PubliKArt

我記得第一次來Iskandar 是帶著一家大小去LegoLand游玩。那時候Iskandar路上都是正在施工的建築物，一望無際被鏟平的油棕園，鏟土機的神手正在進行它大展鴻圖的目的。兩年後，我再次來到這地方，還是沒有太大變化，依然還是日夜施工，但唯一改變的是，我這次來的目的是要做Project。

那天，來到現場看場地，從edu city 再到珍珠港，最後來到這片medini 7的小山丘。小山丘的頂頭上有一座兒童游樂所。不知為什麼這個設施吸引著我的目光，它好像是被遺棄般，被排斥在角落。心開始對這片土地有一絲想像，但其實當時還是非常模糊，沒有頭緒。

雖然不知道我要做什麼，但直覺告訴我，我將會在這裡進行藝術的對話。

經過一系列的 Reserach 後，我獲知Sungai Pulai海馬保護計劃。這些已經消失黃金色的小小生物，它們象徵著人類未來悲劇的符號。于是很自然的，它與場地產生一種藝術性的對話關系，聯接整個柔彿的脈絡。然後通過柔佛海峽填土計劃，我找到碧佳園森林城市。我也來到現場，親眼目睹高耸入雲大樓的雄偉壯觀模型，也見識來自中國買家排山倒海的購買力。中國強大發展的催化劑正式進入我們的生活，未來我們會不會好像香港? 物漲地貴如多米诺骨牌效應? 它所帶來的影響力，不管是經濟，文化，還是環境課題上， 都象徵著一股風暴。

回到構思作品上，微弱的小生物與雄大的高樓所形成的強烈對比，我把這兩者結合在一起。于是我利用紅磚以堆疊形式代表高度經濟發展的建築物，并通過鏤空的處理手法來呈現消失的海洋生物。把我在碧佳園森林城市裡所見到雄偉壯觀的模型，再現到Medini 7的小山丘上。同時，鏤空的海洋生物與兒童游樂所正好形成另一個聯接想像，因為再過不久，這個遺棄的設施也會被拆除。最後一座又一座聳立的堆疊紅磚，在曾過另一個藝術家的綠化計劃下，漸漸變成了一個墓園地。

我希望我的作品可以為觀眾帶來警惕的訊息。

This PublikArt project is creating an awareness to the sea bed living species which are rapidly lost to development.

Especially, the dredging and reclamation in the Tebrau Straits have greatly reduced the size of the seagrass beds, many coastal mangroves have been demolish. Water quality degradation from industrial waste is giving a lot of threats to sea living species. 

Therefore, the memorial monuments I built, it is to remind us to save them. 

Srinagar Art Camp

這是我第一次以藝術家的身份出國來到印度的克什米爾 Kashmir，與來自於印尼，台灣，新加坡，越南，冰島，印度，和尼泊爾的藝術家進行為期14天的藝術交流，名為 International Spring Art Camp的藝術營。主要畫兩幅作品予有關當局，其住宿，膳食，交通費皆由當局承擔。在此，我也要感謝藝術家黃美推薦，難得的機會。

This is my first time represent Malaysia as an Artist to attend International Spring Art Camp in Kashmir, India. The Art camp participant consist of Indonesia, Vietnam, Singapore, Taiwan, Iceland, India, and Nepal. Each Artist has to complete two pieces of art work in 14 days to the organiser, and they will provide the fee of accommodation, food, and transport.  I was appreciated my introducer, Artist Ng bee for this Art camp, It was a great opportunity to explore and learn from other.

 My work in progress, This is the first time I try to cut the canvas.

Guest and VIP was looking at my work in the opening 

The venue of the Art camp is located in a privated school  

 The studio for all the Artist, so we can share our experience 

 Beside making Art, the organiser also bring us to visit the local famous   

We are so lucky to meet the Nomads

Zinc Generation Lost

The Artwork consist of two views: The close view (on the right) is the present or future, The open view (on the left) is the past. For me, life is like a box, you will never know what is inside, and you have to figure out it by the process of open and close. 

Everything is change, or I am rather say nothing is unchanged. Many traditional practices and old buildings are gone as the time keep varnishing. However, I believe that memories are resistant to the time. Therefore, It is a treasure to me.

Recently, I walked though the valley of KG.Hakka in Mantin, I saw many old wooden resident houses were demolished in the name of development. Those zinc roof top wooden houses are nostalgic to me. It remind me when I was a child, we used to play under zinc roof top without air-condition, and we used to eat together with a large group of family. But now it wouldn't happen to my children generation.

I am getting old, and my memories are also getting fragment. But something I will not forget and I am always feel proud of being as the zinc generation.  

Habitation Debris

在追求物質豐裕的當今社會，全國濔漫著各種發展至上的產業訊息，配合各方財團大舉開放的野心，政府也越來越瘋狂賤賣土地。根本不在乎你是壯麗山景，綠油田野，還是百年村荘，權勢者的眼中只有建立一個又一個繁華空殼的"經濟奇績"。 今天，我走在這些廢棄民宅，一種前所末有的感觸湧上心頭，在觀看與感受事物的本質上，藴含著扭曲的寓言

This is Kampong Hakka, Mantin, located about 2km from exit 2104 Mantin, between the Nilai and Seremban exist on the Kajang-Seremban highway (Lekas). It has a very long history and exist from more than 120 years old. The valley rises when the tin mining industry blooming in 19th century, and it also fall when the depression of tin mining industry in 20th century. So, the origin of this place is because of tin.

I am always asking myself about what is the “thing” that I want to persevere? People are leaving here, why you are still keep asking to stay? Is it the reasons of the objects in the valley? wooden houses? a group of dwelling? personal nostalgia? The more I think, the deeper I will confuse because the world is always changing. Nothing is unchangeable. Shall we just move forward and never look back? However I believe that there are something hidden behind the objects. 

First, I create an image about the habitation in debris. I gaze the wooden houses, most of them were empty, broken, and abandon. It look like they are under deconstruction and losing gravity. Second, I imagine what is the thing in behind, a narrative of history? a value of humanity? a prophecy to the world in future? I don't know, but the answer I leave it back to visitors. I draw it all in dark tone with charcoal and put some silver collage on it. Let the visitors to imagine 

Finally, connecting all the context, I create the oil painting. It was my conversation to the valley people. I, as an observer, communicate with them. Some critical questions have been asked to them, for example: why you guys still stay here? what are you fighting for? why don’t you just keep the money and go away? Is the house so meaningful to you? and so on. After the feedback, I start to picture my oil painting: a old man is holding his house, standing along the river. There are full of the habitation in debris in the river. The river also represent our life time, our memories, and all are gone. It will never stop. The houses is becoming back to element of tin at last as what the valley rise for.

Between the image (drawings) of positive and negative, I see the clearing and concealing. The image of positive is the object captured by our eyes, in the other hand, the image of negative is the feeling occurs in ours heart. There is tension same as the tension between the earth and world. I enlarge the object (house) and cut it’s outlet, cover on the portrait. So the house is alive, it has memories as human. 

Interactive Art installation is my ideal form of art that invoices the spectator in a way that allows the art to achieve its purpose. By letting the observer or visitor “touch” in, on, and move them, it is also an experience for testing the visitors to participate in it. Opening and Closing the box is my primary principle to tell “ Life is like a box, you will never know what is inside, and you have to figure out it by the process of open and close.”