Seladang

This is one of the works by my 15 year old student. It is a tough subject and since this is her first attempt, I am proud that she has managed to capture all the colours.

Liew Choong Ching Watercolour Studies

If anyone can paint good portraits, then Liew Choong Ching can. These are exclusive studies he did for this website. In the beginning, he was quite reluctant to allow me to put it up until I managed to convince him that all good art, watercolour or oil, should be put up for all to see and appreciate. So, enjoy!

AJ Rahman Works For Resale By Owner

The following is an excerpt of the letter I received from a reader in England, named here as CCD. CCD is from Surrey and has the following to say:

"I have had them for ten (10) years having inherited them from a friend who served in the far east in the 1940/50s and purchased them direct from the artist. The pictures are available for resale if any of your contacts are interested."

The works said to be from AJ Rahman


The signature at left of the picture.

If anyone is interested, please get in touch with me and I will forward your email to the owner and you negotiate with him. Note that the authenticity of these works are yet to be ascertained. Thank you.

Artist Teoh Continues Painting

These are the works of Teoh Gay Hian, 41, a Malaysian cinematographer living in Jakarta. Teoh decides to paint again after 25 years.

In his words: "The last 25 years I have been busy pursuing my career and I stopped almost totally painting watercolours. But recently I picked it up again and hope to paint regularly as much as I can. "I love watercolour and it has enough things for me to explore and there's no need for me to try other mediums (except pencil)."

Ikang




Behand Dadan's house

Rahman's Work - But Which?

These photos were of watercolour works by an artist called Rahman. Could it be AB Rahman or AR Rahman? The owner wishes to know. And if anyone knows, please let me know so that I can let the owner know what I know now. Thanks for the help.

Revised: Aug 5:

Reader Mayangsari has written to inform that this is the work of AJ Rahman.

MORE AB IBRAHIM WORKS

More AB Ibrahim works have surfaced it seems. This time from a reader of Malaysian watercolours in Reykjavik, Iceland. The owner has written to ask how he might sell these pieces and any of you who wish to find out more, please get in touch with me.


AB Ibrahim 1



AB Ibrahim 2



AB Ibrahim 3



AB Ibrahim 4


ED'S NOTE: Please note that the authenticity of these have not been determined.

Azmi Murad's Art

Azmi Murad, a local artist, wrote to me sometime back and I was taken busy, hence this late post.

I stumbled upon his booth at a shopping complex in Setiawangsa recently where he was doing sketches with friends (I didn't disturb him). His works are pretty good and I kinda like his watercolour. I always liked plein air paintings.

He also paints in oil as well, of still life, and does portraiture sketches. His site is here.

AB Ibrahim Work For Sale

A reader has sent in this for possible sale. She claims this to be AB Ibrahim's work although no size has been stated. Interested parties please get in touch with me and I will forward the owner's email.

Rafiee' Trafalgar Square

Last year, local watercolourist Rafie Abdul Rahman participated in the Malaysia Week 2008 held at the Potters' Field in London. During that trip, he came up with several watercolour pieces pleinair.

This one is in oil, however, one of the handful few he did. If you are interested, get in touch with me and I will put you to him. Write to me.

Whose Works Are These?

A reader who was in Kuala Lumpur in the 80s bought these two pieces. From the style, they looked like they belonged to AB Rahman. But I am not sure. The owner is seeking to sell them. If there are any buyers, let me know. I will forward him your contact. You can negotiate the price with him.

Ibrahim Hussein Work For Sale

This was sent to me by a reader. He is interested to sell the piece at the right price - as he is not interested in keeping the piece. I dont normally allow non-watercolour pieces to be here but just this once. According to the owner, it was one of the Langkawi series done by Ibrahim, a No18 out of the 200. Anyone wishing to purchase can write to me and I will provide the sender's email address. You can then contact him for further negotiations.

Artist pays tribute to IB

Malaysia lost yet another of its forerunners in art, Datuk Ibrahim Hussein, 72, who died of a heart attack at his Pantai home on Feb 19. Ibrahim, widely known as "Ib', had collapsed at his Lorong Bukit Pantai 1 home in Bukit Pantai.

Late last year, the country lost batil doyen Datuk Chuah Thean Teng. Malaysia’s world-acknowledged founder of batik painting, passed away in mid November at the age of 96.

There are many ways of paying tribute to artists who have passed on and one of them is to create works of art in their memory.

Artist Chee Eng Hong, who is renowned for his Sahut series, did this painting on the day he received an SMS of Ib's passing.


A painting dedicated to Datuk Ibrahim Hussein, Titled: i90209 (30"x30")

Another Abdullah Ariff Found

Similar to the artist's Monsoon Gust.

This writer has been again contacted by an owner of an Abdullah Ariff painted in 1956.

You can see all the wonderful brushstrokes of the great artist. Anyone can please tell me the price of this?

I think it is worth a fortune and the owner just might be interested to part if the price is right.

Just drop what you think it is worth in the comment box below. The owner will be checking this site for the suggested values.

Do not contact me - I do not own the painting. Do not ask for the owner's contact either because in the past, there had been many instances where people try to hoodwink them.

Unless the price is right, this owner's identity will remain a secret. Give your email if you wish to be contacted. Thank you.

Authentic? This is Ariff's signature on the painting - complete with his qualifications, FRSA.

Updated: According to the owner, this painting went for US20.00 at a flea mart couple of years ago. Now, wouldn't that shock artlovers in Malaysia. If it is authentic, not only was it a steal but it was probably a case of not knowing the value of this great artist! I am wondering if the National Art Gallery would be interested in acquiring such pieces for its collection. After all, it is the only body capable for authenticating our national art pieces and probably financially capable of making such acquisitions!

Updated (April 13):
The foreign owner of this work has written to say that the work has been purchased by a Malaysian. Thank God, this work has returned to Malaysia! This topic is thus closed.

Laman Seni - The Million Ringgit Question That Should Be Answered Now

Health info counters are best reserved for other events - like Art of Living, for instance. Not Laman Seni. - File Picture

I was with several people in the art business recently and we talked about how art could be promoted. Apart from the sporadic art events such as the recently concluded art expos held at two locations - one in a shopping complex and another at the Matrade building - and another event held at a gallery in Central Market, we agreed that more could be done to prmote art.

But what?

Kuala Lumpur as an art haven should have more regular events. I don't mean exhibitions but activities people - artistic people - can take part in.

Three years ago, the Laman Seni (arts market) was started by the National Art Gallery. It was meant to allow artists and the arts commune to gather every first Saturday of the month in Kuala Lumpur to partake in art related activities.

Of course, within that event, since it was a first attempt and no one has an inkling how it should be made out to be, there were all sorts of 'artistic ventures' although artists and their art work were given main priority.

There were bazaars, food stalls and even a small flea market at one end. Music was loud and the customary 'senamrobik' was held amidst silat demos, dance shows, etc - so much so that many people, artists included, concluded that it was a melting pot of art - affectionately termed 'rojak' if you like. Some of them are even offended.

Be that as it did, the artistic potpourri did pull in the crowd and through its existence for about two years, National Art Gallery, I am confident to say, received more visitors on those days that it ever did for an entire year if there were good visitor record keeping.

And just when everyone was looking forward to the Laman Seni, the idea was scrapped. Why, no one knows. Money could be a reason. Or it could be a combination of reasons.

It could be that some artists were complaining that they could not sell their work and the complaints had reached important ears.

Or it could be that the financiers were making a loss and could not account for the budget's returns.

It could even be that all the two-year effort was just to test the art market and see if an event like that had the potential of growth, into something bigger for the art scene.

Who knows?

But from my point of view, Kuala Lumpur needs a regular event like the Laman Seni. You need to have people come to the National Art Gallery and the only way you can do it is to generate some interesting activity which centers around art. Even if it is a rojak of a artistic event.

Of course, it could be organised with some sensibility of an art event - created within an atmosphere that would be conducive for artists to work and sell their work - even if for a day - and for the art buyer to be in the right frame of mind to purchase art.

You can have a carnival but keep the boundaries well marked: art for artists and art enthusiasts and carnival for the Jom-Heboh crowd. If the organisers do not have the experience, then outsource it to the more experienced.

Ventures like this are tricky and experience can make all the difference. Both for the future of arts in Malaysia and the artists' lives.

Art Galleries Need To Do More Than Just Hosting Shows

I have been to many art shows by local artists. Some of these I have been invited by the galleries, in others the artists invite me.

Many times, too, I have invitation sent to me with a whole chunk of photographs or CDs of works by the exhibiting artists by enthusiastic gallery managers and owners. I remember more than one occasion of having gotten tonnes of publicity materials good enough for catalogues aimed at art buyers but none the least useful for an art writer.

I often wonder what makes up for the shoddy publcity work from art galleries that want to promote their artists. It often comes as an insult to see a bagful of publicity material and an accompanying piece of cover letter that implies "Please Write". About what?

I normally refrain from writing about things I don't know or cannot appreciate because of my lack of knowledge. I suspect many ethical art writer (and critic) do the same too.

Report about an exhibition anybody can. But doing so without being mindfullyy understanding the subject or the artist is something even angels dare not tread on.

Yet, I see and sense this expectation from gallery owners - or the artist, and their equally guilty publicity managers - every time I receive an invite to an art show.

To relate an experience, just three weeks ago I received an invite (to view and hopefully write) about some Chinese artists whose works are being showcased at a local gallery. While some of the pieces did interest me, the cover letter sent shivers down my spine - that eager expectation of me writing about it shone shamelessly through. Finally, I decided not attend the opening and politely RSVPed the sender. I would rather not see the works and work up expectations from the organiser that I may write on my site.

How is it that gallery owners think all they needed to do for artists are just sending publicity materials to art writers? I most certainly will not excourage this carpet-bombing publicity stunt. Send enough press releases and pictures to the press and journalists, chances are that you will get your exhibition written about.

Sure, why not. Any coverage is good but will it promote the artist or his art? Without offering more than juvenile reporting, how do you hope to build an informed group of collectors of art?

Nothing is more exasperating to see ill-informed gallery managers who do not take the trouble to explain about the artist or the work on show. Poorly informed curators have no place being involved in art and so do PR officers of organisations holding art exhibitions. Nothing is more exasperating to the art collector than to have viewed and been prompted to buy a piece of work only to find that the only reference to it is in between the chiny covers of a very expensive catalogue. I most certainly would not want to waste my money if I knew nothing of what I am purchasing.

If you are wondering why local art do not sell well, then I think you would have made up some impressions this far. And what do you have when you marry ill-informed artshow organisers and artists who do not bother to be there when their prospective buyers call at the gallery?

Dream come true for Rafie Rahman

Dream come true - Rafie with his yet-to-be-completed Trafalgar Square piece in acrylic.

Two years ago, Rafie Rahman confided in me that he wanted to one day visit England, the birth place of British watercolour. However, he almost got to realise his dream two years ago, when his painting was selected to be taken to the London during the Malaysia Week. However, he did not get to go there.

In July this year, his prayers were answered. He was among five Malaysian artists, watercolourists to be specific, to be invited to show their works at the Potters' Field in London between July and August. It was a trip Rafie had been waiting for and got to go.

When I met him recently, I could see the distinct change in his style. Dabbling still in the aqua medium - not watercolour but acrylic - he has produced several pieces of work of landscape when he was in UK.

As you can see in the picture here, he is happily showing his Trafalgar Square piece which he has yet to complete. The colours are stunning and although hardly considered a completed first stage, the shapes are beginning to show.

This is why I think artists should go abroad and expose themselves to a foreign land. All artists need that exposure to do well, or improve on their current techniques. Without that kind of exposure, and chance to visit foreign art galleries, artists will only be confined to the local influences where art experience is concerned.


Want this piece? Get in touch with Rafie for the pricing.

Drawing Lessons

Most beginners who want to paint tell me that they find difficulty in drawing. Some don't know where to start, others don't know where and when they should stop.


Although there are great books on drawing, as many as you can find on painting, the marvel of the internet age also affords us artists new areas of exploration.

One such site that I find most interesting is located here on learning how to draw.

Although the articles are a bit heavy on theory, read them with an open mind and you will be amazed on the many things about drawing that you may not have realised.

Liew Choong Ching Introduces New Concept

Love: 40" x 60"

Artist Liew Choong Ching, who has just tied the knot, has informed switched to concept art. Leading this is his Button series, in various sizes and done in oil.

If you recall, Liew debuted with his very interesting Balinese series and later his frangipanni and mangosteen, before moving to Penang and established himself there with his abstract portraitures, which exhibited to much success last year.

Happiness, 56" by 56"

Can You Live On Art Alone?

Came across this news some time back. It was to highlight the success of a local Malaysian Chinese artist - a digital artist or photographer if you like, but nevertheless the artist.

Read on:

Malaysian’s work of art fetches RM117,000 at Christie’s

KUALA LUMPUR: A digital art piece called Huminodun by Malaysian artist Yee I-Lann was sold for more than RM100,000 at a Christie’s auction in Hong Kong on Saturday.

The work is one of Yee’s “Kinabalu series” which explores the eroded spiritual power of a Kadazandusun woman and her shifting relationship to her land.

Huminodun is based on the Kadazandusun creation story where a woman created the earth and padi and thus created her community.

Yee said she was shocked to hear about her piece being sold for US$38,000 (RM117,000).

This is the picture that made heads turn.



Stories like this are few and far in between.

How many ever made it to international acclaim? Is Malaysia suffering from such a artistic drought that every once in five or ten years someone makes it big out there?

Do we have good Malaysian artists for that matter?

The often exchanged advice to beginning artists is this: If you want to make it, go overseas. That used to be true. Not anymore, I think. Air travel and information exchange have never been easier and I think there is a fair share of foreign conglomerates that are based in Malaysia who have been contributors to art in their homeland. I have however yet to know of any that contributes to local art scene. Why this is so is pretty obvious.

If you have been following the art scene, you would not be amazed. Or surprised. If you have been talking to artists, especially the talented and struggling ones, you will know that a handful few would compete fiercely for the little that goes around. And what have the people appointed to take charge of the arts scene in Malaysia?

I have been proposing for a proper art marts in Kuala Lumpur since the demise of the Laman Seni. Is it any wonder? Here, we have a good concept that is drawing crowd way back in 2006-07.

Despite the lack of promotions, the art mart was only beginning to draw crowd. And wham, one day, it ended out of the blue - it was shifted to Putrajaya.

The intention was good - but ill planned. Not many art enthusiasts can make the 40km journey south of the capital. Not many tourists know where it was although many would have read up about the location of Kuala Lumpur's galleries, and the National Art Gallery, and could easily take a bus, cab or even walk there. And what happened was the demise - already predicted by the artists who were invited to showcase their art at the Zouk. Unfortunately, none wanted to offend the authorities and kept quiet.

Today, the motley crew of artists who used to take part in the once-a-month event are spread all over the Klang Valley. Some struggling to make ends meet, others having switched to art-related events which they could use their skill.

Looking back, one wonders if an artist can truly call himself a fulltime artist and live on his/her artistic creations alone. With rising prices, the future doesn't look too good. And I sympathise with them...

RM3,000 plus for Yong Mun Sen's Work?

I was surprised when I found out that this piece of Yong Mun Sen's work is priced at a remarkable USD1,200. What a bargain, don't you think? At the current coversion rate of RM3.30 to USD1.00, it works out to be about RM3, 960.

From the information I gathered, this piece was that of a Chinese Temple drawn in 1948. A signature imprint was also show.

I think Malaysian galleries, better still - the National Art Gallery, should make a purchase of it. It's our national trasure!

For those who don't know Yong Mun Sen, he was one of the pioneers of Malaysian art and among his famed peers was Abdullah Ariff.

Mun Sen's signature.