Growing up to the humble and quiet man that Husin...

THE FRAMES OF TWO CULTURES2 THE FRAMES OF TWO CULTURES 3

A quiet scene of derelict bridge…a common street scene with the much-forgotten phone booths of the not-so-long-ago Malaysia…boy scouts standing at attention…young boys hard at play under the gruelling sun…happy at a simple game of cans and bottle tops. These are the common themes in which emerging artist Husin Othman indulges in. His art subject matters have primarily been re-enactment of his childhood days, of the plays that once revelled in and of places that once was.

Born as a twin boy, it comes as a natural consequence for artist Husin Othman where his works are rarely lonesome. And when they say twins are closely intertwined from birth, this rings particularly true for Husin Othman and his brother who are both naturally artistically inclined, distinct from their other siblings. Hailing from a large family in the town of Kuala Kurau, Perak, Husin has been in love and drawn to art since his naïve kindergarten days.

A kampung boy at heart, drawing has always been his thing, his life’s passion. As the seventh child within the family of eight siblings, Husin grew up in a closely-knit family where his days were mostly enlightened with the hopes of looking forward to the times where he and his siblings would run off to play around his native village, after a hard day’s work of studying and helping with the family. As he runs off into the sunset, playing by the river or merely hanging out at the local warung (Malay for hawker stall), these scenes remain close to the heart of the artist and are often irrevocably revitalised within his many art repertoires.

Growing up to the humble and quiet man that Husin is, he is truly a man of few words where he silently observes and refines his drawing and painterly skills to the hilt, often duly narrating his life experiences, of his good times and bad onto the art medium of choice be it the canvas or the modest paper. Drawing after drawing, he quietly rose to prominence representing his school in various art competitions. While pursuing his life’s passion through his art diploma studies in IKIP, Husin came forth as a finalist in the art competition by our very own National Arts Gallery during just his first year of diploma studies. Then onward, Husin quietly gained recognition as a promising young art student, duly attaining the Best Achiever Award during his final year 2010 diploma show at IKIP.

A fine arts graduate with a minor in graphic from our locally renowned arts institution MARA University of Technology (UiTM), Husin underwent various fine art techniques during his undergraduate years. It was in the course of his thesis study in 2012 that he chanced upon the concept of nostalgia, of the old ways and realised its bearing and importance in the contemporary era of today. As a kampung boy, his growing up years were truly reflective of the life and times of the Malaysian life, yet it puzzled him as to how many of us were keenly unaware of the livelihood and nature scenes of dear Malaysia. Thus Husin took it in stride to rekindle lost memories, gently granting his take on the development of the contemporary society of Malaysia today, thereby augmenting his role within our local arts scene as a documentary narrator of the cultural heritage and society of contemporary Malaysia through the years.

Fresh upon graduation in 2013, Husin garnered recognition as a finalist to the MEA (Malaysian Emerging Art) Award and in a short span of a year later in 2014, he won the UOB Painting of the Year (Malaysia) award as the Most

THE FRAMES OF TWO CULTURES 3


Promising Artist of the Year within the emerging artist category. Painted against a white background that is suggestive of the sunny days of Malaysia, his painting titled Antara Dua Unit speaks of the normal day out for Malaysian students carrying out their daily school activities. Simplistic, the somewhat misshapen boys stand at attention, seemingly begrudgingly sweltering from the heat of the sun. The void spaces within the painting paints the mood, suggestive of the vast empty school field which each and every one of us has assembled at during our school years and rekindles our memories of the heydays schooling in Malaysia. The boys, seemingly distorted, paint a lighter mood within the painting, granting it a comical flair as Husin takes inspiration from the renowned Lat comics.

For Husin, his art repertoire is primarily of figurative realism. Armed with a minor in graphics, his art carry traces of illustration, owing to his profound liking for the works of Norman Rockwell and Ashley Wood. Minimal in essence, Husin’s paintings are mostly of muted palette, of whites, blacks and shades in between. His play with void spaces and expressionistically smeared and abraded paint handling masterfully grants his works with dreamlike state of time that once was, yet enabling his audiences to connect easily through the skilful play by interweaving contemporary elements of today. Siri November: Terik Pagi and Riuh Petang from the 2014 Soya Cincau exhibition was a keen testament to Husin’s painterly skills where he works of shades of black, white and grey that attests to the two vastly distinct time of the day; from the sunny morning to the rainy evening.

From minimal colour palette of white-black-grey tones, Husin’s repertoire steadily grew as he took on more vibrant colours into his portfolio. Works such as Buah Haji and

Kehidupan Yang Judi bore witness to Husin’s expanded portfolio as he took on vibrant colours of green, blue, red and gold with ease. Consequently in 2017, Husin proved yet another talented repertoire as he rose to the challenge to attest to his drawing skills through his latest work, Random Access Memory. A stark contrast from his previous acrylic on canvas works, his latest acrylic-cum-charcoal work Random Access Memory proves to be his first puzzle work. Inspired by the Rubik’s cube, the work consists of four by four panels and is made up of a myriad of random scenes. Husin skilfully works his pure undulated lines across the 16-panelled work to create a singular image above all, while keeping each panel scene intact and undisturbed. Garnering much attention from the audience, Random Access Memory was a clear attestation to Husin’s keen figurative skill where each scene is adequately composed and of accurate proportions.

A man of few words, Husin often paints from the observations of the world around him. His art is expressionistic and unassumingly belies a journey of his life, as he expresses his thoughts and emotions on canvas. As a native Malaysian, he brings with him Nusantara traces of his heritage, sharing a glimpse of the Malay culture, of traditional games, craft and livelihood. The colour hues of the Nusantara and raw undulated lines and strokes concede to the very heart of the Malay culture.

Nostalgia in art is not a new subject matter. Nostalgia is essentially a sentimentality for the past, of good times and / or preferred places where one carries joyful personal associations. As a concept, Husin’s choice of nostalgia is befitting to his nature, granting him an avenue not only to share with his audience the ways of the past but also as an avenue for expression. Closely intertwined, we are

shaped by our life experiences both good and bad. The concept of nostalgia is a common one as we do, in one time or another in our lives, keenly reflect and reminisce of the past. It is a concept and an experience that everyone engages in, be it through art or indulging in our self-thoughts. After all, nostalgia more often than not, promotes good mood, happy thoughts and improves social connectivity as we look back on the happy times.

Naturally so, nostalgia lies as a foundational element for the rise of Romanticism movement in the 1800s, acting as an escape reaction from the dawn of the Industrial Revolution. The Romantic era beckoned much growth in the arena of visual arts, literature and music; thereby contributing to its economic growth. The Romanticism movement too led to the birthing of many key artists and poets, establishing its historical mark and contributions to today’s society.

True to its words, it is important to know your past to help understand your present and thus allowing one to shape our future. This is further reiterated in the famous words of Theodore Roosevelt when he quoted ‘I believe that the more you know about the past, the better you are prepared for the future’. Shaped by our life experiences, many a times, we reflect on our bygone days, learn from our past actions in an attempt to pave a better future. Taking this to mind, the concept of nostalgia and its contributory ways are keenly important and helpful for the development of many a thing.

Husin’s portfolio of works is deeply enshrined around the concept of nostalgia as he paints his reflections of the nostalgic ways of our Malaysian society. His creative and artistic talent is duly commendable as he skilfully marries the times that-once-was in the contemporary manner

of today, duly testifying to his ability to connect with his audiences of today. Through the years, it is clear that his artistic career is a progressive one, not only in terms of his skills but also in the development of his nostalgic concept.

Within this show The Frames of Two Cultures, Husin paints fond memories of his carefree days at the funfair. Funfair games, toys, superheroes and kiddie rides lie amass throughout the show. He brings to mind many bygone games and toys and of familiar scenes at the bus depot and village hangout, concurrently reflecting his feeling of longing. Contrary to his previous nostalgic works, the paintings shown here take on a different tone, of increased vibrancy and solidity. As simplistic as it may seem, the paintings carry many a meaning beyond its literal visual. While his paintings document a narrative of our Malaysian cultural heritage and its development through the years, it now too carries a more in-depth reflection and personal insight of the artist.

All in all, the paintings of Husin Othman just naturally brings a smile to one’s face, promoting the positive emotions of nostalgia. For those that may be keenly unaware of the bygone crafts and games, it carries a delightful air to the playful mood it generates. Taking this in quiet contemplation, it is equally exciting of what good art can bring about, beyond its aesthetic visual. What’s next you might say…it lies in your hands; shall we re-connect with our loved ones or shall we further innovate these lost games and toys…or do we reflect on the inspiring words of Tunku Abdul Rahman to better shape our future?



Warung Pak Aji

Of the many works on display, Warung Pak Aji stands out as the main centrepiece that clearly articulates this talent of Husin Othman to interweave elements of then and now. Citing his Malay background, Husin paints the kampung warung (Malay for village stall) that we are all too familiar with. Subtle nuances of the past and present-day setting are awash within this single yet simplistic kampung warung. A wooden table stands lonesome amidst the present-day checkered clothed tables, the famed glass Coke bottle of the heyday sits in solitude reminiscent of its past glory while plastic stools now occupy the stalls of today. Delicately, Husin pays homage and shares deep regards as he paints the prominent figure of our founding father Tunku Abdul Rahman standing tall on the left, citing his gratitude for the independence and eventual development to today’s Malaysia.

This painting poses as a nostalgic reflection of how far we have come through the years, encompassing the elements from yesteryears to this contemporary era.

Lagenda Budak Terbang

High atop a mango tree reminiscent of a treehouse, an aeroplane sits weighing in the balance, in uncertainty. Sheepishly in quiet admittance, Husin Othman betrays his fear of heights as he paints a boy’s hidden wish to fly albeit his fear of heights.

Struggling with anxiety and terror, the boy hangs onto the tree branch like a lifeline. As he climbs precariously up the sturdy mango tree, he gradually faces his fear of heights, partaking the possibility and ability of our inner strengths to overcome one’s weaknesses.

Warung Pak AjiAcrylic on Canvas

183 cm x 122 cm2018

Lagenda Budak TerbangAcrylic on Canvas137 cm x 183 cm2018


Kapal Api Nusantara

A day out at the funfair has always been a cherished outing for artist Husin Othman during his younger days. In the background, a traditional funfair ride stands proudly. Husin brings to mind a vanishing trade, a game of kapal api which was prevalent during his childhood years. It was truly a common game that was enjoyed by all at the funfair in the yesteryears. However it has now become a rare sighting as Husin searches out for it at local funfairs today.

Humor Kota Raya

The scene takes place at our renowned Kota Raya bus depot in Kuala Lumpur city centre. In its heyday, Kota Raya Bus Depot was the main bus depot for all interchanges of buses within KL city centre as well as for the buses inbound and outbound of Kuala Lumpur. Kota Raya Bus Depot was a true landmark for many, acting as the main transport route and meeting point. As city development takes place, its role as the main bus depot has now been scaled down where bus depot interchanges are now moved out of the city for better convenience.

Its universal presence now lies more of a memory for Husin. Often looking forward to the days of going into the urban city of Kuala Lumpur, he rekindles fond memories of travelling and hanging out with his friends at this prime landmark of Kota Raya that has markedly augmented the socio-economic development of the city.

Partially hidden, a wooden ticket counter stands on the left while the long-forgotten phone booths stand abundant in the background, a key source of communication that now nears extinction as mobile phones seizes the nation. In gleeful leisure, the boys hang out reading the then-popular Gila-Gila magazine as they poke fun at the happenings of passers-by at the crowded depot. Gila-Gila magazine was then a hit with the locals, a source of harmless humour for many. Reminiscing on the carefree days and harmless jokes, as the country moves into the globalisation era, Husin ponders curiously on the seemingly harmless prejudicial opinions on social media that now seems to be the platform for humour, keenly in wonder whether the opinions and comments passed on social media pose more harm than mischief.

Kapal Api NusantaraAcrylic on Canvas149 cm x 178 cm2018

Humor Kota RayaAcrylic on Canvas152 cm x 122 cm2018

Kapal Api are essentially handmade zinc miniature ships by mostly Indonesian natives. Culminating the play with fire that appealed to many children of the heydays, these miniature ships are lit with fire to generate the heat required to race these ships on water. Now a dying trade, Husin reflects on the happier times with his friends and siblings, as a child enthusiastically excited to play with fire and water.

Once a popular game, kapal api with origins possibly from Indonesia beckons the similarities and how our cultures across the Nusantara archipelago are closely intertwined.


Lihat Apa Yang Kena

Portraying the immensely popular shooting gallery at your regular funfair, Lihat Apa Yang Kena carries with it a nostalgic yet satirical connotation. Husin reveals in quiet admittance of his love for the funfair’s shooting gallery. Yet as he grows, he becomes keenly aware of the game’s underlying scepticism. Seemingly fun and inviting with promises of pretty toys, it is unlikely to win any prize at these games in lieu that these games have always been rigged to deny any winners. Curiously for Husin, it beckons to mind P. Ramlee’s renowned Ali Baba Bujang Lapuk film. Strewn across the fun-filled painting, dices reflecting 2s are amass making reference to the renowned comedy that speaks to the mischief and cheating characters at a gambling game of dices. Armed with a dice of 2s on all sides, the film’s key character goes to the local marketplace and wins consecutively at the gambling game of dices. And yet unabashedly, the marketplace goers continue to bet heavily, insistent on winning but to no avail. Bearing false hope of winning, the joyful dolls stands in glee, posing a cynical undertone towards its naïve players.

Rakan Kongsi Gelap

Set at our renowned pasar malam (Malay for night market), a toy stall stands packed with countless heroic and anti-hero icons, of Batman, Teenage Mutant Ninja Turtles, The Joker, Jaws, Ultraman amongst others.

As any child, Husin too has his share of imaginary friends where he plays and shares stories with. Akin to the favoured childhood toys, we too have friends that are of positive and negative influence. As he rekindles these childhood memories of imaginary play with his days of today, the artist beckons us to be mindful of our friends, to choose our friends wisely as a negative choice may affect our lives intermittently.

Lihat Apa Yang KenaAcrylic on Canvas149 cm x 178 cm2018

Rakan Kongsi GelapAcrylic on Canvas152 cm x 122 cm2018


Pesta Token

Painting the mall’s games zone riddled with the many kiddie rides and games, Pesta Token carries an underlying satirical note. Accompanying the many games and rides, token slots lie evermore at hand, inciting the brutal reality of life that for every joy in life comes at a price.

Now all grown up and experiencing the harsh realities of adulthood, Husin truly attests to this harsh fact of life. Akin to the abundant games that lie in wait at the games zone of your local mall, our lives are similarly riddled with choices…choices that almost always come at a price.

Gores Dan Kena

Inspired by the concept of the many scratch and win contests, Husin paints the now-extinct game of tikam nombor that was a keen favourite amongst the village kids. Available in the heydays at the local kedai runcit (Malay for convenience store), village kids frequently hung out at these stores, trying their hand at the game in hopes of winning their favourite toy or gift.

Gores Dan Kena proves to be interesting vantage point, granting an actual life-size viewpoint of the game for the player. Simultaneously, Gores Dan Kena presents itself as a documentary heritage of the long-forgotten game that was once a favourite among the kids of the heydays. And as the country progresses and evolves, it lies as an interesting concept how simplistic the tikam nombor game has evolved to today’s scratch and win contests.

Pesta Token Acrylic on Canvas 152 cm x 244 cm(2 Panels)2018

Gores dan KenaAcrylic on Canvas

152 cm x 122 cm2018


A Perak boy by birth, artist Ng Kok Leong grew up in a quintessential Chinese family in the town of Kuala Kangsar. As in most Chinese families, he was primarily taken care of by his mother, whom too took on the responsibility to care for his siblings while his father took the reins as the breadwinner of the family. While Kok Leong does not carry with him the formalistic art education, creativity and design has been in his blood for as long as he can remember.

With a diploma in Illustration from The One Academy in 1994, Kok Leong ventured into the advertising industry upon his graduation. Trailing with a wealth of design experience from renowned advertising agencies such as Leo Burnett and Naga DDB, he took on a new challenge venturing into the film industry in Beijing where he dabbled with television advertisements and documentary films. An eye-opening experience for Kok Leong, he shares his thrills and gratitude for the opportunity to delve into the immensely complex film industry. It was during his stint at Beijing, China that he was first exposed to fine arts personally. This of course led to frequent visits to art galleries to explore the many works of art. In 2009, he returned to Malaysia with a heavy heart, a tangy sense of regret owing to the lack of opportunity to produce his own documentary film in China, of its culture and developments.

Armed with a creative background in illustration and design and most recently film-making, it comes as a natural consequence for Kok Leong to pursue arts as his choice profession, heady from the many fine art exchanges he encountered in China. With his keen interest to produce a documentary film on cultural heritage and progress, it comes as no surprise that his choice of artistic concept surrounds the cultural heritage of Malaysia.

He began to explore art in-depth, working with many mediums before settling to his preferred medium of acrylic. Primarily self-taught, his works of art are expressionistic in nature with his stylistic brushstrokes that maintains a curious play of textures within a single painting. With minimal guidance from fellow artist Eston Tan through a chance encounter, Kok Leong’s art began to grow steadily taking form and garnering attention from both galleries and fellow artists within the industry.

2015 saw the beginnings to Kok Leong’s art. Participating in various group exhibitions in galleries around Klang Valley, his art gained prominence amongst his audience, as he produced dreamy sequences of many heritage places and buildings around Malaysia that once-was and of steady decline into the abyss. Prime landmarks such as Taiping Market, Perak River and the main Ipoh cinema were the many focus of his art during this time. Landmarks such as these bore a profound place in Kok Leong’s heart, having grown up around these places. As these landmarks age and grew into gradual dilapidation, he fears for its eradication, feeling a deep-rooted sense of yearning and abandonment where these key landmarks have in their heydays truly shaped the lives of the people in its vicinity and contributed to the socio-economic progress of Perak. As a father, he beckons hope that his children too may know and understand their culture and heritage. And thus akin to Husin Othman, Kok Leong’s



art grants a nostalgic appeal to people of his generation, while for the younger generation of today’s contemporary society, his art presents itself as a documentary narrative of our Chinese cultural legacy and traditions in Malaysia.

2016 consequently was a year of recognition for Kok Leong as he went on to garner the UOB Painting of the Year (Malaysia) award as Most Promising Artist of the Year within the emerging artist category. Within his award-winning painting titled Busy With…, he paints a scene of the age-old tradition of making Chinese ‘heong pneah’ biscuits wherein three seemingly faceless figures are hard at work. This traditional enterprise of ‘heong pneah’ biscuits production is truly in steady decline as globalisation takes over, where contemporary society seeks out more modern enterprises. Busy With… marks the beginnings where Kok Leong considers the concept of time-space compression within his art; where the three figures, grandfather, father and son…three generations in a single space are hard at work.

Articulated by geographer David Harvey in his 1989 book The Condition of Post Modernity, space and time are basic categories for human existence. Time-space compression refers to any phenomenon that alters the qualities and relation between time and space. Owing to the current technological innovations that condense spatial distances, time-space compression is now a common occurrence. In essence through technological innovations such as telecommunications and air travel, distant places and people are brought closer together with lesser time taken. Concurred by renowned geographer Doreen Massey who was focused on cultural geography, every space or place has its own identity and story to tell. As space and time are closely connected, she voiced her thoughts surrounding concerns of the cultural identity

of a place where communities merge during time-space compression due to rapid growth.

Kok Leong now takes on a more philosophical stride while concurrently bridging on the overall nostalgic concept. Marking an expansion of Kok Leong’s concept, he began to explore the dying trades and traditions within the Chinese community of Malaysia. In early 2017, Kok Leong held his first solo exhibition titled Living Trace in KL while simultaneously hosting a mini solo titled Three Body that debuted in Taipei.

In the course of his art production, he ventures extensively to research on new subjects and focus for his art, many a time looking back at his past for glimpses of an idea. Bearing traces of inclination with textural play, the artist ventured to incorporate a new medium, rubber into his art. The rubber material became a choice medium for him, coming from a family of rubber plantation business. Running alongside rubber estates as a child, rubber bears a significant provenance in his life, a material which he grew up around and is familiar with its complexities. The moulding and casting of rubber is a time-consuming process for Kok Leong’s art, nevertheless the material’s versatility and durability grant promising options for the artist’s expanding portfolio. At the recent Art Expo Malaysia Plus 2017, Kok Leong’s debut with his latest artwork titled Two Sides was the first of its kind incorporating acrylic-rubber medium. Highlighting the adaptive nature of rubber as a metaphor for erosion, Two Sides speaks of man with many faces, of its intricacies and defensive qualities during different encounters.

The Frames of Two Cultures carries a culmination of Kok Leong’s repertoire through the years. From landmark sites to bygone icons, the artworks carry personal insights that

take on a more emotional tinge. Smeared paint, faceless figures and of figures gradually taking shape speaks to a certain shyness in the artist. Simultaneously this desire to bring forth as a gentle reminder of what was once-was beckons strongly, as he draws one’s attention to places and lives that once-was. Resonating the importance to know one’s past in an effort to better shape our future, his art composition with time-space compression is unique and all encompassing to each and every one of us.

Throughout Kok Leong’s portfolio of works, his Chinese cultural values and traditions maintain a strong bearing. The Chinese way of life, ancestral shrines, feng shui and ‘qi’ elements are amass through his works. Bubbles of air takes on an ambiguous shape, watery or wavy, that duly speaks to the energy or ‘qi’ around us, that encompasses every being and matter. The tenacious old tree takes centre stage, providing balance and stability while infusing life to the lifeless items surrounding it.

In a short span of 2 years, Kok Leong’s repertoire has clearly grown, both conceptually and technically. Just a year into his artistic career, his exciting works has earned him much attention and respect from his peers, having secured the top position in a prominent art award. His nostalgic ways of the Chinese lifestyle, duly marrying the contemporary elements of today, provides a rare and interesting insight within the multi-racial Malaysian culture that truly further reinforces and promotes the country’s harmonic vibes. Reflecting the apparent stronghold of cultural and traditional values in the way of the Chinese, as he ventures further into the concept behind time-space compression, it is equally exciting to look out for what’s to come where he provides insightful glimpses to the inevitable evolution of Malaysia.


Look At Me

Intermittently playing with perspectives, the artist urges his audience to practise self-reflection. Two faceless figures takes form; one of present-day self while another stands at a distance in self-reflection. As the artist grew in certainty for the choice of art as his choice career path, there lie many a times where he had to dwell in depth in self-reflection, and sometimes from a different vantage point, to understand himself and his passions further. Through this work, the artist serves Look At Me as a stark reminder for us to indulge in self-realisation for the benefit of our personal progression while fuelling our passions and nourishing our inner self.

Look At Me Acrylic on Jute 107cm x 107cm 2017


My Old Hometown Acrylic on Jute

168cm x 459cm (3 panels)

2017

My Old Hometown

Applying the concept of compressed time, the painting of My Old Hometown presents a unique perspective to the artist Ng Kok Leong’s kampung house in his hometown of Kuala Kangsar.

Segregated into three panels alluding to the past, present and future, My Old Hometown grants an interesting vantage point to the analogous house; the front of the house against a rainy morning, the side view of the house under the hot sun of noon and a late night setting in the back of the house.

A culturally strong piece, the painting resonates the life of an average Chinese family residing in Malaysia. Insinuating the beginning of a lifecycle, a mother stands at the front of the house carrying her offspring, alluding to her role as the primary caretaker of the household. Akin to most Chinese mothers, they are often busy and inundated with the many chores for their respective homes, feelings of uncertainty may come by as they are left with little room to do their will. Under the stark hot sun of noon, the child that once lay in the arms of his mother…now a young man stands unsettled yet precariously moves on in his life, overcoming the many burdens and life’s heated challenges thrown his way. As the man progresses in life moving into old age, the night beckons signalling the little remaining years ahead as the man renews his belief into ancestral traditions and the many traditional superstitions, duly represented by the abstract red shrine that takes centre stage within far right panel.


My Childhood Perspective Acrylic on Jute

244cm x 122cm 2017

A Forgotten Giant Acrylic on Jute 183cm x 122cm 2017

A Forgotten Giant

Set against a backdrop of a common alley in Ipoh, a partial figure of our founding father Tunku Abdul Rahman stands ambiguous. The contributions and invariable beneficence of our founding father is clear and undeniable, having shaped our nation and granting it the independence to be developed to the Malaysia of today.

As years go by amidst the many happenings and development of the country, it would seem so long ago that Tunku Abdul Rahman is now perhaps much forgotten and alien to the generations of today. Standing alongside a man of similar build up, the forgotten persona of Tunku Abdul Rahman is now akin to just another man in history. Nevertheless, the artist brings to mind how keenly important the role and contributions of Tunku Abdul Rahman in the shaping of Malaysia, that his inspiring words and efforts may be remembered and practised for the shaping of Malaysia’s future.

My Childhood Perspective

Once an indomitable structure to be reckoned with in the early 1900s, Taiping Wet Market has inevitably shaped the lives of many and partook to the growth of the socio-economical development of Taiping, Perak.

A formidable faceless figure takes the centre stage of the painting, offering us a rare glimpse into Kok Leong’s world as a child, as he stands dwarfed within the walls of the busy marketplace of Taiping market. Undoubtedly with the choice of Taiping Wet Market as his choice landmark, he further attests to the importance of this market to the development and growth of the communities surrounding it.


Between You and Me Acrylic on Jute 180 cm x 200 cm 2017

The Ones beside Her life Acrylic on Jute

153cm x 183cm 2017

Between You and Me

Riding on the concept behind time-space compression, Between You and Me offers an interesting insight into the happenings of a single place. As time stands still, it offers much expanse within a single space yet it draws parallels to the wealth of possibilities of happenings within a single space.

At the entrance of a simple family house, Between You and Me alludes to the growing of a kid from childhood to teenage and adulthood.

The Ones Beside Her Life

Another nostalgic work by the artist, The Ones Beside Her Life duly exemplifies the Chinese cultural lifestyle in Malaysia. With a kopitiam scene in motion, hangouts at the regular suburban kopitiam (Chinese-styled cafe) is a common affair for the Chinese natives. A middle-aged aunty is hard at work in her hawker stall at the front of the kopitiam while a table of young men hangs out aloof and engrossed in their varied lifestyles of dreams and luxury.

For Kok Leong, he reminisces of a generation that once-was simplistic in life, that is unconcerned with dreams and merely strives hard at work for a simple living.


Split Layer

A nostalgic piece, Split Layer portrays a street scene from back in the 1950s or 1960s where people were more carefree and maintain little concern for security. In the past, it was not uncommon to see people sitting or sleeping on the street, in escape from their humidity filled homes.

Split Layer is produced with acrylic and rubber on jute canvas, posing as his progressive attempt to widen the expanse of the use of the adaptable rubber material.

Split LayerAcrylic on Rubber on Jute 112cm x 178cm 2017

Illusion Overlapping

Painting two separate perspectives of a single home, Illusion Overlapping poses as a progressive piece of art from the artist as he expands and moulds the rubber onto the jute canvas. Inciting two sides to a home of interior and exterior, this artwork too poses as a further continuation to his earlier first-ever rubber medium artwork titled Two Sides. Revealing a man with many faces, a shadowy figure takes form on the right side of the artwork, clearly suggestive of the man’s true persona that is dark yet adaptive to the each and every changing situation in life. A sturdy tree takes form duly beguiling the artist’s Chinese beliefs, granting life and stability to the work.

llusion Overlapping Acrylic on Rubber on Jute 146cm x 212cm 2017

Published in Malaysia in 2018Core Design Gallery Sdn Bhd

87, Jalan SS15/2A Subang Jaya47500 Selangor, Malaysia.

http://malaysiacontemporaryart.coredesigngallery.com

2018 © Core Design GalleryAll rights reserved. No part of this publication maybe reproduced

or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any other

information storage and retrieval system, witihout prior permission in writing from the publisher.

Project TeamScarlette Lee

Elaine Loh

WriterElaine Loh

Photography & Catalogue DesignDinn Diran

Puah Chin Kok

Growing up to the humble and quiet man that Husin...

Documents

Transcript of Growing up to the humble and quiet man that Husin...