Saturday, 5 April 2008

RUBICON (teaser)

Henri Lee slouched on the side of his hotel bed experiencing the softness of a worn mattress under his naked buttocks, the lurid hotel bed-throw coarse under his supple white-collar hand. Henri’s nude toes nestled in the tousled pink mat adjacent to an aged hardness of cigarette burnt fibres and petrified minutiae of chewing gum, caked solid onto the mat. The twelve by ten hotel room was increasing claustrophobic as Henri mused upon the rasping of a cockroach.

The aphasic rhythm of flashing neon light threw punitive blue light upon Henri’s middle-aged frame revealing the deathly pallor of a Lucian Freud painting - a lumpish carcass, flabby and ill-used. Henri had never been initiated into the cult of body, his only exercise had been the gentle daily walking of Chester, his aging tan Labrador, hence the extra kilos gracing his midriff.

A scratched and scarred silver Samsonite suitcase lay supine on the wooden hotel rest. From its bowels spilled the detritus of Henri’s life. Black Marks and Spencer underpants leaked like Dali watches over the case’s rim melting into still wrapped Pagoda brand vests purchased in Kota Raya Plaza. Fawn socks nuzzled worn Rael Brook shirts as they fondled cotton Gordon Bennett and polyester Van Heusen, cotton Farah slacks petting brown Ecco shoes, all individually and collectively cavorting.

A frowning Henri scanned the melange under the bitter neon light seeing the sum total of his life mirrored in the presenting chaos - Henri wanted to weep, but delayed. It wasn’t yet time.

A middle-aged and middle-class Henri Lee had arrived at the age of 60 two days before arriving at Kuala Lumpur International Airport.

Sometime between the ages of 50 and 60 something had disappeared from Henri’s life - he ascertained a lack, absence. Henri’s marriage was unravelling gradually as he took early retirement from his career. The couple had no children and Henry had shied away from letting friends into his life. Then from retirement somehow being alone metamorphosed into loneliness, and a meaningful chasm opened in Henri’s life - this he sought to plug with fragmented shards of ill-recalled memory.

For Henri sixty became a chronological marker, a period when life’s accomplishments and failures are evaluated. Being sixty induced Henri to take life’s yardstick, measure, and having measured find him-self seriously wanting.

The return to Malaysia - back to the land of his origin, in this sense was not a home coming. Henri had made his home in London many years earlier, so for him this was an immersion into sepia tinged nostalgia - obscure and oblique reminiscence swaddled in his own gloriously conjured retrospective illusion.

The MAS flight from Heathrow to KLIA was misspent self-medicating -Henri consumed blended Irish whiskey and then lounged bombarded by twelve hours of programming from a minute TV screen attached to a mechanical arm on his seat. Henri’s headphones obscured in-flight clatter and chatter until the tedium and the alcohol drugged him comatose.

Henri had been grateful to pay extra for a seat with additional leg-room and with the adjacent seat being empty Henri spoke with no-one but the air-stewardess – successfully cocooning himself within his anonymity, safe in the knowledge that no one knew him or of him. To all intents and purposes Henri had become not just invisible but intangible curled foetal position inside his mind, secluded from human interaction.

The normally tedious and time consuming dance of baggage retrieval, immigration and customs control were, on this occasion, not an obstacle as Henri slipped quietly into Malaysia and onto the express train bound for KL Central and the Pearl Dragon hotel. While still in England Henri had booked the hotel from its alluring website and, as it was convenient to both Petaling Street and China Town, Henri had not reserved his usual caution thereby landing himself with a twelve by ten foot roach infested shoebox, sans even minimal comforts

Henri’s mother had been deceased fifteen years, and his father five, leaving Henri, an only child, now also an orphan, he had steadfastly avoided aunts, uncles, cousins, and not bothered with family, kith, kin but, instead, had quietly got on with his own unadventurous life in Roman Road - London’s East End.

Nursing had not been so much of a calling for Henri but more of a means to escape family and the identical Malaysian provinciality which he now sought. When at eighteen Henri had applied for and received a place to study nursing in the UK he was away, literally flying into his perceived real world, escaping nosey neighbours, meddling aunties, punishing teachers and pushy parents.

Chen Ri Lee became Henri Lee and successfully flew away from all that he was, reinventing himself as an adventurous new-world citizen hailing a future incipiently pregnant with a myriad possibilities and excitement conjured from the dubious promises of a brighter future, all engendered by western novels, film and TV.

Henri, however, was to discover that ‘real life’ was not as it was depicted in Life magazine or endlessly slick Rock Hudson movies replete with mandatory happy endings. Real life for Henri was about getting up at a ridiculous hour of the morning, braving the aching cold, shivering as he brushed his teeth and missing just about everything he had when he was in Ampang, Malaysia.

Henri’s bravado had soon worn off and longing for Nasi Ayam and Cantonese dim sum soon took over. Weeks of longing turned into months and then years while gradually Henri settled into a British nursing career, first as a student nurse, then as an enrolled nurse and later to become a State Registered Nurse (SRN). In the years which followed Henri climbed the career ladder from staff nurse to charge nurse, ward manager and eventually as a nursing officer and departmental head.

After a life of service to his adopted country, and having completed the requisite number of years in the British National health Service, Henri was in the happy position of either being able to work on until the age of 65 or retire early due to his length of service - he chose the latter. Henri retired to a chorus of farewells from his former colleagues at the London Chest Hospital - who forgot him the moment he passed through the heavy plastic doors exiting the hospital, and returned home to Jane (previously Jin Chiew) his wife of the previous twenty years.

Walking Chester on the same route he had taken to work every morning –down Driffield Road, out onto Old Ford Road and skirting the inviting green of Victoria Park past the wrought iron gates and along the Hertford Union Canal, Henri found retirement difficult. The stress of his new home-life and the adjustments it had required from both Jane and Henri began to tell in their relationship - after a couple of years it was obvious that the marriage was ill and probably would not survive- it didn’t.

After four years of muddling through retirement Henri discovered himself alone. Jane had found it preferable living with Mark - a consultant surgeon, his knighthood, his antique furniture, his vases and paintings, his St John’s Wood apartment and his sleek two-cylinder Jaguar, to being with Henri in the basement flat in London’s East End, and no car.

Entropically existing, walking Chester, drinking alone down The Young Prince and watching young couples flaunt their youth and vibrancy weighed heavily on Henri. He didn’t miss Jane, the last months of that relationship had obliterated all the good that may have gone before, but he did feel something - uneasiness. Gradually the notion of getting away, escaping, fostered itself in his increasingly uneasy mind.

Now Henri was feeling alone in Kuala Lumpur, Malaysia - the world.

Friday, 1 February 2008

The Unsocial Worker - teaser




Allen Bond fell.

Allen Bond fell, but not in a philosophical Heideggarian way of falling.

Nor did he fall in a magic realist metaphysical fatwa inducing way.

He fell.

He fell simply because, like the majority of humans, he was unable to fly.

Allen found that contrary to certain beliefs ‘Being’ was incredibly heavy.

Heavy - in the strawberry jam on the pavement sort of way.

Heavy in Allen’s case, as in fifteen stones too heavy.

Allen therefore fell in a real, honest-to-God-listen-to-me-scream sort of way.

Aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaahhhhhh!!!!

Aaaaaaaaaahhhhhh!!!!

Aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaahhhhhh!!!!

In fact mental health assistant social worker Allen Bond was not having a good day.

As days went it probably couldn’t get much worse, but there again……

Aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaahhhhhh!!!!

Allen fell at a reasonably constant rate of thirty two feet per second, per second, not taking into account wind velocity, which he was happy not to do.

It might to true to say that Allen plunged in an I-could-do-without-all-this-gravity
please-give-it-to-someone-more-needy, sort of way.

It has been said that gravity is an entirely natural phenomenon - one way in which bodies with mass attract each other, and is indeed one of the fundamental forces in the known universe. This knowledge did not, of course, mollify Allen Bond in any way at all.

Embraced by the full force of Earth’s magnetic force Allen descended rather too rapidly towards the underlying lake. This, curiously, also preventing him from drifting off into space, a small detail yes, but significant considering the circumstances.

Aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaahhhhhh!!!!

I wish that bloody noise would stop”, Allen said mentally to no-one in particular, as he plummeted.

The long and one could ascertain quite heartfelt, piercing scream assailed Allen Bond’s sharply conscious stream of thought.

It was a loud wailing, eerily and uncomfortably reverberating within Allen’s head - strange yet remarkably familiar. The protracted agonising scream seemed to last an eternity threatening to become a constant if not permanent fixture in Allen’s conscious reality; though, actually, barely a few moments had passed and, as the cliché goes, Allen found that the scream was indeed issuing from his own mouth.

Allen continued to scream.

Aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaahhhhhh!!!!

Somewhere quite sceptical, in the dust-cupboard of his mind, Allen added a “bloody” to the screamed phrase Aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaahhhhhh! As it thought, quite rightly given the circumstances, that Aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaahhhhhh!!!! Was probably not quite punchy enough to give the true essence of the situation, and his mental attitude towards it, therefore some sort of expletive ought to be injected into the vocalisation, hence Aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaahhhhhh! In his mind, became Aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaahhhhhh!!!! Bloody Aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaahhhhhh!!!! - Which only goes to show that at least one tiny part of Allen was not taking the situation as seriously as it could have.

The chill March wind rushed past Allen carrying his voice upwards and away as his body plunged at an accelerating rate downwards.

On the journey down, it had, in fact, been quite a learning experience for Allen. For instance Allen had learned that you didn’t automatically crap your pants when you fell headlong towards a lake, and he was thankful for that. Allen had also learned that adrenalin could not only make you exhilarated, it could make you entirely pissed off too.

Just when Allen thought he had learned all there was to learn about falling, he discovered that it just wasn’t true that your whole life flashed before your eyes as you fell. In fact all he could think about was …..falling.

There was no sudden revelation, no defining moment to his, quite possibly truncated, life. No blazing light at the end of tunnels. Just the ever chill wind of winter dashing past his descending body, stopping on its way to nibble his considerably opulent ears, then continuing its path upwards, as he continued to descend.

Allen Bond fell with his arms crossed, and for some reason known only to him-self desperately clung to his black nylon padded winter jacket, no doubt to prevent it catching the wind as he plummeted towards the winter wind ruffled lake.

Logic, if it were possible to engage in logic while tragically plummeting towards earth, would have reasoned that Allen was probably going to fall slightly faster, rather than the opposite, while holding onto his jacket. But thought being what it is, decided to concentrate on one salient point at a time, and it obviously felt that the mere fact of its extinction should maintain priority.

The screaming stopped and curiosity got the better of Allen. Momentarily Allen’s previously falling body seemed to linger in midair. Allen opened his eyes just wide enough to observe scummy black water inches from his nose. In that sacred moment of idleness a slow thought crept to the front of Allen’s mind as he evinced a “Huh!”

But before Allen could tilt his head to gain a better view, or engage in a lengthier dialogue with himself, his body was jerked mightily upward - like some human fish caught on a giant’s hook and line, being yanked and snared in preparation for the landing.

Allen’s potential corpse one again shot through the air, but this time not in a neat, orderly line, but upwards and at a dizzying angle. Allen’s body ricocheted until he could see nothing but clouds and sky, and those only in constant blur.

Allen had reached the full elastic extent of his braided latex bungee cord’s stretch.

Without any form of warning, no bell ringing, no warning light, no excuse-me-but-I-think …., the tightly stretched elastic whipped all fifteen stone of Allen Bond back up into the air, whisking him by his ankles, backwards to the clouds, then down, then up, then down, then up, then down as he danced and bounced at the mercy of gravity and the elastic.

Allen didn’t know whether to be thankful that he hadn’t drown in the lake, or to be most concerned that he was now, seemingly, doing everything in reverse. Allen probably would have screamed again, but his mind was preoccupied with his feet, trying not to get them twisted round the thick braided elastic cord which was snaking around threatening to either hang him or break off some irreplaceable limb or other.

At that precise moment it really didn’t matter to Allen that the cord tied around his ankles was ‘quality checked through Dynamometric testing in order to constantly check the correspondence of the tension/extension values by means of defined parameters’, as one company explained. But that the damn thing didn’t hang him.

Each yanking bounce was thankfully a little shorter than the last, but still seemed to replace Allen’s stomach firmly back in his mouth, his face turning overtly emerald, shade by shade as the motion continued.

With each disruptive bounce Allen idly wondered if he would spray vomit over the wind swept lake – perhaps airbrushing the various gawping onlookers with carrot chunks – it had to be carrot chunks, it always was. He, momentarily, became curious to know if this was expected, perhaps even the highlight of the experience.

Allen S Bond was a victim of his own charity. Allen Bond was in fact at the mercy of a very vicious, take-no-prisoners sort of gravity and, he hoped, securely attached to a strong elastic cord bound to his ankles.

The disconcerting whipping appeared to stop. There was once again the sense of falling, but this time slowly, gently, in a measured sort of way.

From his precarious upside-down position Allen, on craning his now quite painful neck could espy the small black lake again getting slowly bigger, and a sadistic looking crowd of observers standing, heads looking up, gathered by the lake shore. Allen pondered “is this what a hanging crowd might have looked like?”, “or ghoulish spectators accompanying a beheading by Madame Guillotine!”

Looking up and to one side of his bungee wrapped ankles Allen could just about see the ominous great black arm of the 300ft high crane, and the, now small, metal cage from which he had been launched.

Allen S Bond, it has to be said, is not the bravest of souls, but once his word was given he would do his utmost to carry out any promise he may have made, be it in haste or fool heartedly. Such was proved to be the case in the galvanised iron cage some three hundred feet above ground.

After being weighed, and having the correct weight of bungee cord fixed to his ankles Allen had been escorted via a small metal cage to the top of the crane. Not a one for heights at the best of times Allen’s nerve had finally given way when the bronze Adonis muscled male, potentially Gay thought Allen for no particular reason, New Zealander asked him to jump.

All through the preliminaries Allen had been assailed with doubts. He was not by nature sporty, and the very idea of extreme sports appeared to him just that – extreme, but hardly sport. Badminton, which he engaged in on Wednesdays, was extreme enough, especially when faced with his mate Ed, who had once taught at Pro level, so the very idea of risking his life in a sport was contrary to all his self preservation beliefs.

Allen stood rigid, unable to move a tendon, a multiplicity of doubts assailing his mind all at the very same time. The young patient bungee coach repeated his request for Allen to jump, and gave him the option to return to the ground, as many others were waiting to jump.

Allen’s body had frozen, it seemed no longer to belong to him - a body snatching alien had taken control of Allen’s body and had rooted it to the spot. The mental command that Allen’s head was issuing was being fragrantly disobeyed by his rebel alien controlled body. But Allen, like the trooper he was, insisted that he must go through with the jump, but needed time, preferably a lot of time, perhaps even more time than that, to persuade himself that he would indeed survive. This seemed to be quite important to Allen.

Saturday, 26 January 2008

Lost in Paradise - The quest for a Malaysian Artistic Identity

Mohamed Najib bin Ahmad Dawa Sang Nagahari (Hari Kelahiran yang Dinanti-nantikan)



In the poem Travelling far Muhammad Haji Salleh remarks that “if you want to scale mountains you must follow the soul, bypassing cities and forests” and “desolation is the prerequisite of ambition dreams are the programmers of reality”. Muhammad Haji Salleh suggests that artistic achievement and progress originates in introspection, reflection and investment in imagination. Muhammad Haji Salleh echoes the cries of western Modernism for innovation in art - new terrains with radical forms of artistic endeavour.

Suzi Gablik indicates that Modernism has, in fact, run its course and it, along with post-Modernism, is rapidly becoming static, redundant. Gablik recognises that the soul of modern art is becoming lost amidst the clamber for innovation, or as Robert Hughes mentions, it ceases to shock and becomes just another a damp squib - not the pyrotechnic splendour it had once promised.

Since Plato it has been acknowledged that art, to a greater or lesser degree, is mimetic, derivative – a re-configuring of the previously extant with a dash of innovation and a peppering of imagination to transform the old lamp to the new. It is through copying, mimicking that we learn – the student spends hours tediously observing and copying from the master, inquiring into every brush-stroke, the mix of the palette, until finally he/she is able to master the old knowledge and move on. Usually the mirroring stage is relatively short lived, left behind to free the artist’s soul and enable his dreams to prosper innovative reality.

Despite a full half century of artistic endeavour emanating from its federated states, merdeka (independent) Malaysia continues to be captivated by western ideology - still mesmerised by Eurocentric concepts of Modernity and Modernism. Malaysia continues to struggle in its discovery of its artistic soul, Malaysia remains in historic and contemporary bondage to a western ideology it had claimed to renounce.

Though the 300 year old shackles of western physical dominance were cast from Malaya in 1957 and a fresh identity sought through the founding of the federated states of Malaysia (1963) Malaysia continues to be psychologically enslaved to imported artistic ideologies.

The barely post-nascent Malaysia projects its multi-racialism, multi-ethnicity, and diverse theologies, citing a ‘unique’ mix of Malays, Chinese, Indians and semi-indigenous races (collectively known as the Orang Asli - aboriginal peoples), as well as a historically constant influx of peoples from surrounding Indonesia. Malaysia endeavours to project an illusion of peace, harmony and unity of vision amongst its races.

When it comes to art, however, no single prominent style, or school of art distinguishes itself in Malaysia. No one uniquely authentic mode, method or approach to art could be singled out to be championed as The Malaysian Art - until recently.

Admittedly the concept of a national style or school of art may in itself be anachronistic in the 21st Century, yet countries like South Africa (art of the townships), Mexico (Rivera, Kahlo etc), even the small island of Haiti (Hyppolite, St Brice, Liautaud) may lay claim to uniquely individualised styles of art be they modern, contemporary or traditional.

It has been argued that art and its history belonged to the West. Mary Anne Staniszewski writes that the present concept of art is that of the modern era, a construct, a terminology coined to include, or reject, “…..objects and fragments and buildings…appropriated by our culture and transformed into Art.”

Western Culture has for many ages ‘borrowed’ items from other cultures imbuing them with western meaning and re-defining them as its own – Pablo Picasso’s appropriation of African mask imagery and Carlo Buggatti’s Middle and Far Eastern borrowings spring immediately to mind.













Pablo Picasso and African mask
Bugatti furniture

The history of art was the history of Western art, it was a self determining Eurocentric creation. Susan Buck-Morss has mentioned “The History of Art ……. has treated art and Western art as nearly synonymous. “ That is to say that both modern art and its history have been fundamentally Eurocentric in the past.

This is no longer the case. During the later part of the 20th Century, art and its histories went pan-global. A renaissance in the production of modern art in many countries outside of Europe and North America meant that art could no longer be so narrowly defined as a Eurocentric phenomenon, but global and eventually multi-cultural. Buck-Morss remarks that definitions and theories of art have opened up “It now includes philosophies of art from Hegel to Derrida. It has expanded creatively to encompass non-Western art and new media art, and it addresses the visual cultural context of artworks in a multidisciplinary way.”

Colonial powers spread colonial ideas. During the first half of the 20th Century ‘modern’ art was beginning to be recognised outside of Europe and North America, primarily in Latin America with artists such as Diego Rivera, David Alfaro Siqueiros and Frida Kahlo.


















From the Dictatorship of Porfirio Diaz to the Revolution—The Revolutionaries _ David Alafaro Siqueiros 1957-65



Redza Piyadasa explains that the British, unlike other colonisers such as the Spanish (Philippines), and Dutch (Indonesia), were tardy in their setting up of art, as a subject, in schools in Malaya, and that it was not until 1924 that art became examinable for the Cambridge School Certificate.

Piyadasa observes that the British seemed reticent to encourage the arts in Malaya unlike the Dutch in the East Indies (later Indonesia) with their governmental encouragement of Redan Salleh (1807 – 1880) - the first notable Indonesian modern artist, or the approval given to the Academia de Dibujo (1845), in the Philippines, by their Spanish colonisers; later to become the first academy of art in the Philippines – the School of Fine Arts, Quiapo, Manila.

That is not to say that modern art was not practiced in Malaya while it was still a British colony. Redza Piyadasa suggests that the origins of a Malaysian modern art may be found during 1920s Malaya with artists such as Low Kway Song (born 1889) in Malacca, Yong Mun Sen ( born 1893) in Penang and the former Sri Lankan immigrant O.Don Peris (born 1893) then living in Johore. These artists were joined later by collectives such as the United Artists of Malaya (1929, Selangor) and the Penang Chinese Art Club (1936, Penang).

King of the jungle - Low Kway Song 1917



Morning Mist - Yong Mun Sen 1951

Piyadasa contends that modern art prospered in Malaya despite colonialism and British rule while in one paragraph in On Origins and Beginnings mentions “It is noteworthy that the first Western-influenced Malay artist of significance to emerge was Abdullah Ariff, who only appeared during the 1930s; he was born in the Straits Settlements, went to an English school and became an English school teacher in Georgetown, Penang. Abdullah Ariff epitomised a new “modern” Malay artist.”


Pemandangan - Abdullah Ariff 1954

Piyadasa makes the point that many of the emerging artists of the pre-war years were schooled in English Malayan schools and later were employed as teachers in those schools. O Don Peris, mentioned earlier, had even studied in France - at the Academie Gereux, in Paris before settling in Singapore, then a British Crown Colony, in 1920.

Unsurprisingly early Malaysian modern art echoes that of their western colonisers, featuring subjects such as landscapes; examples of this being – Rock Forms, Penang, 1941 by Lee Cheng Yong, Coconut Plantation – Dawn, 1948, Abdullah Ariff, Coconut trees, 1951, Yong Mun Sen and Breezy Day, undated, by Khaw Sia.

Rock forms Penang - Lee Cheng Yong 1941


Western style figurative painting too began to grow, despite obvious difficulties involved with the national religion – Islam and its discouragement of the use of the human figure in art.

Following modern, Western, artistic trends works such as Portrait of my wife in her wedding dress, 1933, O.Don Peris, Girl Pounding Padi, 1959, Mohd Hoessein Enas, At the Kampung Shop, 1959, Mohd. Sallehuddin, Memujuk, 1958, Cheong Laitong and Admonition, 1959, by Hoessein Enas may be seen as a testament to the eagerness of Malaysian artists to emulate those of the West.


sukiyaki - mohamad hoessein enas 1951


village shopping Mohd Sallehuddin 1959

Western artistic/cultural values became inculcated into many Malaysian artists through a western art training. One of Malaysia’s foremost artist/art historians Redza Piyadasa studied art at the Hornsey College of Art, in London, from 1963 to 1967, as did his contemporary Sulaiman Esa. Esa subsequently studied in Paris, France.

Before them Lai Foong Moi studied at the Ecole des Beaux Arts from 1954 to 1958, in Paris, France, while Chia Yu-Chian studied in Paris on Lai Foong Moi’s return. Cheong Laiton studied under an exchange scholarship at Skowhegan School of Painting and Sculpture, Maine, in the United States of America from 1960 and Abdul Latiff Mohidin completed his art studies in Berlin, Germany, at the Academy of Fine Arts, West Berlin, from 1960 to 1964 - at this time Jolly Koh, a Singaporean, completed his studies from 1960 to 1964 at the Hornsey College of Art, London.

still life with wine jugs Chia Yu Chian 1967



Patrick Ng Kah Ohn studied in England at the Hammersmith College of Art from 1964 to 1966, and Mohamed Hoessein Enas took a one year study trip to England. Ibrahim Hussein studied at the Royal Academy of Fine Arts, London, from 1963 to 1966 and won a fellowship for a year’s study in New York and the list goes on.

Manja Ibrahim Hussein 1960

Due to their western art training many Malaysian artists appear to have produced an over abundance of pseudo western 20th Century modern art, typified by the overt presence of practitioners of a Abstract Expressionistic art such as Latiff Mohidin, Syed Ahmad Jamal and Yeoh Jin Leng. Even that Malaysian artistic icon Ibrahim Hussein spent many years producing acrylic abstracts before engaging in a range of figurative works, which incorporate elements of the organic abstract.

pago pago Abdul Latiff Mohidin 1964

From the early Malayan landscape paintings of Yong Mun Sen, Lee Cheng Yong, Abdullah Ariff and Kuo Ju Pin through to the Malaysian Nuevo Avante Garde object d’art and paintings of Redza Piyadasa and Sulaiman Esa, western concepts and categories of art dominate Malaysia. It is not enough simply to replace western imagery with eastern, while continuing to emulate the form and style of western art. An authentic Malaysian art would hasten a desire to burst free of colonial captivating bonds to originate authentic indigenous art forms



man and his world suliaman esa 1972



















entry points - redza piyadasa 1978

While many fine examples of a western dominated Malaysian art have graced walls of galleries and museums from Kuala Lumpur to Berlin it has not been until the 1990s that anything which may be described as a uniquely authentic Malaysian art has begun to appear.

The West’s artistic influence has been so powerful that Munch’s Scream may be heard echoing through Malaysia’s Titiwangsa range, metamorphosed by artists like Ahmad Fuad Osman and works like- Hoi Hoi...Apa Ni? Dia Kata Hang Salah, Hang Kata Dia Tak Betoi, Sapa yang Salah Sapa Yang Betoi Ni??!! Hangpa Ni Sebenaqnya Nak Apaaaa??? (1999)

The Scream (Skrik) Edvard Munch 1893

Hoi Hoi...Apa Ni? Dia Kata Hang Salah, Hang Kata Dia Tak Betoi, Sapa yang Salah Sapa Yang Betoi Ni??!! Hangpa Ni Sebenaqnya Nak Apaaaa??? - Ahmad Fuad Osman 1999


Finally, in the early years of a new millennium emerging Malaysian contemporary art practitioners are rediscovering their soul and learning the importance of their dreams. There is an emerging post-nascent movement growing away from western influenced and western defined art styles towards a culturally reflective art, concerned with re-discovery and re-assertion of identity – of indigenous myths and legends which themselves formulated the lands from which the artists come.

Mohamed Najib Ahmad Dawa, who originally worked with batik now uses a batik inspired style in his acrylic on canvas works, exploring the mythos and symbology of traditional Malay/Malaysian arts.
Sang Nagahari (Hari Kelahiran Yang Dinanti-nantikan)”
Mohamed Najib Ahmad Dawa 2007


Nizam Ambia works in a number of mediums from steel sculpture to fashion design, but all his work draws upon the soul and spirit of his Malaysian homeland. In his paintings Nizam calls upon shadow puppet imagery as well as referencing Indian kolam designs in neo-figurative mixed-medium fantasies.

Nizam Ambia - THE PUTERI KAYANGAN SERIES 2006

The Malaysian ‘Seni Baru' (Art Nouveau) is yet to be recognised by the wielders of power and fortune – the Gallery system, for they concentrate on the ‘known’, that which is guaranteed to bring in the bucks. These galleries need to look to their laurels, for the new art is the art for which Malaysia will be known.

The new art will raise the artistic face of Malaysia to the daylight, so it will no longer be lost in paradise.

Monday, 26 November 2007

due to be published in Silverfish New Writing No.7 (short story teaser)

The Good Lieutenant

The all-pervasive storm’s last few water droplets drip through the jungle canopy. Like diminutive mirrors, they refract and reflect their surroundings, dispersing themselves through leaves and branches, brushing arboreal orchids and finally gracing the curvaceous pots of Malaya’s Nepenthes alata (pitcher plants).

The rain has ceased its thunderous downpour, and the jungle’s heat begins to offer up a beguiling mist, obscuring pathways and veiling traps for the unwary.

Birds again begin to sing - monkeys to cavort and the human occupants to go about their tasks and responsibilities.

The wet subsides - small insects embark on their multifarious tasks.

Ants locate sustenance and organise to carry their loads.

Bees and hornets seek nectar hustling too and fro, gathering and building for the collective good of their respective communities.

Below the verdant, labyrinthine, forests of 1950s tropical South East Asia, the humid noon-day sun beats down on banana leaves near a rural mine manager’s bungalow. This colonial structure now doubles as the neighbourhood anti-communist Federation of Malaya Police officer’s billet.

The 1930s red brick built, single storey unit, now houses both mine manager Ian Ogilvy, and the newly posted Police Lieutenant on anti-terrorist duties - Lieutenant Reginald Lyndon Gold.

Reggie Gold is the sixth police lieutenant billeted at the mine house since ‘The Emergency’ began, and Ian was getting a little battle weary having to adapt to each of the new temperaments. Though, the truth to be told, this latest chap seemed ok – a down-to-earth sort of bloke who took his job seriously and doted on his wife and children back in Blighty.

Across the world in the British motherland, it is November, 1951. Churchill’s second Conservative government has been in office a month. The long exhaustion of the Second World War had dissipated three years earlier, changing the known world beyond all recognition.

Families decimated by warfare are still struggling to hold their heads above a financial deluge. Men-folk ravaged by armed conflict have returned to the British Isles, no longer themselves.

Many never returned.

The British Empire has shrunken to the British Commonwealth, with previous colonies eager to disassociate themselves from the motherland.

One by one the adjunct countries seek independence through the political process, or other means.

Britain is recovering from rationing and shortages brought about by a war economy - trying to boost the general morale with the Festival of Britain - which finally closed its doors on the 30th September, 1951.

Overcrowding and air pollution plague London, urging central government to build new towns to dissipate a populace devastated by war-time aerial bombardment, and decreasing health due to the prolonged inhalation of coal smoke.

In Suffolk’s county town – Ipswich, the desiccated brown leaves continue to fall, easing its inhabitants from autumn into chilling winter.

Nights have become crisper and morning frosts sharper. Woollen winter coats are drawn over inner jackets, and boots have gradually replaced shoes. Days have become shorter as the nights lengthen. A longing for imaginary summer sun begins. Slowly, insipiently, the yearning for sunshine urges the populace to consider summer holidays, and where, when, they should satiate their growing lust for the sun.

In a red brick end terrace ‘two up two down’ house on the outskirts of Ipswich - Suffolk’s county town, Joan and her two boys sleep peaceful, though a little cold. The youngest, John, at seven months cannot really recall his father, while the eldest - two year old Mark is just old enough to begin missing his presence.

As they have no choice in the matter, they sleep oblivious of the dangers their father is exposed to daily.

A clear sky will usher in a frost later, leaving tiny white shards of ice decorating winter grass. In the morning Joan will go about her chores as she has done these last few years, and in those few odd moments of idleness fret over her missing husband.

In the cool morning Joan will listen to BBC Light Radio for news, this is her routine. In the front parlour the family’s dark brown bakelite wireless stands on a 1930’s wooden sideboard, bedecked with a lace runner. Next to it stands a slightly stained black and white photograph, in a thin, bevelled, wooden frame, of a smart young man in uniform. It is partially hidden by the last of the garden’s fresh russet chrysanthemums, gracing a clouding glass vase.



published in Silverfish New Writing No 5 (short story teaser)

the Orchid Wife

The day's heat, soaring to previously unheard of heights for a Malaysian October, had increasingly given way to humid storm clouds. Incandescent streaks of forked lightning were swiftly followed by deafening cracks of thunder, as if mischievous stagehands battled behind a Chinese Opera. Outside the caged kitten mewed in chorus with a puppy's terrified yelps, appending vibrant theatrical effects to the fluctuations of Devi's anxious heart.

Now married twenty-eight years, she had resided in her house, in Butterworth, since the wedding reception. The growing clutter, gathered by an increasingly obsessive husband, threatened to consume the entire house. The walls badly needed painting. The toilet pipe needed fixing - water gushed onto the floor every time the handle was flushed, and piles of ancient newspapers were obstacles that constantly impeded visitors' progress. Some years ago she had planned to divide the single storey house into an upper and lower level, but her husband, for reasons unknown, forbade her to execute the already drawn up plans.

Devi had forsaken a law career in favour of her arranged marriage to Chandran. One day her ageing father had presented her with a fait accompli, marry Chandran - a man fourteen years her senior, with good prospects, or wait and maybe never find such a good match again. She had little choice but to comply with her father's wishes. Her father was not a man to nay-say. As eldest daughter Devi was compelled to marry first, for custom demanded that her sisters would be unable to wed if she did not. Or, at the very least, society would view Devi as suspect, were one of her sisters to be betrothed before she. Devi may be considered unmarriageable in that eventuality. From the time of her father’s request, it would appear her fate was sealed.

Lightning accented an enlargement of Devi's deceased father's photograph, hanging opposite her on the greying wall. The ceremonial ash, faint but still visible, on the dusty glass over the figure's forehead, indicated that she still remembered, and revered him. As the thunder cracked again Devi recalled the early years of her marriage to Chandran, the beatings and his overbearing dominance of her. She remembered running home to her father and the urge she had to see Chandran again. Deep within her a segment of her soul recalled the almost addictive nature of her relationship to him, and her inability to break free from his almost Rasputin like, mesmerising, effect upon her. Several times her brothers extracted her from Chandran's house, only for her to long for him and return within days. It was an anxious attachment she couldn't explain, but it was the force that kept her with him through the years, despite his treatment of her.

Rain exploded into the now muddy letrite path outside the house, shooting particles of wet red earth onto the front patio and beating a tattoo on the asbestos corrugations of the orchid lean-too. Even the electric ceiling fan was briefly hushed by the cacophony, brought about by the torrential downpour. During the storm's infrequent silences, nude house-lizards tut, tut, tut, tuted their growing disapproval, trying to fill the vacuum. Scents of the lush, green, garden vegetation permeated into the house, along with the heavy scent of Devi’s orchids – her one joy in life, and sometimes the only safe haven during a domestic storm. These natural odours mixed with the fragrances of freshly cooked fish curry, rice and fried vegetables. Chandran insisted that his dinner be ready when he arrived from his office, on Penang Island. He had left instructions on what to cook, how to cook it, and when it was to be prepared. Devi dare not disappoint him. She knew what repercussions there would be. On one occasion Chandran had even locked Devi in the bathroom all night, when she had displeased him. On another, after arriving home late from work, he had hurled the Luke warm food across the room – the now dry stains of mingled spices and food debris were still to be seen on the living room wall. "Hot has to be hot, cold has to be cold!" he had yelled at her.

Friday, 16 November 2007

Mat Rempit (short story teaser)





Brrrrrrrrrrrooom.

Brrrrrrrrrrrooom.

Brrrraaam, Brrrraaam.

Pop, pop, pop, pop, pop

brrrrrrrrrrrooom

brrrrrrrrrrrooom

Pop, pop, pop, pop, pop

Brrrraaam, Brrrraaam, Brrrraaam

Each forceful twist of the motor-bike’s black rubberised throttle demonstrated the boy-teen’s power over his machine, his transient youthful rebellion blatant in each twist – unashamedly parading his mascot manhood.

The sleek 70c.c. yellow and black two-stroke machine emitted wrenched explosions as the tiny engine screeched inner-city life, rearing and bucking as it reached to the moon and wheelied along the saffron lit Kuala Lumpur city street.

The machine’s suspended front wheel momentarily ceased its spin, remaining stationary for some seconds as the bike’s rider shifted his weight along the black plastic seat, forcing the fore-end of his machine into the air - the power wheel at the rear taking the full brunt of this rider’s bravado.

Unable to sustain this delicate state of equilibrium the rider eased forward allowing the bike’s front wheel to resume contact with the tarmac. The rider-machine cyborg entity, having achieved full traction, sped for all it was worth to a rapturous, bursting, ecstatic cheer from a young crowd of rapt on-lookers along the darkened city street, mottled as it was with pools of yellow lamp light.

Other riders, equally as young, equally as daring, plunged to and from the darkness into the glow of Asian city street lamps. The tropical night flashed red, blue, yellow, green and black as machine followed machine - dynamic explosions of mechanised human activity - cartoon figures against a Manga backdrop – a bizarre scene from cyberpunk Manga Anime.

Adrenalin high teen-girls jumped up and down screaming with uncontrolled delight, clapping thin, soft youthful hands as boy-racer after boy-racer sped around Merdeka Square, the cooling night air and masking darkness adding to the shivering thrill. The acrid stench of two-stroke engines filled air and lungs with potent fumes so oil-thick as to choke the unwary.

Brrraaap, brrraaap - The boys revved their punished engines louder and louder, deafening the nearby audience, evidently glorying in the explosive noises emanating from their strained engines.

Brrraaap, brrraaap, harsher and harsher the boys forced screeching metallic cacophonies from their rasping machines, maniacally shouting into the black Kuala Lumpur night, screaming defiance to the world at large.

Not ten, not twenty, nor even hundred, but five hundred riders emerged for this maddening motor cycle melee. A pandemonium of din-making two-stroke motor-cycles emerged; these effluent vehicles favoured for their ability to scream the rider’s youthful angst, boasting an (ephemeral) revolution to the controlling, grey, Malaysian populace.

A drop, two drops, three drops then the full deluge of Malaysian night rain began hitting the city streets. Riders scrambled for shelter, some sped off into the night not to be seen again at this meet, others, perhaps slower than their counterparts, stood and soon dripped with the warm rain as it permeated their hair, their clothes and their bravado.

The rain washed out the (mat rempit) motor-cycle gathering, clearing and cleansing the streets ready for the Monday commuter morning.

Saturday, 30 June 2007

Of Cats and Men The recent paintings of Lam Le Siang

Lam Le Siang’s recent oil paintings first strike the viewer’s eye and mind as a whimsy, an idyllic and nostalgic pastiche of a Malaysia that never was. However, the delicate illustrative resonance of images quickly beckons to the audience’s eye, calling the enquiring mind to closer inspect these potential gems of narrative neo-realist Art, hinting at the revelation of untold narrative, and sub-textual treasure.

Lam Le Siang’s pictures construct no indigenist or orientalist metaphor but present his unique personal stance on Asian social realism, albeit retrospective illusion with a certain amount of narrative nostalgia.

The overriding charm of Lam Le Siang’s works is discovered in the immense detail that he presents to his audience, the devil they say is in the detail and Lam Le Siang’s works are as detailed as an Anthony Green (R.A.) painting, as humorous as a Beryl Cook and as poignant as Norman Rockwell’s work.

In Lam Le Siang’s oil paintings we can almost smell the fragrance of the bath soap as a mother bathes her infant son in the family’s galvanised tin tub, squatting with cotton towel on one arm, a jade bangle on the other and simple wooden clogs on her feet. We can sense the warm balminess of the afternoon as the young schoolboy kicks off his blue rubberised Japanese slippers, seats himself on a wooden crate and idles the rest of the day away leaning against a tree, mother hen and chicks scrapping for morsels as father cock, with his resplendent red comb cautiously watches over them – the distant kampung quiet and serene. Remembering that Lam Le Siang is an artist of Chinese Malaysian descent maybe it is poignant to remember that for the Chinese a cockerel represents courage and reliability, is there a narrative here hinting of this boy’s future?

Tinged with a loving exoticness, reminiscent of Henri Rousseau’s naiveté, Lam Le Siang is able to reveal the simple and honest truth of a Malaysia fast slipping through history’s grubbily materialistic fingers. There is less of Moore’s Utopia or Huxley’s Island in these paintings than there is of Lam Le Siang’s authentic rustic life, very much lived within the rural suburbs adjacent to the Malaysian kampungs, some decades ago.

Lam’s exploration of what is clearly a personal, recent, past through thoughtful controlled colour and skilled brushwork present the onlooker with a pensive, thoughtful narrative crammed with detail and dripping with symbols to tease an open mind. His clear illustrative ability reveals a graphically narrative story-telling aptitude which intrigues the viewer as he begins to read these everyday idylls of quasi-rural works.

Through Lam Le Siang’s visual narratives man is depicted as being alongside nature, while simultaneously being apart from it. The young boy with the Japanese slippers is surrounded by a pastoral scene of leaves, a tree, flowers and chickens but the kampung in the background reminds the viewer that the boy is not at one with the nature around him, but rather belongs to another, distant place. A well made regular wooden fence, split only by a man-made path, draws the distinction between the place for man and the place for nature. The boy may be away from home but the ability to ‘balik kampung’ (return home) is always there along a clear and distinct path.

In other paintings the domesticated cat acts as an intermediary between man and nature. In one painting a young girl peers over a brick wall, a ginger and white cat stands on the wall looking down into the outside nature. Two parrots sit on a tree branch mimicking a human kiss; the girl draws her fingers towards her pursed mouth as if to whistle. The cat and the wall effectively distance the girl from the trees and the birds. According to this man is divided off from nature through his own constructs – a brick wall, able to observe but not able to become at one with nature. The cat is both nature and man, in the sense of its allegiance to and dominance by man, and yet is able to stand separate from man, between him and nature - a being effectively of two worlds.

In another skilful painting the boy peers from a house through a partially (blue) curtained window looking intently at two birds in his garden. One (white) bird sits on the washing line watched by a white and chocolate cat, the other (blue) bird perches on a post and watches the cat. There is a feeling that man is walled up, cut off from nature. His feline go-between rests and watches nature in the sanctuary of the human environment amidst the other domesticated beings – plant pots containing orchids and a bucket of lilies, where domesticated plants are permitted to grow away from the chaos of nature which extends outside of man’s domestic sphere. The boy has the look of longing.

In a third painting mother and son, she in a batik sarong and he in shorts, both sit on a wooden bench under an atap lean-to. Mother has her head turned as if looking at a yellow bird outside on a banana leaf - the scene brings to mind the old Jamaican calypso song ‘Yellow Bird’ by Norman Luboff, Alan and Marilyn Keith –

(chorus)Yellow bird up high in banana tree, Yellow bird him sit all alone like me, Did a lady fren’ leave your nest again, That is very bad, makes me feel so sad, You can fly away, in the sky away, Your more luckier than me.

A pale ginger and white cat brushes against the mother, is it reiterating its allegiance to the human race? Separating itself off from the wildness of chaotic nature? Mother and boy have quizzical looks upon their faces, as if yearning for a past Eden where and when there was no schism between man and nature, a longing for that golden age somewhere in the collective subconscious when all lived in pastoral harmony. Are the mother and son wishing that they too could fly away with the yellow bird as the song goes on to sing? Does the yellow bangle on the mother’s wrist signify her royal status within the home? Or is it another metaphor for harmony and peace? The stretching cat has little interest in the yellow bird as it seems more intent upon its human allies.

Not wanting to deviate from this narrative, but the Chinese symbol for cat is Mao, and in some circumstances this represents long life, or a happy old age, and maybe another indication of the purity and homogeneity of a past rural life. But the painter may subconsciously and unwittingly refer to his 1950s childhood in rural Malaysia, a time of uncertainty, as the word Mao is also part of Mao Zedong – in counter balance to the harmony is there a hidden reference to communism and the upheaval it wrought to the kampungs of the 1950s, lurking in Lam Le Siang’s pastoral idyll?

In Lam Le Siang’s three paintings including cats, nature is there to be observed by man – girl watches cat and birds, boy watches birds and cat, mother and son watch a yellow bird and mother is nuzzled by cat , but there is one painting where man is watched, observed as an intruder by on-looking nature. In a rural setting a man serenades his love. She, tight fitting top and batik sarong, lounges amidst leaves and other foliage, her water pots forgotten as her lover strums his guitar and croons to her. While surrounded with Rousseau like flowers the couple, flowers in their hair, seem oblivious to three birds watching them with intent. One, a crane or egret, appears resentful of the intrusion while the other two yellow backed and white fronted birds peer almost hostilely on. These human intruders appear unwelcome in the remnants of Eden left to nature and her children, but the human couple seem blissfully unaware of their infringement. The romantic couple seem busy creating an idyll of their own, as if enacting some scene from a popular film, but nature, the authentic idyll, remains un-amused.

Another reading recalls that, historically, two birds in a floral setting symbolise happiness in Chinese symbolism.

I have mentioned only a small section of Lam Le Siang’s works, those that deal with the rural life, there are others that depict a family going into town, and a mother and child in a kedai kopi (coffee shop). These delicately crafted paintings remain as illustrations of a world which is slowly slipping into that distant country of the past - without Lam Le Siang and other interpretive visual historians Malaysia’s simple and honest past may well disappear