketch books to capture the fleeting light of day on site. It was called plein air or open air painting where they would spend hours outdoors in some field or beach as they sketched live.

The last time I went on such trips was way back in 2002 with my artist friend, Suhaimi. We had gone to the east cost of Malaysia, spending time painting the landscapes of Kijal, Pulau Perhentian and Balok. It's a great experience to be painting with another artist, comparing notes on how each can render different outcomes on canvas, but of the same subject matter! Painting with a fellow artist also allows you to learn from each other and it was an inspiring and motivating experience for both of us.

Suhaimi and I spent many days on the coast, traveling from one kampung to another, just enjoying each other's company and doing lots of painting. It was a simple trip, nothing fancy, financed with only a few hundred dollars, but the experience was invaluable.

When I returned from that trip, the paintings I produced were exhibited at the New Straits Times' Balai Berita, in what was my first solo exhibition after having left the world of art for many years. The exhibition was called "Weekends," and alhamdulillah it was quite successful for me.

In the next few days, I will again make a similar trip with Suhaimi but this time, we are going to Pulau Langkawi and Kedah. The northern part of Malaysia has some fantastic landscapes -- the padi fields, the ruggedness of kampung life, the beautiful beaches and islands. Upon my return, I hope to produce lots of works of northern and rural Malaysia.

I pray that the weather is good up north!

My 10 minutes of fame!

2008-02-07T21:26:00.000+08:00

I'm not sure if anyone caught it, but I was on TV some time in mid-Jan. My wife was probably the only one watching...heheh.

Anyway, the Breakfast Show (the show worth waking up for) on NTV7 interviewed me in their arts and culture segment. Daphne Iking and JP were the jovial hosts on that day and totally made me feel at ease as I talked about my art.

However, they made a mistaken comment about me being the first Malaysian impressionist artist which I corrected on the show. With its long history dating back to the 19th century, Impressionism has had many fans and followers, and I'm sure I'm not the first to have been inspired by it.

I hope that my 10 minutes of "fame" on the show managed to shed some light on Malaysian art and helped people appreciate it more. Of course, there is only so much that a show like that could do to promote art.

I spoke about the issue on the show -- how schools and the media can play a more active role in instilling a love and awareness for art (and culture). I remember in the old days when there was only RTM on the TV channels, there were a few programmes on art. The artist, with his brushes, paints and palette knife, would start with a blank canvas and by the end of the show, it would have been transformed into a beautiful piece of landscape.

In schools, these days, art has been relegated to a subject for the not-too-bright students! Subjects such as science and mathematics are given more importance. No doubt they are important, but we do need to balance our knowledge of such "hard" subjects with art which lends some beauty, culture and sophistication to our personalities.

Well, that's my two cents' worth, anyway.

I had planned to thank a few significant people but there was no time to do it on the show. So, I thought I would do it here. Firstly, my thanks to the NSTP group for providing me a space at Balai Berita for my first solo exhibition, "Weekends," in 2003. My appreciation also goes out to the following people for supporting me in my art career:

Tuan Haji Hajeedar and wife
Dato' Azman Mokhtar (formerly from Binafikir)
En. Muhammad Zainal (formerly from Binafikir) and wife
En. Danny (from Binafikir)
En. Rahimi Harun
Bingley and Fatimah

Passions International Art Competition

2008-01-20T21:56:00.000+08:00

"Landscape of the Belum Moth" which won first prize

I haven't entered an art competition in a long time. The last -- and significant one -- was the Malaysian Contemporary Art Competition organised by the National Art Gallery way back in 1983, in which I received an award.

But last year, I was invited to enter the Passions International Art Competition. I remember telling my wife that if I were to enter it, I wanted to enter it to win. She wasn't as self-assured about it as I was. Her argument was that it wouldn't be easy with entries from international competitors.

So, I set to work...mostly to prove her that I could do it!

The theme of the competition was "Conservation of Nature", and I produced two pieces. Of the two, I selected "Landscape of the Belum Moth" to be entered into the competition. It was a piece to show nature's rich offerings and how it could all disappear just easily. I was inspired by some articles I had read about our beautiful Belum forest.

"Ferns at Janda Baik" -- the 2nd piece submitted

The piece clinched the first prize in the competition judged by internationally-recognised artists, Raja Azhar, a well-known Malaysian artist; Eric Quah, an Australian-based Malaysian-born artist; James Sim, a Penang-born artist now based in London; and Donald Smith, founder of Jiiva Fine Arts in Jakarta and Starhill, Kuala Lumpur.

Happy New Year 2008!

2008-01-10T14:36:00.000+08:00

The new year started out great for me...with a new-born son delivered on the last day of 2007. My wife and I now look forward to many exciting -- and exhausting -- years ahead with Musa Hashim! She thinks he'll inherit my passion for painting and I think he'll get his mother's writing style. Well, maybe he'll get the best of both of us.

In retrospect, last year was a great year in terms of my career. Two new galleries approached me to carry my works in their respective spaces. One is Art Accent Gallery in Bangsar Village II and the other is A2 Gallery in Penang. Of course, my works are also still available at Art Case Gallery in Great Eastern Mall and Artseni Gallery in Starhill.

I also made some new contacts with collectors who personally came to my studio to view my works. It's true what they say about the virtues of word-of-mouth promotion. Many of these collectors are friends of friends or previous collectors.

One collector was so nice that he even invited me to show my works to his friends during a Hari Raya gathering he hosted at his beautiful home. Thank you very much to Bingley and wife, Fatimah, for the wonderful opportunity!

Last year, I entered the Passions International Art Competition and won first prize for an abstract landscape piece I submitted. It impressed one of the judges so much that he offered to do a group show of my works at his gallery some time this year.

It was through the art competition that I also made friends with internationally-renowned artist Eric Quah, whose works I have long admired. In fact, at another function to celebrate Eric's solo exhibition in Starhill, I introduced myself to an individual whose opinions on Malaysia's art scene I respect, Pakharuddin Sulaiman. What followed a few weekends later was a personal tour of Pakharuddin's gallery of collected artworks at Ruang Pemula. Fascinating stuff to put our National Gallery to shame!

I also managed to do some pro bono work with a non-governmental organisation by offering images of my artwork for their 2008 calendar.

This year looks set to be another busy year for me, which is good! God willing, I will be participating in some group shows with various galleries, a tie-up event with Alliance Francaise and a solo exhibition up in Penang. I may also show my works in Indonesia along with three other "veteran" artists who haven't exhibited in a long while and whose works, I'm sure, will be something to look forward to.

These things will certainly keep my busy and I will have to make some trips to the coast and islands to gather new material.

Well, happy new year, everyone, and may 2008 be a great year for art!

Shadows on the Water -- Pulau Besar, Mersing

2007-11-11T23:14:00.000+08:00

Shadows on the Water -- Pulau Besar, Mering

As a painter, my eyes and mind have been "programmed" to see the world and everything in it as compositions on canvas. It comes naturally to me to imagine the scene before me as a painting -- how it is cropped, how it colours, how it shapes.

Early last year, before the tourist season set in, I found myself on Pulau Besar, Mersing, very much alone. Walking along the long stretch of beach, I felt like a castaway on an island. At one point, having walked for some time, I turned around to face the journey I had made. I immediately saw the scene before me on canvas.

It was an interesting composition of long shadows of trees being cast from the right, onto the beach, the wet sands, on the frothy lips of the waves, and onto the rolling sea coming ashore.

The reflection of the blue sky on the water created a contrast between the shadow and light, creating space and depth.

It was a very quiet and silent composition with only the sounds of the waves breaking the serenity.

Back at my studio, the scene was captured on a canvas measuring 6 1/2 x 4 1/2 feet. It was a challenge to capture the different levels of light and shadow on a single composition. I wanted to contrast the coolness of the shade with the late morning brightness, while showing the depth of that stretch of beach.

Now, this piece, "Shadows on the Water -- Pulau Besar, Mersing," is available for sale at Artcase Gallery, Great Eastern Mall, Jalan Ampang.

First exhibition in Penang

2007-11-03T16:06:00.000+08:00

I was in Penang over the weekend for the launch of my first exhibition in Penang. It was a group show entitled "Black and White" organised by A2 Art Gallery.

The gallery is located on Bangkok Lane (off Burmah Road) and is a beautifully-restored heritage house from the pre-war days.

Three of my black and white works are currently on display there and they are:

Ferns at Janda Baik

Perhentian Kecil

Pond at Janda Baik

Black and white

2007-10-30T15:36:00.000+08:00

Selamat Hari Raya Aidil Fitri to everyone...hope it's not too late.

It's been a long while since I updated. Not that I have been idle...far from it. I have been busy with the Hari Raya celebrations with my family, some new paintings, a group exhibition, an art competition, a pro bono work, among others.

At the end of it all, my computer (and not me, thank God) burnt out! Which explains the lack of postings here. But I am back. Still busy, but back.

I've recently started working on some black and white pieces. They are mainly for a group exhibition up in Penang. It was interesting how my landscapes turned out in only shades of grey. I was encouraged by the fact that one of my regular collectors picked up a the piece featured here, "Janda Baik," even before it was shown at the gallery.

The last of my "ignorance"

2007-09-27T13:12:00.000+08:00

The “Illiterati” series was created in 2004. It consists of only four still-life paintings done with acrylics.

Two were bought by a corporate individual some years ago and the rest are still with me. One that is still in my collection is “Illiterati 2:208,” measuring 38 x 55 inches -- an arrangement of my Quran, a newspaper article about the US invasion on Iraq, a mug and a bowl on a table.

The simple items I laid out were in contrast to the complicated situation of the world at the time, and the confusion it caused. A war was looming, tipping the balance of things and shaking the order of God.

The situation in the world made me pause to reflect on many things: about nations exerting power upon others, about their use of wit and cunning to outdo each other -- but only succeeding in creating destruction for mankind.

It expressed the ignorance of learned people -- the illiterates of the so-called literati.

It is very rarely that I paint still-lifes these days and these four paintings are very special to me. It reminds me of a significant period in my life some years ago.

I may never get to see the two that were already sold to a client, but if I had to part with the remaining two, I wouldn't mind if it went to the hands of a friend whom I know will appreciate it.

Filling in the blanks

2007-09-18T21:13:00.000+08:00

Bintulu Sunset in the making (scroll down for the "after")

.... almost completed the Bintulu Sunset and now working on a piece on Pulau Besar, Mersing (pic below, the left canvas). I went there last year and stayed at the Coral Bay chalet. At the time, the place was not completed except for the reception and a few rooms. I was the only guest there and it was very special. The island has a long beautiful beach, so quiet and peaceful. Over the next few days, i spent lots of time alone walking along the beach.

Right canvas: Bintulu Sunset; Left canvas: Pulau Besar, Mersing

Blank

2007-09-11T21:05:00.001+08:00

This is how it starts. On a blank canvas. Or in this case, two blank canvases, as I attempt to paint two pieces simultaneously.

I've been studying the paintings of William Turner and feeling so inspired by his seascapes, by how he paints the air, the "multitudinous" sea, by his skills at watercolours, by his sheer imagination!

I've also received a few pictures of the sunset from the middle of the ocean, somewhere off Bintulu. They were taken and sent to me by my neighbour Alex who works out on the sea. I think they call him a geologist. He took some very good photos which have had me itching to paint since then.

With Turner on my shoulder and this great desire to turn the Bintulu sunset on canvas, it's both a curse and a blessing. I can't wait to put brush to colour to canvas.

Pantai Pasir Tengkorak, Langkawi

2007-09-06T13:02:00.000+08:00

I've been working on a new piece this past week.

It's something on Langkawi where my wife and I had gone on our honeymoon. I remember my wife wanted to go and swim at Pantai Pasir Tengkorak. We decided to wake up very early one morning so that we would be the only ones at the beach. By the time we reached there, there was only us and a mat salleh.

It was so quiet and peaceful and the water was so cold!

I can remember that my wife (we just got married a few days before that) was very happy swimming with me.

This piece is about seven by five feet long. A view of the Andaman Sea by the Pasir Tengorak Beach, under some shady trees next to the Ibrahim Hussein Gallery, at noon.

While this piece is almost ready, I've also stretched a couple more of my canvas to do some sunsets simultaneously.

Selected paintings

2007-08-28T13:30:00.001+08:00

All paintings featured here are available for sale. For price list or to arrange a personal viewing, kindly contact Zainal at 019 617 3706 or Anis at 012 321 9137.

"Sunrise Pulau Besar, Mersing" 9in x 12in Acrylic 2007

"Sunrise over Mersing" 9in x 12in Acrylic 2007

"Pulau Besar, Mersing - Sunset" 9in x 12in Acrylic 2007

"Dusk at Pulau Besar, Mersing" 9in x 12in Acrylic 2007

"Dusk at Perhentian Kecil # 3" 9in x 12in Acrylic 2007

"Perhentian Kecil Sunset # 2" 27in x 34in Oil 2007

"Perhentian Kecil Sunset # 1" 27in x 34in Oil 2007

"Dusk at Perhentian Kecil # 2" 27in x 34in Oil 2007

"Dusk at Perhentian Kecil # 1" 27in x 34in Oil 2007

"Sunrise, Pulau Besar, Mersing" 27in x 34in Oil 2007

"Water Lillies Janda Baik" 42in x 53in Oil 2007

"Water Lillies Janda Baik" 64in x 57in Acrylic 2006

"Dusk at Nort Port # 9" 42in x 52in Acrylic 2007

"Sunrise over Mersing #9" 42in x 52in Oil 2007

"Sunrise over Mersing #8" 42in x 53in Acrylic 2007

"By The Perak River" 52in x 56in Acrylic 2007

"Dusk at North Port # 7" 42in x 52in Acrylic 2007

"Dusk at North Port # 8 38in x 53in Acrylic 2007

Landscapes -- East Coast

2007-07-29T21:43:00.001+08:00

"The View Of Perhentian Kecil from Perhentian Besar" 33in X 24in Acrylic 2000

In the collection of Ar. Hajeedar Abd Majid

"Sunrise Over Tok Bali # 1" 42in x 52 in Acrylic 2006

In the collection of YAM Raja Permaisuri Siti Aishah

"Sunrise over Tok Bali" 42in X 52in Acylic 2006

In the collection of Mr. Bingley

"Angsana at Pulau Lang" 40in x 53in Acrylic 2001

Private Collection

"The View from Pulau Lang" 50in X 72in Acrylic 2003
In the collection of Bina Fikir Sdn Bhd

"Dancing Shadows on Pulau Lang" 56in x 52in Oil 2003

In the collection of Bina Fikir Sdn Bhd

" Lullaby at Perhentian Besar" 24in x 33in Acrylic 1999

In the Collection of En. Rahimi Harun

"Balok" 24in x 33in acrylic 1999

In the collection of Dato' Azman Mokhtar

"Gazebo II" 24in x 33in Acrylic 1999

In the collection of En. Muhammad Zainal Shaari

Of paintings and stories: Zainal Abidin Musa

2007-01-02T13:56:00.000+08:00

“Two days in Redang, and still there was no sun. On the third morning, I woke up early, though dreams were calling me back to bed. At the beach, on the dark shores, I waited. As yesterday, all was quiet. Moments later, I smiled – there – a break in the sky. And from a higher heaven somewhere, a million shades of colours were filtering triumphantly through. In another moment, I was bathed in light!”

This is the story behind Zainal Abidin Musa’s seascape aptly titled, Waiting for Sunrise Over Telok Kalong, a dreamy piece of sand, sea and sky, brushed in shades of blues, purples and peaches, that took two days of patient waiting and two weeks of furious painting to complete.

It is one of many paintings of Malaysian landscapes and seascapes that the artist produces each year since his departure from an exhausting career as an advertising entrepreneur. Although he had studied fine art at Institut Teknologi MARA (ITM), he never really pursued a career in painting until recently, after 16 stressful years in the advertising industry.

The change, he says, began quite by accident. On a quiet Sunday morning, after a simple breakfast of half boiled eggs, toast and coffee, he began to idly sketch the breakfast scene before him, finding the effect quite relaxing and therapeutic. “Although I had not been actively painting for many years before that, it came naturally enough to me when I was seeking some form of balance and tranquility in my life,” he later said of that life-changing moment. That breakfast scene is now immortalized in a painting called Lazy Sunday.

Tengku Sabri Ibrahim, renowned artist and personal friend of Zainal, who has seen his progress over the years, says, “Zainal became what he called a Sunday painter, looking for weekends to paint beautiful seascapes along the east-coast shores. The frequent painting trips allowed Zainal to associate himself intimately with nature – of his childhood rivers, of the seashells and starfishes lying on his beaches, and of chirping birds amongst his bushes and trees. He conjured his childhood memories into landscapes he rediscovered during his trips. He abandoned the advertising world, and happily repeated Monet’s I paint as a bird sings.”

From these Sunday excursions, Zainal produced enough works to be showcased in his first, self-financed solo exhibition. Aptly titled Weekends, it was held at the New Straits Times building in Bangsar.

Zainal says, “The Weekends series was developed during a particularly demanding and hectic period of my life at a time when I was juggling a business and a career in advertising. The series is partly my personal account of a period in my life as well as, on a larger scale, a response to the state of the modern world, which to me, had become too complicated, too enclosed and too egocentric.”

From a Sunday painter, spending the weekends with nothing more than brush, paint, canvas and whatever fleeting scenery presented itself before him, Zainal turned to full-time painting, which led him to travel further around Malaysia, capturing the beauty of Malaysian landscapes on canvas.

Going through his works, one gets a sense of the artist’s development in art. His early works, the Lazy Sunday series, focused on still life subjects – studies of objects in his immediate surroundings. He later moved on to passionate renderings of local landscapes – there are the waterlilies floating on a pool of clouds in Janda Baik, Pahang; there are the romantic atmospheres of sunrise on the islands of Langkawi, Perhentian and Redang, there are the coastal scenes of Kelantan; and the warm sunsets on the waterfronts of Port Klang.

Each painting has a story to tell, and through the artist’s jottings in his sketch book, and the tales he tells, Zainal puts himself closer to his audience.

Of his time in Langkawi, Zainal, in his notes, reminisces, “Pantai Pasir Tengkorak sounds like a pirate’s den. Yet, it’s here, on this small beach, flanked by rocky headland on both sides, that one can sit for hours entertained by the shadows dancing upon the sands. The sand here is powder soft, and the winds blow in leaving a salty taste on the lips. Trees peel their skin and shed their red bark, as though undressing to jump right into the waters…but it is only their limbs, in shadows cast across the sands, that reach the water’s edge.”

And indeed, Zainal’s acrylic pieces, Shadows by the Andaman, and The Andaman Sea, Langkawi, portray the dark shadows of the trees crawling across the sands towards the sea. Looking at these paintings, one can almost feel the afternoon heat burning the skin, and the incredible desire to just jump into the waters!

There are paintings, too, that remind Zainal of his childhood haunts. His teenage years were spent in Kelantan and Terengganu, and though these places have changed much since he left, they still have a great influence on him.

“Kelantan’s coastal areas have changed physically over the years but they are still beautiful at sunrise. It reminds me of the mornings when I would wake up early to go to school, but arrive late anyway, because I had spent too much time admiring the sunrise on the beach….In a way, painting the landscapes is my way of capturing the scenes, and the associated memories, for posterity. After all, we are developing so fast as a nation that soon these places will not exist anymore.”

Of the waterlilies he serendipitously chanced upon after a wrong turn along the winding roads of Janda Baik, he writes, “It was perfectly still, the water. Like a large piece of mirror had been set upon the ground to reflect the sky and the beautiful formation of clouds. The lily pads floated on the glassy surface, as though frozen in time, suspended between heaven and earth.”
One of the “Waterlilies at Janda Baik” series

The resulting pieces, a series entitled Waterlilies at Janda Baik, are dreamy efforts where waterlilies seem to float on a pool of soft cottony clouds reflected by the clear, still waters of the pond.

Other paintings are a study of the changing colours of water at sunrise, the passage of clouds as reflected on water; the quality of shadows on sand, and the shimmering waters of the sea. Influenced by the masters of Impressionism such as Monet, Van Gogh and Pissarro, Zainal creates landscapes with beautiful colours and dynamic strokes, offering his audience a chance to be immersed in the blue waters he paints and the lights of the setting sun, and to be lost in the stories he shares.

These paintings were later showcased at Starhill Kuala Lumpur’s Loft Gallery for his solo exhibition, Sunrise on the Water and Other Stories.

Zainal’s journey as an artist may have just begun but from the looks of it, he will have many more stories to tell in the following chapters of his life.

The artist, a biography

2007-01-01T12:09:00.000+08:00

Zainal Abidin Musa was born in Batu Gajah, Perak, in 1960. With a deep interest in art, he enrolled at the Institut Teknologi MARA (ITM) to pursue a degree in Fine Art. He graduated in 1983 with a promising career as an artist, having just won an award from the Malaysian Young Contemporary Artist competition – one of Malaysia’s more prestigious art competitions.

However, the Malaysia economy was in recession at the time. For practical reasons, he decided to join the workforce as a designer in an advertising firm, leaving behind, temporarily, his desire to paint.

From there on, Zainal continued to pursue his career in advertising, eventually setting up his own business in the industry. Perhaps sixteen years of being in the hectic business took a toll upon this gentle soul who finally returned to painting, at first only as a means to unwind.

Zainal found himself drawn once again to his innate passion for paintings and since then, there has been no turning back as he renders his acrylics and oils on one canvas after another.

Architect Hajeedar Abdul Majid, an avid collector of Zainal’s works, mentions that Zainal’s paintings celebrate his commitment and passion for art as testified through hi formal artistic grooming and natural development over the years.

Artist and personal friend of Zainal’s, Tengku Sabri Ibrahim, has seen the artist through his years as a student, businessman and artist. Of Zainal’s recent return to art, he says, “Zainal studied and rediscovered the science of colours, the dynamic strokes and the glittering lights from amongst our own landscapes…He chose to ignore the contemporary excitement of experimenting, exploring and working with ‘modern’ or ‘expressive’ images and approaches as practiced by many artists of today. He hung on to his romantic attitudes in reading and representing landscapes.”

Zainal is currently a full-time painter.