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24th Asian International Art Exhibition: Manifesting

Diversity in Asian Contemporary Art

The Mind and Art
Li Chi Mao
THE year‐end is before us, and soon. We have been so busy with our host of
activities in the Balai and outside with our friends and partners in promoting

and developing art, as well as in overseas programmes, that we hardly
Bennylita Nasuty Ramlee
noticed. But there is never a moment of ennui. The Balai staff members should
be commended for their tireless efforts in seeing to the success of all our
programmes and activities, in making all our gallery spaces active and exciting

all the year round. Even as the annexe building is coming up, we try to fi nd
Contemporary Croatia Drawing Presented to the World
3rd Art Expo Malaysia: AEM3 Defi es Odd, A Bigger SuccesS
creative uses for our existing spaces like the rebranding of the Reka Gallery as a
Hybrid: Umibaizurah Mahir Solo Exhibition
space for design and emerging visual arts exhibitions. It has been a hectic year
The AIAE has comes of age
with the biggest challenge being the blockbuster Syed Ahmad Jamal : ARTIST
Pertandingan Seni Tampak Terbuka Johor 2009
exhibition where new standards and exhibition parameters are set.

We had three major foreign exhibitions involving Croatia, Cuba and South
Malaysia Open Auction
Korea, and November was a triple‐header with our joint involvement in the
14 Point
Third Art Expo Malaysia, The 5th Asian Museum Curator’s Conference and the
Lukisan Potret DiRaja Dalam Proses
24th Asian International Art Exhibition, which were both an unqualifi ed success.

These are in line with our policy to support in various forms constructive,
meaningful and impactful activities outside of the Balai not only in promoting
USA by Designers
and creating greater awareness of art, but also raising the bar in art development

and showcasing Malaysia as an arts and cultural hub.
BSLN Programmes and Activities
All these, and more, are covered in this issue of
. We also drop in at the
galleries and fringe spaces to check out the versatile ceramic artist Umibaizurah
Mahir and the enigmatic Aswad Ameir, and what‐do‐you‐know a newly opened
Art Lives Gallery and the Li Chi Mao Art Centre in Malacca! Then, to hoot,
Bennylita Nasuty Ramlee makes the Re‐Cover Artist page. We end the year with
the enBLOC exhibition, a fi ne visual documentation of heritage technology in
printing blocks, video and batik textiles and a unique Creativity and Innovation
Camp in Penang entitled CreaNova. Even as we unravel the loose ends and close
the book for the year, we are already busy preparing for the major programmes
of the next year, including a six‐month itinerary for Malaysia’s participation in
the World Expo in Shanghai from May to October, and the Malaysia Week arts
Balai Seni Lukis Negara
and cultural fest in Paris.
National Art Gallery Malaysia
Ministry of Information, Communication and Culture Malaysia

We are constantly fi ne‐tuning the components and contents of
to make
No 2. Jalan Temerloh
it more inclusive, refl ective and informative besides it being more accessible to
Off Jalan Tun Razak
all. To all we wish you a Salam Maal Hijrahm, Merry Christmas and
53200 Kuala Lumpur
a Happy New Year 2010.
P : 603 4026 7000
F : 603 4025 4987
Dr. Mohamed Najib Ahmad Dawa
w w w . a r t g a l l e r y . g o v . m y
l EDITOR-IN-CHIEF Dr. Mohamed Najib Ahmad Dawa l MANAGING
EDITOR Ch’ng Huck Theng l EDITORS Zanita Anuar & Ooi Kok Chuen l
DEPUTY EDITOR l Wening Cheah & Hashimah Nyok l CONTRIBUTORS
/ WRITERS Dr. Choong Kam Kow, Edwin Ooi, Tatjana Carey-Maruna,
Zainol Abidin B Ahmad Shariff (ZABAS), Hasnul J Saidon, Suraya Warden
and Ooi Kok Chuen l DESIGN Nuzaihan Mustapa & Shamizar Rahim l
PHOTOGRAPHY Muhamad Akmal Hakim and Mohd Fitri Abd Rahman l
can be accessed at
Any feedback and comment please email to us at:
[email protected]
The publisher, National Art Gallery Malaysia,
holds the copyright of all editorial content.
SENIKINI (ISSN : 1985-7233) is published six times
a year by National Art Gallery Malaysia.
All Rights Reserverd.
Copyright©2009 SENIKINI Malaysian Art Now
Printed in Malaysia.
Koleksi Najib Dawa
(Awang Isa)

12.12. 2009
22. 02. 2010
Balai Seni Lukis Negara
National Art Gallery Malaysia
Pameran adalah

sebuah wadah persembahan batik
batik exhibition. This exhibition is
yang teristimewa. Dalam mendirikan
poised to complement the Kuala
sebuah pameran batik sebagai
Lumpur International Batik Week
pengisian kepada Kuala Lumpur
2009, of which the Ministry of
International Batik Week 2009,
Kementerian Penerangan Komunikasi
Communication and Culture is a
dan Kebudayaan melalui Balai Seni
patron of and is represented by
Lukis Negara (BSLN) terpanggil untuk
the Balai Seni Lukis Negara(BSLN).
mengambil peranan selaku peneraju
The BSLN, an institution responsible
pembangunan seni visual Negara
for the development of visual arts
untuk mencetus inspirasi kreativiti dan
in this nation aspires in this
inovasi menerusi kesinambungan
showcase to inspire creativity and
innovation while celebrating the
continuity of our cultural
Kali ini ianya dizahirkan menerusi
pameran pengenalan semula
terhadap blok batik dengan
This is realised in this refreshing
menyerlahkan ciri reka bentuk dan
exhibition and installation of batik
teknologi seni batik itu sendiri.
block,or batik stamps. The display
Ungkapan sebegini adalah unik dan
highlights the design and
penting supaya suatu bidang seni
technology of batik as an
budaya diwartakan ilmu teknologinya
artform. The presentation revivifies
khususnya proses dan skema
the unique traditional scheme
pengolahan bentuk diterangkan dan
and process in batik that should
be continuously appreciated,
documented and elevated to a
BSLN juga akan menyumbang dan
wider audience.
memperkayakan pengkalan data
budaya dengan berkongsi data motif
BSLN will also share over 500 block
blok yang dikumpulkan sehingga 500
motifs made available through
blok dari institusi dan para kolektor,
the kind sharing by collectors
Kelantan dan Pulau Pinang termasuk
from Kelantan to Pulau Pinang
Institut Kraf Negara, Galeri Yahong dan
including the Institut Kraf Negara,
Lyanne Batik. Kesatuan hasrat semua
Lyanne Batik and Yahong Gallery,
pihak yang mendokong cita murni
in the form of a database so it
dalam menzahirkan kesinambungan
may be accessed by others. This is
seni dan budaya sebegini amat
indeed a commendable
dihargai dan diharap akan
collective effort that must
dimanfaatkan berterusan buat
continue to enrich the creative
generasi masa hadapan.
individuals of the future
Muzium Kelantan

20.11.2009 - 31.01.2010 l by Dr. Choong Kam Kow
THE 24th Asian International Art Exhibition (AIAE) With the theme, [email protected]: Manifesting Diversity, the 24th
now being held at the National Art Gallery
AIAE held a three-day cultural activity from November 20
saw the highest attendance of participants on opening
and it included a forum held on November 21. The forum
day with some 125 artists and delegates present on
discussed at great length the infl uences on art by the
November 20.
inevitable changes of cultural practices, social structures
and ways of life of the diversifi ed Asia in the process of
The grand opening was offi ciated by Senator Heng Seai
globalization in the Information Age.
Kie, the Deputy Minister of Information, Communication
and Culture.
The topics were Artistic Issue in Asian Consciousness and
Asian Nations (Prof. Zou Yuejin, China), A Reappraisal
A total of 208 works are on display over two gallery
of East Meets West (Eddie Lui, Hong Kong), Art Medium
spaces. They are from China (20 works), Hong Kong (15
Discourse in Indonesian Contemporary Art (A. Rikrik
works), Indonesia (10 works), Japan (20 works), South
Kusmara, Indonesia), Ordinary Objects And Beyond
Korea (20 works), Macau (10 works), the Philippines (9
(Prof. Lee Na Kyung, South Korea), Art And Society In the
works), Singapore (10 works), Taiwan (20 works), Thailand
Midst of Globalization (Ma. Victoria Ambie Abano, the
(10 works), Vietnam (19 works) and host country Malaysia
(45 works). Besides paintings of various media, there are
prints, sculptures, installations, animation, video and new
The delegates were also taken on visits to Galeri
media presentations.
Petronas, art galleries in Starhill, cultural sites and the
3rd International Art Expo Malaysia held at the Matrade
Exhibition and Convention Centre.
This year’s theme is aimed at promoting Asian
contemporary art through the expression of diversifi ed
cultural characteristics and social conditions of the
various participating countries. It is also to foster artistic
exchanges and cultural understanding among the
participating countries. In line with the theme, the styles
and approaches of works vary from country to country
refl ecting a cross-section of art practices.
MALAYSIA - Juhari Said, OKIR No:30, Wood and oil, 102 x 53 x 8cm, 2009
The AIAE managed under the Federation of Asian Artists
(FAA) was fi rst held in Seoul, South Korea, in 1985. It was
later held annually in Japan, Taiwan and other member
visual languages and formal approaches. The work by
countries by rotation. In the past 24 years, the AIAE has
Tian Ye shows great innovation by introducing invented
developed from strength to strength and is now regarded
new signs into the signposts commonly found in Tian An
as an important international art exhibition making
Men Square and elsewhere in China.
signifi cant contributions towards the development of
contemporary art of Asia and the promotion of artistic
From Hong Kong, they are Eddie Lui (Going Forward
exchanges among the participating countries.
- mixed media), Steven Lam Woon-Cheong (Peach
Blossom - mixed media) and Rosanna Li with her seated
The visual thinking and expression of the FAA artists
plump ceramic fi gurines (The New Prayers – stoneware),
have over the years continued to evolve and mature
each engaged in playing with digital communication
in encouraging directions. Each year, new approaches
devices, looking casual and amusing. The Hong
and styles of visual expression emerge as a result of self
Kong presentation refl ects the general post “return”
exploration and interaction with fellow artists.
consciousness in the new pursuit of visual art which shows
an increased infl uence of Chinese contemporary art.
With the collaboration of the FAA Malaysia Committee,
the National Art Gallery has successfully hosted the 5th
The Indonesian artists led by Setiawan Sabana put
and 13th AIAE in 1990 and 1998 respectively. Malaysia
up objects dominated by installation, animation and
has taken part in the AIAE since 1988.
paintings. Setiawan has aptly presented the installation
in such a way that it provokes the viewers to ponder,
As a major art exhibition in Asia, the 24th AIAE has
wonder and imagine about his implied message.
attracted and received many important works by
leading artists from the participating countries.
The leading artists from Japan are Norito Udagawa
From China, they are Zuo zhengyao (Secret of the King
(Heart - oil & tempera) who still indulges in grinding
- ink & colour on paper), Tian Ye (Scenary Series 31 - oil
and fi xing his own tempera colour, Motoharu Furumoto
on canvas) and Shi Jiangguo (Sisters - ink & colour on
(Backyard 0953 - digital print) and Yoko Mitsuyuki (World
paper). The Chinese submission is dominated by oil,
of Blue IV - oil). The Japanese submission represents a
acrylic and ink/colour paintings refl ecting contemporary
cross-section of the Kyushu approach in art practice
which is closely associated with the Fukuoka Asian Art
CHINA-Liang Chang Sheng, Elysium World No. 5,
Propylene on canvas, 156 x 56cm, 2008

PHILIPPINES - Salida, Untitled, Acrylic mixed technique on canvas, 91.5 x 152.5cm, 2009
The dominating feature in the Korean submission is hard-
Rosanna Li, The New
KOREA - Kim Tae-Ho, Internal Rhythm 2008-28, Acrylic on canvas,131 x 131cm, 2008
Prayer, Stoneware,
edge and minimalism which refl ects
18 x 20 x 50cm, 2009
a great deal of intellectual
thinking and formal
precision. The leading
artists are Kim Bong
Tae (Dancing
Box 2008 -
Ryu Hee
V - oil), Lee
Na Kyung
With Red Paper Flower - oil ) and Kim Tae Ho (Internal
Rhythm 2008-28 - acrylic on canvas). Kim Tae Ho‘s canvas
- acrylic), Lin Choon Jin (Over The Reed - ink)
built up with acrylic layers by layers, is so structurally
and Leo Hee Tong (Waiting by the Bay -
constructed and precisely rendered with colours that it
acrylic). The presentation aptly refl ects the
offers great visual sensations to the viewers.
multiplicity of approaches as the central core
of artistic engagement originated from the
From Macau, they are Tong Jiang Ying (Lettering on
Modern Art Society of Singapore since the
Colour Block - ink) and Tong Chong (Kiting -mixed
media). After a decade of Macau’s return to China ,
MALAYSIA - Sabating Ev Baron Kampiau, Beads, Acrylic on canvas,
the infl uence of mainland China artists on the Macau
The leading artists from Taiwan are Koo
150 x 150cm, 2009
contemporary art is obvious.
Chung Kuang, (Twelve Big Persimmons - oil),
Lee Shi Chi (Ink taker - ink on paper), Dino Tsai
From the Philippines, they are Ramon Orlina (Adam & Eva
Said (Okir No. 30 – wood & oil), Kelvin Chap Kok Leong
(Bar Coding - oil) and Liu Xian Zhong (Living
in Paradise - glass), Ben Cabrera (Anxiety - acrylic) and
(S-Eleven 3 - mixed media), Long Thien Shih (Let’s Joy
Large – oil on canvas). The Taiwan submission
Virgillio Aviado (Parthenogenesis - acrylic). The Philippines
Together – acrylic), Mad Anuar Ismail (Pahlawan No.
is diversifi ed in subject matter and styles of
presentation mirrors the strength and characteristics of a
4 – steel sculpture), Normah Nordin (Nose Pulled by the
expression which is seen as a refl ection of the
very signifi cant cross–section of contemporary art there.
Ox – installation), Raphael Scott Ahbeng (Bidi Landscape
visual engagements and approaches of the
– acrylic), Tajuddin Ismail (Passage 2, 3, 4 - charcoal &
third and fourth generation artists.
From Singapore, they are Goh Beng Kwan (Golden Land
pastel), Zulkifl i Yusoff (Sedangkan Lidah Lagi Tergigit -
installation). The range of artists and artworks displayed
From Thailand, they are Thongchai
manifests the diversity of Malaysian art.
Rakpathum (Aesthettic No. 27 - acrylic),
Wittawon Niwattichai (Dear Moon Series - oil),
The exhibition ends on January 31, 2010.
Chalernsak Radanachan (Celestial Black
Wave - oil) and Prathak Pragivinitjpan (The
Conversation of Body and Mind – wood
sculpture). The works are well executed and
refl ect Thai sensibility and manifestations.
Thongchai has moved further to combine
geometric shapes with his predominant free
and organic forms created through marbling
techniques. Wittamon’s Bag series is intriguing
with feminine overtones.
The Vietnamese leading artists are Nguyen
Xuan Tiep, Dang Anh Tuan (Mask - oil) and
Tran Dinh Khuong (Long Bien Bridge - lacquer
on wood). There are lacquer works by four
artists and this has given additional artistic
fl avour to the show.
Malaysia has invited 73 artists comprising
senior, mid-career and emerging artists of
whom 45 have accepted to take part. The
notable ones include Bayu Utomo Radjikin
(Intintyx – acrylic), Awang Damit Ahmad
(Iraga Garis Mega - mixed media), Hasnul
Saidon (Want Malaysia? – collaborated
installation with a team of students), Juhari
MALAYSIA - Choong Kam Kow, Fit for Life - XI (Taiji), Acrylic on canvas, 122 x 152cm, 2009
MALAYSIA - Long Thien Shih, Let’s Joy Together, Acrylic on canvas, 176 x 134cm, 2009
Images courtersy : AIAE

TAIWAN - Koo Chung-Kuang, Twelve Big Persimmons, Oil on canvas, 130 x 97cm, 2009
JAPAN - Udagawa Norito, Heart, 112 x 145.5cm
[email protected]: Manifesting Diversity
In conjunction with the 24th AIAE, an art forum entitled Asia @ Asia : Manifesting Diversity was held at the National Art Gallery on 21
November 2009. The forum discussed at great length the infl uences on art by the inevitable changes of cultural practices, social
structures and ways of life of the diversifi ed Asia in the process of globalization within the information age. Six representative speakers
from participating countries presented their views on the current state of visual art in their respective countries. Listed below are the
papers presented in the art forum :

Keynote Address
Dr. Mohamad Najib Mohamad Dawa

Artistic Issue in Asian Consciousness
Prof. Zou Yuejin
and Asian Nations
A Reappraisal of East Meets West
Mr. Eddie Lui
Hong Kong
Art Medium Discourse in Indonesian
Mr. A,Rikrik Kusmara
Contemporary Art
Ordinary Objects And Beyond
Prof. Lee Na Kyung
CHINA- Tian Ye, Scenery Series 31, Oil and propylene on canvas, 161 x 132 cm, 2008
Art And Society In the Midst of
Ma. Victoria ‘Ambie Abano
The presentation of papers was very much enhanced and enliven by slide shows of art works from the presenters’ countries.
“Let us balance the ASIAN JOLTS
by taking stock of :

1. And ensure that there will be sustained discourse on
Asian visual art where we an further encourage and
advance art scholarship in Asian art.

2. There should be critical assessment of the
mounting infl uence of Asian contemporary art in the
dissemination of national identities’.

3. The changing identities and multiple roles in the art
system and the art industry.

4. The questioned not asked by us is introduction
of technology into art and our life despite their
importance, Naisbitt. John.2006 “….. is the
consequences of our relationship with technology are
not given much consideration. It is our most
unexamined relationship. With the advent of a new
technology, questions need to be asked :

- What will be enchanted?
- What will be diminished?
- What will be replaced? “

- Dr. Mohamed Najib Ahmad Dawa

one would say an
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When you fi rst encounter
Phillip Wong’s “The
Human Mind”, it is an outdoor sculpture
of aluminium strips entwining and
coalescing to form a human fi gure. In its
rather abstract fi gurative form and striking
use of a single tone of red, you wonder

what the artist is trying to tell the viewer.
At fi rst you don’t really get it but with
further exploration of the series, you begin
to understand.
“The Human Mind”, Phillip Wong’s latest
series is his contribution to this year’s
Starhill Art Festival. With a concise
theme, “Passions”, the organiser had
chosen to focus on three-dimensional
contemporary art, and according to the
fl yers, the fi rst time it has done so.
Combining two-dimensional and three-
dimensional media, Phillip in his work
seeks to explore the human mind and
its effect on the human condition. It
is interesting that he has chosen this
rather cerebral topic but not surprising
considering that contemporary art or its
l by Edwin Ooi
predecessor “modern art” has its basis in
the exploration of human emotions and
condition represented in art.
The exploration of the human mind in
art is not new. Art historians suggested
it started with the Dadaists, developing
into the Surrealist movement with its
most famous practitioner Salvador Dali.
Infl uenced by Freudian theories on the
to create these paintings. Elements of Surrealism and
unconscious, signifi cance of dreams,
Cubism are interspersed with his own artistic fl avouring.
and giving meaning to apparently
incongruous thought-associations and
In Phillip’s smaller pieces, you get a sense of his child-like
seemingly illogical free associative ideas,
expression in the fi gures backed by very bold colours. As
artists of the movement created highly
viewers look at this series, the association of the pieces
imaginative works of art. Incidentally,
with the series title “The Human Mind”, particularly the
one of its practitioners, Rene Magritte,
smaller paintings, is not immediately obvious.
had named her painting “The Human

Condition 1” - the very same topic Phillip
However, as you move to the larger paintings; you begin
has chosen to explore in this series.
to see representations of the brain, starting from the use
In this series, Phillip has created a series
of straight lines and a limited palette of a single colour
of small and larger scale paintings
tone to a more organic abstract representation of the
culminating in an interactive installation
human brain painted in a multitude of colours. From this
piece called “The Brain”.
point, the viewer starts to sense the connection of the
paintings and its title.
In his small paintings, we see individually
attached Miro-isque aluminium strip
When you walk past the multitudes of brain-like images,
fi gures, producing a high-relief effect.
you come to a rather familiar image of a room. Entitled
Miro coincidentally is also a leading fi gure
the “Artist Room”, it is drawn out in lines. At fi rst, you
in the Surrealist movement. He was the
wonder where you had seen it before but realise later
fi rst to give his paintings non-fi gurative
that the painting could be a variation of Vincent Van
meanings, developing a form of lyrical
Gogh’s The Artist’s Room at Arles (1888). The original
abstraction, that is at once ground-
which is at the Van Gogh Museum in Amsterdam
breaking and very recognisable.
is painted in Van Gogh’s typical expressive and
psychological choice of colours, but Phillip has simplifi ed
In Phillip’s larger paintings, 12 in total,
the world famous image into lines and a single colour
the viewer is introduced to the thought
processes of the artist in creating this
You ponder what an image of an artist’s bedroom
has to do with the human mind. But those familiar with
In each of the small and large paintings,
Van Gogh’s life will know that he had searched for the
there is an impression of translucence
substance and hidden meaning of objects. This in a way,
when you fi rst look at them. The use
is refl ected in Phillip’s own searching in his latest series,
of special paints on wood, a rather
specifi cally on the link between the mind and the human
uncommon choice of backing medium,
created this unique effect. Compared
to his previous “Daun Series” which
Exploring further, the viewer ends his tour of Phillip’s series
were mainly painted on perspex, it is
in his large interactive installation piece called “The
interesting to note the change of material
Brain”. The installation itself is a no-brainer (pun intended)
and technique employed by the artist.
as it consists of two large images of the brain constructed
Perhaps an evolution or maturity on the
again of aluminium strips. What is perhaps novel is that
artist’s part after many years working in
Phillip asks us to walk through a simply-constructed room
the same medium?
of vertical strips of red and white fabric, in which the
viewer discovers a painting of a heart. The heart is in turn
Moving from his smaller pieces to the
linked to the two brains outside the room via aluminium
larger ones, the viewer gets a feeling
strips formed to look like heart pulses typically seen on a
that the artist has looked back in history
heart monitor. Coming out from the room, the viewer is

asked to link the relationship between emotions
fi nd something within himself that’s universal
and human attributes shown on the two brains
and which he can put into terms that are
by using the strings provided. With this fi nal act,
communicable to other people. The magic of
the viewer realises what this series is all about.
it is that art can communicate this to a person
without his realising it. Enrichment, that’s the
As of the writing of this article, there are already
function of art”.
many strings linking the various emotions
and attributes between the brains. And it is
It is perhaps with this statement, that Phillip
interesting to note the associations viewers
intends to evolve from a more commercial
have made. The writer reckons that it is perhaps
artist to one willing to push the envelope and
this inter-relationship [or correlation] which
make viewers think about life and its meaning
Phillip aims to achieve. By interacting with his
when they look at art. A good start certainly.
work, we think about the mind, why we behave
And certainly something greatly needed in
in a certain manner and ultimately, its impact
such times when materialism, commercialism
on the human condition.
and disregard for basic human decency are
Although the writer is of the view that the
installation piece may have been better
executed, particularly the visual impact of the
emotions and attributes printed on the two
brains, and the construction of the “red room”,
nonetheless, this series is indeed weightier in
its theme and focus. Quite different from what
Phillip had been doing in the past as an artist.
Bill Evans, one of the most introspective post-
war jazz pianists was reported to have said “My
creed for art in general is that it should enrich
the soul; it should teach spirituality by showing
a person a portion of himself that he would not
discover otherwise. It’s easy to rediscover a part
of yourself, but through art you can be shown
a part of yourself you never knew existed.
That’s the real mission of art. The artist has to
Newest Gallery in KL Art [email protected] Studio
It all began from our unexpected encounter with Juliana Mok-Hayn (gallery owner &
LOVE is Beautiful
founder). Since we are still new in the art scene, it is not easy to fi nd a gallery who is
willing to exhibit our works. We were touched by Juliana’s passion in supporting new

A group exhibition by Wendy Chua,
and emerging artists. When we got to know each other better and shared our works
Yvonne Ou Yong, Bridget Lee Sook Heng
of art together, we all agreed that nothing in life is more signifi cant than love. It is
and Tan Guat Ling
love that makes our life beautiful. Thus, Love Is Beautiful is born.
‘Love Is Beautiful’
group art exhibition
28 November - 31 December 2009
Main Venue :
Art Lives @ Planegg Studio
37-2 Jalan 23/70A, Desa Sri
50480 Kuala Lumpur
Exhibition hours :
11am – 7pm Mondays - Saturdays
Tel : +03 6203 5223,
Mobile : +6012 224 7209
Tan Guat Ling, God’s Gift 5,
Bridget Lee Sook Heng, Crimson,
Yvinne Ou Yong, (Detail) Time to Embrance,
Wendy Chua, Woman Flower,
Supporting Venue : Hayn’s Pizzeria
Acrylic mixed media, 30cm x 30cm
Oil on canvas, 30.5cm x 30.5cm
Acrylic mixed media, 91cm x 61cm
Oil on canvas, 91cm x 91cm
64, Jalan 27/70A, Desa Sri Hartamas
50480 Kuala Lumpur
Opens :
Art & Design lecturer and Artist
Born1968 in Ipoh
9am - 10pm daily
“My goal is to express my feelings and emotions
Born and raised in Kuala Lumpur, Yvonne Ou
Sundays 11am - 10pm
“This series is about my pregnancy. My
With mental images, imagination and at times
primarily through the texture of my paint.
Yong left for London to pursue art education in
Tel : 1-300-82-3000,
pregnancy was a blessing from God as I was
memories, garden theme is set to portray
Some say my work is realism with a tinge of
Chelsea College of Art & Design (The London
Mobile : +6012 224 7209
having diffi culty conceiving after many years
and capture the essence of creating force
impressionist. I would just say it is a symphony
Institute). Upon returning to her homeland in
of marriage. It was during this time that I felt
and energy in nature. Plants often signify grow,
of brush strokes, colours and imagination.”
1999, she has been lecturing in KBU International
very happy and I decided to record my
procreation and life cycle. Flowers are admired
It was the time living in Europe that exposed
College ever since. In 2005, Yvonne ventured
thoughts and emotions in my paintings as I
for its beauty, variety and uniqueness. As I
Wendy to a wide spectrum of arts forms, from
into studio painting on a professional level.
believe my son is truly a gift from God. Its was
exploring and develop my work; colors often
sculptures and paintings to performing art. She
exactly this series of work that has inspire
take the center stage and set the mood for
was particularly attracted to the powerful brush
“My work refl ects a journey through phases of
me to continue to pursue my passion in Art.”
each painting. Repeated motifs of plants and
strokes of Van Gogh and the breathtaking
life. This journey is my collective experiences
fl owers in variation give forms to the paintings.
beauty of Monet’s impressionist interpretation of
that happen every single moment of the day.
Each painting is strike to achieve its expression
Through these experiences, I seek to culminate
and allow something new to take place. It is
an intuitive communion with the natural world,
exciting to experiment and to see fl uidity of
Inspired by nature, her latest series around the
which is the very essence of my work.
colors, lines and organic forms interrelated and
fl ower theme is an expression of her hopes and
intertwined, merging and coming into being.”
love for humanities and in celebrating life – the
joy, the struggle, the breakthrough and the
“I would like to express this wonderful journey of
faith in my artwork that embraces
essence of growth, beauty, creative energy,
light, fragrance ………discovery.”

Love towards drawings and doodling always
growing whether in static or motion. Subconsciously;
‘What the Hoot’ series, was made under the
moonlight (and sometimes using torchlight under my
blanket), using dots and lines of ink on paper that
fl ashback my full of laughter childhood; and fi ll it with

sound of music of Broadway Circus’s song. Each of
the owls comes with a name and story behind it.
Normally, they are people around me that touch my

heart, mind and soul in my childhood as I grow up. I
am here to share a little gift from my little heart from
GOD with you, and you and you, in this universe.
That’s it.


- Bennylita Nasuty Ramlee
“The multi-talented fi lm-
maker Bennylita Nasuty
Ramlee is essentially a
line-person, whose works
capture the essence

Hi, I am Bennylita, and you may call me Ben. I am
Early 2009, I actively participated in selected Art &
of human frailties by
originally from Alor Setar, Kedah, Malaysia, and was
Craft Bazaar such as Pipit Wonderful Market, Arts
highlighting their owl-
born in December 1974. By heart, I am a self-taught visual
For Grabs, Laman Budaya, Creative Mafi a of Bijou
like eyes. With dots,
artist/designer and make arty-crafty print ads, multimedia
Bazaar and Urbanscapes. In November 2009, ‘ZIG
and fi lm for as long as I can remember. I am a trained-
ZAG ZOO’, is my 1st Art Exhibition at the National Zoo
crosshatchings and
professional-Multimedia Consultant/Producer with more
Malaysia and Pelita Hati House of Arts for Art Expo
curlicues, she camoufl ages
than 10 years of experiences in various kinds of multimedia
Malaysia 2009, Matrade Tower. At the moment, I live
the faces of people with
and web portal application development and training
in Kuala Lumpur and manage my own multimedia
beaks and feathers,
with government agencies, corporations, universities and
production and consultation company and
independent record label, named Pekanmaya. Owl
becoming part caricature,
and MagicalTreehouse is ‘anything arts and handmade
part portraiture. With the
I have a mixture of formal education in Film Video
crafts but not gossip project’ created by me, inspired
colour red as fi ller, these
Production from National Arts Academy(2008) and
by owl, moon, fairies, dragon, Bigfoot, little people,
characters embody any
Computer Science from National
mermaid, scarecrows, carousel, circus, tree house and
University of Malaysia (2002)
rainbow. On a virtual basis, you can fi nd me at http://
given idea in a fl ash:
and Multimedia from Northern or email me at
anger, love, assertion,
University of Malaysia
[email protected].
withdrawal, tenderness,
(1999). Twice, I received
indifference. Still, they are
offers to continue my
studies in Fine Arts,
playful, unobtrusive, easy
ITM (now known as
to identify. Even when they
UITM-University of
expose their breasts or
Technology Mara,
underwear, they mean to
Malaysia) in early
1990s but I was
tickle and entertain.“
unable to do so

due to lack of
Professor Dr. Zakaria Ali
Fakulti Seni dan Muzik
motivation from
Universiti Pendidikan Sultan Idris
my surroundings. But
I never regret that I did
not pursue formally in Fine
Arts but Multimedia.
I participated in various
multimedia and fi lm exhibitions and
screenings frequently, mainly in Kuala Lumpur and my
fi lm was also screened in Jakarta, Indonesia. Busy with my
studies and developing career after university made me feel
unhappy with my own self and start to fi nd what I lack in life
here and there. Back in 2002, I realised that I always describe
my hobby as drawing and painting even though I have left
it for more than 10 years. Since then, I believe that my quest
is to draw and paint happily ever after. Making short fi lms
is an ultimate passion to see my arts and crafts on moving