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Our Artists

Curated by Syakira Farisya and Vanessa Priya

Record, Wenjun Fan, Oil Painting

These six pieces of paintings serve as a record of Malaysia's breathtaking scenery since my arrival. My homesickness and uncertainty about the future are both cured by the beauty of the clear blue sky and white clouds. The unfamiliarity of the setting, along with my fear of the pandemic, has limited my exploration of Kuala Lumpur, yet the scenery I get to witness is breathtaking still. The first four paintings outline the scenes at Crab Island in Klang from a month ago: the green grass and the translucent white clouds captured from the train along the way, the sunset from the yacht; the beautiful pink sunset reflected on the sea; the waves stirred up by the yacht while it was moving and the last two paintings illustrate the sun setting from my apartment's balcony.

26, Wong Sze Yoong, Oil and Acrylic on Canvas

The artist paints himself in the middle of his 26-year lifelong home. His self-portrait’s pondering posture invites viewers to ponder and gaze into the world through his eyes alongside him. In his work, we can see the innocence of childhood and the warmth of community in the various hints and figures of the grilled windows. We also catch a glimpse of life in its entirety; the good and the bad. The dark storm that wrecks and devastates old buildings and vulnerable livelihoods, haunts the artist’s reality. Yet, hope isn't far off as we see chaos fade into calm. In the clear skies and the construction scaffolds of upcoming units, we are given a reflection of life being made new. The artist has lived 26 years of life, but here he interprets his desire and prospect for life ahead.

The South Kite Moon, Xinyi Chen, Mixed Media

The artwork is made of ultra-light clay and is inspired by Malaysia's Wau Bulan (Moon Kite). A small number of square elements of Chinese Nantong kites are integrated into the work. Kite flying binds the world with stories of human aspiration, craftsmanship, innovation, and mythology. It is also a popular outdoor activity in China. The kite should be considered a part of inherited history, but as more people turn to gadgets and hobbies for entertainment, kites have become less and less common. This work is meant to reminisce and bring back the culture of kite flying worldwide, especially in Asian countries.

Maps, Ronghua Jiang, Paper-Cutting

The concept of the artwork is based on the 14 regions in Malaysia. It arranges the main buildings and attraction elements between the various regions of Malaysia in the shape of the outer outline of a map, conveying a spirit of harmony and coexistence, unity and progress. Combining the traditional Chinese paper-cutting techniques as the main form of expression gives the image a sense of layering and a strong visual.

Traces, Chen Ying, Ceramic

Longquan Celadon is one of the longest-establish historical kilns in the history of ceramics in China and the world. The ceramic was known for its mysterious glaze colour with a history of over 1700 years. In ancient China, Longquan Celadon was sold all over the world. It was initially found in Southeast Asia and Europe. The artist has learned how to make celadon from the very first step with a professional ceramics maker in China, Mr Chen Aimin. Traces by the artist was a celadon, which refers to a type of ceramic with a soft grey-green-coloured glaze. Through the form of the porcelain, special pattens are carved on its surface to portray the history and the traces of the diversity of cultures between China and Malaysia.

Female, Fengyun Tang, Mixed Media

The concept of this artwork is derived from the female protagonist in the famous movies that premiered in Malaysia. Female was inspired by a few films entitled The Garden of Evening Mists (2019), Mukhsin (2005), Sepet (2005), Talentime (2009), Ice Kacang Puppy Love (2010), Wet season (2019), Ma'Rosa (2016), and The Scent of Green Papaya (1993) using a variety of materials. This work illustrates the message of women's empowerment to encourage them to believe in themselves and never doubt their ambition in a world dominated by men. Women are so powerful that they deserve every chance and opportunity to pursue their dreams. The materials used to make every little doll outfit are including flower petals, leaves, wool balls, cotton, fabric, and foam sheet.

Heritage, Linhai Zhang, Poster

Heritage combines the iconic Twin Towers of Malaysia with the traditional cultural heritage of China. The foreground of the work portrays traditional Chinese culture and modern Malaysian architecture with a few elements embedded. The elements that can be seen in the artwork besides the Twin Tower illustrate; the nine-coloured deer exhibiting the virtue of humility of the Chinese people, the sun illustrating hope, the auspicious clouds describing good wishes for the future, and the Fei Tian (a flying deva) represents the fusion of cultures.

Spring, Summer, Autumn, and Winter, Xinxin Shen, Photography Series

Inspired by the Malaysian artist, Datuk Chuah Thean Teng also known as Cai Tian Ding, who is broadly credited for developing batik as a painting technique. He pioneered the use of the batik medium as a new type of fine art by adapting the traditional and extremely old trade of dying on fabric with a unique crackled texture of batik. This photography series by the artist was taken in Semporna, Malaysia, in 2019. The colours of the photographs are attributed to the four distinct seasons of spring, summer, autumn, and winter: the green of reviving in spring, the light blue of the sea in summer, the yellow of falling leaves in autumn, and the dark tones of cold in winter. These photography series are artistically manipulated to present a crackled texture of batik with the use of a variety of tools and techniques to adjust the hues, saturation, and value of the images.

Impression of Malaysia, Yilin Bai, Rubber Stamp

Impression of Malaysia is inspired by well-known architecture in Malaysia. The architecture is presented in this work with a combination of the Chinese seal form. Rubber Stamp is a medium used by the artist to display the uniqueness and the aesthetic of the structure in Malaysia which is vividly presented in the series. There are 5 different buildings in the series consisting of the National Textile Museum, Royal Selangor Club, Masjid Jamek, and Wooden Anjung, a traditional Melaka house. Various colours of clay are used to illustrate the diversity of Malaysia in each of the stamps in the series.

For My Heart, Shiyu Li, Photography Series

Thean Hou Temple is one of the biggest temples in South East Asia. The temple displays the Chinese architectural beauty in Kuala Lumpur and was open to the public in 1989. It was built by the Hainanese community living in Malaysia and managed by Selangor and Federal Territory Hainan Association. Even though the photography series by the artist took place at the temple, he intended to highlight the worshippers more than the temple in particular. It can be seen that there are people in each of the pictures which implies the series is focusing on the people who are earnestly worshipping their god. Chinese people constantly believe in the presence of providence, and always abide by its morality and rules. They had thus far prayed to God for comfort and strength when they ask for peace and success in performing particular tasks.

Three (Ape, Tiger, Man), Pengcheng Li, Mixed Media

In my study of Malaysian art and culture, I discovered that Malaysia is known for its cultural diversity, captivating sceneries, food, and many more. Therefore, for my work, I made embroideries namely Ape, Tiger, and Man to represent one’s need to have courage in defending their beloved country for sometimes even the culture can cause issues or negative impact on it. Hence, Ape, Tiger, and Man illustrate the character that a person can be to protect the traditional practices of our country as the real tiger, ape, and man.

Village, Yuran Qi, Ink Painting

The artist uses Chinese ink painting techniques to scrutinise the details of the village houses in Malaysia. The artwork is made using the traditional Chinese painting method using a Chinese Calligraphy brush pen. In the artwork, the artist illustrated houses, mountains, hills, and stones with bold strokes and black lines. Meanwhile, the peaceful scenes of nature and trees were drawn with a softer outline. Since the artist is good at ink painting and attention to detail, she felt it would be fascinating to depict the Malaysian countryside using the Chinese painting technique.

The Doors of Penang, Mimi Xu, Digital Illustration

The subject I chose for my work is the Penang door. I tend to illustrate the details of the door that can be seen in Penang and explain the aesthetics behind it. The door is an essential component of the structure since it serves as the house's entrance and exit. The gate of Penang reflects the integration of Chinese traditional culture and Malaysian culture. In Chinese traditional culture, doors are usually painted with black, red or natural colour of wood. We can see all kinds of colourful doors in the street of Penang. Traditional Chinese doors in China are usually made of natural materials, while the doors in Penang folk houses are made of natural and other various materials. The decoration on the door also adopts many local cultural elements. Through my works, I hope viewers will be more attentive to the details of the door, gain new knowledge of the Integration of Chinese traditional culture and Malaysian culture on the door and experience the beauty of Penang folk life.

Our Artists: Work

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