Richard Koh Fine Art, Kuala Lumpur
Within my practice, object-based thinking takes a central role in the way I navigate ideas and material exploration. In between, I would occasionally paint as resting periods to the more physically rigorous and procedural processes of sculpting. The paintings produced are usually intimate and small and are done in acrylic and oil. The images emerge through an organic and primordial process of layering painted shapes and mark-making, without prior planning and fluctuate between figuration and abstraction.
— Haffendi Anuar, January 2018
Haffendi Anuar (b. 1985, Malaysia) is an artist based in Kuala Lumpur. He produces sculptures, paintings and drawings. He did his International Baccalaureate certificate in art at the International School of Kuala Lumpur, his foundation at the Rhode Island School of Design in Providence and his BA Honors at Central Saint Martins College of Art and Design in London. Haffendi’s multidisciplinary
practice examines how countries in Southeast Asia “progress” or develop through culture and technological advancements, linking these notions of progress and modernity to the natural process of organic growth in the natural world. Mining history of art, digital technology, nature and local contexts, he creates object-based works that recycle found images, objects and artistic styles from digital and local sources.
The 'Faux Paradise' series were built from image fragments. These images were collected, painted, cut-out and combined into a collage of compositions as a metaphorical response towards my observations of contemporary society. Botanical imagery serve as an analogy of creation, cosmic renewal and the 'primordial purity' in relation to the concept of death and decay paving way for rejuvenation and renewal. This body of work was inspired by Eastern philosophy in addressing the interconnectedness of opposing forces within the natural world.
— Justin Lim, April 2018
Justin Lim (b. 1983 Kuala Lumpur, Malaysia) completed his postgraduate studies in 2006 with a Master of Art(Fine Art) degree from The Open University UK conducted at Lasalle-SIA College of the Arts, Singapore and has a BA (Hons) Fine Art majoring in painting. He was the recipient of the 2008 Malaysia-Australia Visual Artist Residency at Rimbun Dahan, Malaysia and participated in the 2009 Asian Art Biennial held at the Taiwan Museum of Fine Arts. He was also the recipient of the 2011 Asian Artist Fellowship at the Vermont Studio Center, USA and the 2012 Khazanah Nasional Artist
Residency hosted by Red Gate Gallery in Beijing, China. In 2016, he exhibited in Asia Young 36, a survey of young contemporary art practices in Asia at the Jeonbuk Museum of Art in South Korea and was also the International artist in residence at The Tasmanian College of the Arts, University of
Tasmania, Australia. He lives and works in Kuala Lumpur, Malaysia. Justin’s paintings, installations and mixed media works are assemblages of appropriated imageries and borrowed signs from a variety of Pop culture sources such as cult or popular films, cartoons, comic books and graphic posters. His works examine the contemporary social context, touching on issues such as politics,
culture and religion by using potent metaphors usually associated with urban subcultures and applying a cut and paste painting method in which eclectic images are juxtaposed to create startling interpretations.
Looking back at my series of Horizon, Window and Light, I have gradually come to the realisation that my landscape paintings concern mist or moist. Moist, as in moisture in materiality, like looking into the mist, constantly squinting to fulfill the instinct for acutance. These uncertainties of nature and seeing are taken as potentiality for my painting, providing a coalescing space for light and structure. It is a force of mystery that keeps my interest in landscape, like a Chinese landscape painter transcending nature through a pictorial experience, pursuing Yi Jing , an “artistic conception” as the final destination.
— Yeoh Choo Kuan, April 2018
Yeoh Choo Kuan (b. 1988, Malaysia) lives and works in Kuala Lumpur, Malaysia. His work is an exploration of the possibilities through markmarking. He has explored a variety of themes including domesticity, sexuality, the human body, as well as death and the subconscious. His early autobiographical works illustrate the purging of unrest and hidden emotions left by traumatic experiences through mark-making on painted imageries. His approach had since shifted toward gestural abstraction with highly textured strokes, which is referred to as his self-coined “Fleshing Abstraction” — a synthesis of disintegration set in contrast as the tension and forces are weighted on the oil surfaces. Informed by distinctive visual languages accumulated over the course, he is currently drawing inspiration from nature to discover the potential of landscaping and pictorial means.