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.” 

KG Hakka Mantin

Map is a symbolic depiction documenting the territory with border, it is very powerful for the geographic boundaries of political entities. Highlighting the relationship between the real or imagined solidarity for the land.

This is a map of Kampung Hakka, Mantin by an aerial view, which is located about 2 km from Exit 2104 Mantin, between the Nilai and Seremban exits on the Kajang-Seremban Highway (Lekas). It has a very long tradition and exist from more than 120 years old.

Today, after surviving the rise and fall of the tin mining industry, the descendants of those Chinese pioneers are battling against the development to live out their remaining years in Kampung Hakka. There are 40 families who still remain to stay at there for saving their home land.

On the top of left in the drawing, it is tin dredge ship, the kampung begun by the river with tin. It is also a multiple cultural community, there are three cemeteries located on the left and bottom in the drawing, which are taoism, christian and Islam. Two primary school is located, S.J.K (Tamil) Ladang Cairo and S.R.J.K Chi Chi. The rest are the resident wooden house. Lastly, on the bottom of right, there are 2 persons who are representing the main lead featured to the kampung preservation: Chong Tze Yaw, 46, the chairman of the village residents committee (left) and Grandma Kong, 88, the oldest witness of the kg. hakka.

Event: Returning at the 27th December 2015,  Photo credit to Facebook page: Kampung Hakka Mantin

Event: Moonlight at Kampung Hakka at the 26th September 2015, Photo credit to Ben toh

Event: Moonlight at Kampung Hakka at the 26th September 2015, Photo credit to Ben toh

Event: Moonlight at Kampung Hakka at the 26th September 2015, Photo credit to Ben toh

Event: Moonlight at Kampung Hakka at the 26th September 2015, Photo credit to Ben toh

Event: Village & Durian Fragrance at the 19th July 2015, Photo credit to Jason Ooi

Event: Cemetery walk at the 25th April 2015

Event: Kg Hakka Open House at the 1st March 2015

The Land of execution

Tittle       :The Land of Execution

Size         :101cm x 152cm

Medium  :Oil on Canvas

Year        :2015

Introduction

The nature of our immortal lives is in the consequences, that go on and are pushing all times. Our lives are not our own, from womb to tomb, past and present,  each crime and kindness rebirth our future. What are we living for? Is there any heaven or hell? The answer is unknown. But I believe death is only a door, when its closes, another opens. If I can't imagine heaven, I would imagine that door open.

The exhibition title "Configuration 2015" draw me a big picture of spirit, soul, and body. With the background of pudu prison, it has great meaningful message for myself. And it also for me to conclude the series of pudu jail,  although the pudu prison is gone (under the development project of Bukit Bintang City Centre - BBCC) , the spirit has become a gift to me rather than a curse.  (hopefully it will also a gift to everyone)

Art work description
It is the interior building structure of pudu jail. Six convicts are waiting in the cells before being hanged at the execution room. Outside the cell rooms, wardens are busy executing the giant convict on the well (hell). The giant convict is regret what the mistakes he has done, he believe that the body is going into the hell (like many dead convicts before him). However, from my point of view, a man is truly sorry for his mistakes that will turn in a free man, which the walls will turn bright like a wing, and finally the lost spirit will return to the starry sky.

The Making of Into The Jail

4月2015年我完成了十人聯展後，重新把心思集中回"蘇丹街啓示錄"的脈絡內。自從個展結束後，我一直都不斷思考及好好整理一些思緒，這段時間也沈澱出一些想法。建築本身就是一個時代性的語言，語言一直不停累積無數個記憶，最終凝聚成為一體，形成我們共同擁有的集體記憶。每片土地上的人事物，不管是任何一座建築物或是一棵樹，都有它的存在意義，雖然有一天它突然消失了，但是在某個層面上還是依舊存在，只不過它變成一種"延伸"。這個"延伸"就好像一條河，河并沒有一個永恆的實體，每分每秒都在變化，人事物也是一樣。所以我把創作路線從地理位置上延伸，由蘇丹街至獨立公園至國家體育館，最後來到了半山芭監獄。如今我站在這座荒廢了的監獄門下，當我重新省視它時，又有一些全新的存在意義。

INTRODUCTION

Based on the title of this exhibition is to explore the post-colonial in urban everyday life in Malaysia. Although the colonisers left, the buildings and structures are maintained and we are still following the old format. Pudu Jail is a good example, it was built by British empire  at first and second the Japanese occupation forces imprisoned a large scale of English prisoners in world war II, and now the present authorities imprisoned anyone who is politically against them. There are some implications even the Pudu Jail does not exist any more.

The definition of historical building of Pudu Jail, I shall start recall from the memories of my younger days, in 1980’s, I used to stay at lorong meranti 3, kenanga, where my father started his ladies garment business. I was playing with friends along the abandoned tracks ( presently it is LRT line) , and the Pudu Jail is just 500m away . From my childhood memory, I often passed the Pudu Jail on my way to Bukit Bintang or Pudu Raya to shop, sometimes, I could hear painful cries from inside the prison, I was wondering what was really happening behind the wall. My mother often warned me that I would be locked into the jail if I didn’t  finish the homework or I did anything naughty. So that is my first impression for the Pudu Jail.

Now, back to 2015, I review to this ruined land, I have a strong inspiration of making Art work. It was our historical heritage but governor decided to demolish it to make way for a new tunnel, road expansion and mix-development of Bukit Bintang City Centre (BBCC), because they said that the Pudu Jail is nothing to be proud of. I was so wondering that should we be proud of the mega shopping mall instead?  

History of Pudu Jail

Pudu jail, also know as Pudu Gaol or Penjara Pudu, is a historic prison located at the heart of Kuala Lumpur. It was built in 1895 by the British state engineer and director of public works department, Charles Edwin Spooner, at a costs of RM138,000. It’s design was copied from the kandy prison in Bogambia, Africa, and shaped like a butterfly or X structure. It originally had 240 cells on three floors, but more cells were added over the years. The prison’s gruesome condemned cell is located at block D where these death row were prepped before being hanged at the execution room in the same block. Between 1960 and 1993, 180 convicts were hanged there.

In the early 1980s, aprominent feature of the prison are the mural paintings on its outer walls done by a former inmate Khong Yen Chong. The wall murals of tropical scenes painted by the prisoners took them over a year to paint using 2000 litres of paint. The murals entitled the inmates to win a place in the Guinness Book of Records, for painting the world’s longest mural along the prison’s wall stretching out to more than 860 feet long and 14 feet high.

In 1981, there was a execution of legendary robber Wong Swee Chin or “Botak Chin”. The incident happened on Oct 17,1986, six prisoners held a laboratory technician and a doctor hostage. It was settled after six days of negotiation when the UTK officers stormed the building and rescued the hostages with no bloodshed. In 1986, Kevin Barlow and Brian Chambers, both Australian nationals, were the first westerners to be hanged in Malaysia for the drug trafficking of heroin.

The colonial era prison was officially closed in November 1996. Next year 1997, Pudu jail was opened for a short while for public tours of its cells and viewing of its facilities. Lastly, the pudu jail was demolished in 2012, only the old prison mosque will be maintained. The demolition was carried out to make way for a proposed multi-billion ringgit mix-development, the Bukit Bintang City Centre (BBCC).

The following photos are the process of making: 

The duration of making those 4 pieces : 3 1/2 months

For the exhibition of Tales From The City @G13 gallery at 1-15 August 2015