Loving art & architecture
Article from the Sun daily by S. Tamarai Chelvi (posted on 10 Mar 2020)
SOFT-SPOKEN Tay Lu Yee appears just like any other college girl, but in her lies an abundance of talent in art.
At just 24, Tay has already sold eight pieces of art for prices ranging from RM500 to RM2,100 apiece, and has even showcased her art at exhibitions in Kuala Lumpur and Labuan.
A fresh graduate with a degree in Visual Art Technology from Universiti Malaysia Sabah, Tay uses ink pens to create her art.
Kota Kinabalu-born Tay recalled the times when she used to visit her mother’s birthplace in Kudat, where the traditional Rungus longhouse captured her heart and inspired her future artwork.
Tay’s artwork was displayed for the first time last year at RHB Banking Group’s third edition Art with Heart (AWH2019) art exhibition.
In fact, her artwork titled Rungus Longhouse sold an hour before the official opening of the exhibition.
How did you get into art?
“I never thought of getting into art. Before I stepped into university, I did not have any completed artwork. I had no idea what to draw and what to focus on.
“One of my university lecturers, Professor Dr Zaimie Sahibil said I could draw and encouraged me to look at the works of other artists.
“He advised me to focus on the things that I would like to share with the public through my drawings.
“So, I started doing research, making observations and drawing.
“Two artists inspired me, Emi Nakajima from Thailand and Olivia Kemp from Britain.”
What is your art’s main subject?
“The main subject of my artworks is traditional houses in Sabah, which are rarely found, these days. [For] example, the Rungus longhouses.
“I was born in Kota Kinabalu, the capital city of Sabah, while my mother was born in Kudat, at the upper north of Sabah.
“When I was young, I remember visiting Kudat and there were many traditional houses in Kudat. We can’t see traditional houses in Kota Kinabalu, except in the museum. So, I chose ‘Kudat’ and ‘traditional houses’ as my subject for art.
“Rungus is the largest community in Kudat ... Thus, I chose to focus on the Rungus longhouses.
“I hope that through my art, people can appreciate the beauty of traditionally-made houses and other traditionally-made items.”
What kind of medium do you use?
“Mostly, I use a technical pen (ink) as my medium, because it can show the detail of strokes in my drawing. Although there is [technology that can] replace pens or take over hand-drawn artwork, the ink has its own unique beauty.
“I chose to use black and white art in the ‘Rungus longhouse’ series of drawings because I want to give a ‘strong feeling’ towards the scene, as if it is going back to the old times. In the past, television shows were in black-and-white. [Gradually], it became full of colours.
“Thus, I use black-and-white to represent the olden days. Besides using ink as the medium in my drawing, I also use watercolours and acrylic.”
How has drawing changed your life?
“Drawing gave me the opportunity to involve myself in different art events or exhibitions, and to have a deeper connection with other artists and their artworks.
“Besides that, drawing [opened] my heart and let me develop critical thinking in everything I see or feel, and to have a different perspective.”
What are your future projects?
“I am planning to draw a series of art focusing on [current] issues in the world. I hope that through my future artwork projects, I can raise awareness among people to express their concerns about the issues, to take action [and] to make a change.”
What are you passionate about?
“I am passionate about heritage and culture in all countries around the world. Nowadays, the world is becoming more scientific, and many things are replaced by the latest technology. Heritage and culture [are disappearing], day by day.
“Besides that, environmental issues, especially issues in Australia, draw my attention.”
Digital love affair
Article from the Sun daily by Jason Lim (posted on 05 Mar 2020)
THE webpage of multidisciplinary spatial thinker Chuah Chong Yan reads: “WARNING! Some videos on this site contain strong flashing lights and high disorienting sound level ... viewer discretion advised.”
His work re-imagines reality to build worlds through film, art and installations, turning visuals and static sound waves into an immersive and sensory experience.
The profound artist talks about the themes of his work at great length; from the narrative-driven work that is visceral, to the close surveillance imposed by governing authorities where our privacy is exposed to the eyes of institutions.
He shares: “The fundamental of architecture is the understanding of space. Architecture is sort of like the mother of all art, just like how the violin is called the queen of musical instruments.
“Meanwhile, creating digital art is more of a passion and hobby that I enjoy doing through storytelling, to present different narratives.”
His latest work 27 Years of Lazarian Delight can be compared to 1960s Conceptualism, with apparent elements of sculptural qualities, very much similar to the likes of Marchel Duchamp’s Fountain or Tolkien’s epic high-fantasy Lord of the Rings series, where conceptual art stresses on thoughts and the creative process via myriad methods of production as the value of the work.
How would you describe your art style and the themes you tend to explore in your digital work?
“I like this saying: ‘Through fiction, you can get a better reflection of the reality we live in.’
“I like designing fictional stories and experimenting with narratives, I wouldn’t say it’s specifically speculative design, but rather the exaggeration of the current state of the environment or setting we’re living in.”
Are you speaking of your preference for dystopic landscapes?
“I don’t know if I like it, but creating a dystopic landscape is a good thought and creative experiment.
“Throughout history, we’ve been painting dystopic landscapes ever since sci-fi existed. Looking at the present times, we’re not entirely living in dystopia; things are quite neutral, we’re neither in utopia nor dystopia.
“To design a dystopia will ultimately offer us possibilities of what could happen, and perhaps guide us in a better light from where we are right now in reality.
“It’s very similar to the Black Mirror [episode that] showed us the reality of the 2020 social credit system happening in China. The surveillance technology uses artificial intelligence (AI) to determine how likely it is for an individual to commit a crime in the coming months. If there are signs, you’ll be put into a social detention camp [before you can] commit the crime.
“So in that sense, I guess we’re already living in a dystopian world. We’re constantly under surveillance, our whereabouts are being tracked and personal information [is being] exposed through QR scans and GPS navigation apps.”
How did 27 Years of Lazarian Delight come into being?
“It’s based on an exploration of a whole new world, because I was bored with earth so my curiosity led me to toy around with the idea of a crazy exploration of this unknown world.
“I guess it allows me to acquire a new sense of appreciation for the earth, and where we are as human beings.
“It became a starting point for this written document of a newly discovered world called Somnia XYZ-G, and I also wrote my architectural thesis based on this.
“The goal is to present my perspective [of my imagined visit] to this world, and [that] I came back with this bible or atlas of the planet in a very scientific manner, from learning its language and understanding how the time and climate changes, to encounters with native monsters and plants.
“I guess the entire project is like a monologue or a recording of my 27-year journey to this world, which was created and explored by me.”
Is there a sense of materiality in digital art as found in tangible artwork?
“As a digital artist, what I’m trying to replicate is what the real world is. In fact, through digital art, I get to better understand how real tangible materiality is.
“A lot of the work goes into the material study of the different surfaces and textures. By studying the physical material, I try to quantify its displacement of textures, and how it captures the light and how the light bounces off its surface.
“I’m essentially sculpting what I see in the real world into the digital world.”
Quite a character
Article from the Sun daily by Azizul Rahman Ismail (posted on 14 Nov 2019)
HIS face is familiar to those who frequent local artist conventions. After all, his distinct style is difficult to miss in a crowd. However, few observers know that Ahmad Sufian Mazilan (also known as @SufBansen on Instagram) is not a trained artist.
Initially, it was his friends who encouraged him to display his work in art booths. These days he shares the same table with some of the most prominent figures in Malaysia’s street art, toy and character design scene.
He is also the co-host of a vlog, a voice actor, and a generally all-around fun guy.
How did you discover your passion for the arts?
“I studied Animation and Visual Effects at Multimedia University, Cyberjaya. Currently, I’m working as a visual effects artist at a video game company, and I also do voice acting on the side.
“I guess my main passion would be art in general, since I’m interested in all sorts of things related to it. I’m also the type to quickly get bored doing the same thing every day. So that’s why I try out all sorts of stuff besides visual effects, such as visual art and voice acting.
“Recently I’ve been trying to get into toy designing as well. So, yeah, I guess visual art is one of the things that piqued my interest, and I decided to try it out.”
Tell me about one of your latest creations, Buttman.
“Yeah, I’ve always had a fascination with butts and thought they were funny. So I would draw butts for fun [and] to humour myself.
“After studying 3D animation, I tried doing these butts in 3D because I thought it would be funny to render something silly and simple into a cool 3D artwork.
“My friend, legendary comic artist Michael Chuah, said that these butts I drew could make a good mascot and that I should continue to develop it. I got hyped up, designed a body for the butt and Buttman was created!”
How did you get into podcasting?
“My buddy, voice actor Azman Zulkiply, has this super cool studio called Nois Space in Cyberjaya. He wanted to do some fresh and fun content with the place, so he invited me to co-host with him on this vlog, Nois Stof!
“Every week we have a brand new episode where we talk about anything interesting. We welcome people from the creative industry – like Andrea Goh from Pixar – on the show to talk about their experiences. We aim to educate our audience while also being entertaining. It is pretty random and fun!”
What would be your dream work project?
“My dream project would be to collaborate with big brands such as the Japanese clothing brand Uniqlo. I’m a huge Uniqlo fan and it would be super cool to do a Buttman X Uniqlo sort of thing. Like what they’ve been doing with manga, anime, video games and Disney intellectual properties recently.
“I would also love to create a full fledged Buttman video game and a full blown animated series on Netflix.”
Would you encourage other youths to take up visual effects?
“Definitely! If it’s what they’re truly interested in then go for it. Whether it is voice acting, visual arts, or visual effects.
“I have fun doing what I’m doing, but of course there are times when it can be stressful and challenging.
“It is a part of the process. If it’s not your passion, then it’s better not to do it. Do what you want to do!”
The artist unleashed
Article from the Sun daily by Azizul Rahman Ismail (posted on 08 Oct 2019)
GIVEN the interest that he has displayed for art ever since he was a child, no one was surprised that Aleff Ahmad, 29, grew up to be an artist.
Almost always seen with a smile on his face, Aleff is an optimist known for being quiet, but sociable.
I met him in his studio atop two flights of stairs, on the third floor of an unmarked building in Kuala Lumpur.
All around us lay his artwork, both completed works and those in progress. The space is undeniably home to an artist – and a passionate one at that.
He sat down on the floor, popped open a can of industrial paint, grabbed a paintbrush, continued his work, and we started talking.
How did you know you wanted to take up fine arts?
“My dad used to tell me that when I was small, he would buy colouring books for me. He would also buy a box of Staedtler Luna colour pencils. You know, the standard box.
“When he went to work, I would start colouring the book. All in one day. At the end of the day, I would go to him and say: ‘Dad, I finished. Can I have another?’
“From there, I realised that my interest [in art] was in my blood. It started with small things.
“My artistic side came from my mother. She’s not an artist, but she used to sew clothes and do embroidery. From there, I think the appreciation for art [transferred] to me.
“The perfectionism comes from my father’s side. My dad is a mechanic, and to be a good mechanic, you must pay attention to detail. So I think it’s the combination of both [traits] that makes me the artist I am today.”
Did you study fine arts?
“Yes. I have a diploma and degree in fine arts from UiTM Seri Iskandar, Perak. I studied fine arts for five years ... For my degree, I majored in painting and minored in graphic design.
“So that’s why you see my work has more illustrative concepts and ideas. Most of my concepts play with colours and composition.
“Some pieces look like runners (the frame) from a plastic model kit. A lot of them are inspired by toys. When you insert random shapes and geometric shapes, it becomes more interesting.”
What was your first significant achievement?
“My friend was studying in Australia. At the time, I was already busy doing art. He saw one of my art pieces on Facebook.
“He told me that they were planning to do [a] Malaysian community event in Adelaide. They wanted to exhibit [the works of] talents from Malaysia there.
“He wanted this whole series of artwork I did to be sent to Australia. I was only 20 years old at the time, and my work was [going to be] showcased in Australia.
“Well, my artwork was there, but I wasn’t. I have never been [to Australia].
“It motivated me to do more. From there, I started to join more exhibitions. If there is an invitation, I’ll join in.”
Recently, you customised a Tun M figure designed by artist and filmmaker Michael Chuah.
“Before I did the Tun M custom, Chuah offered me to customise his Yuurei Neko Sama figure. I was doubtful of my skills.
After a while, he said: ‘It’s okay why don’t you try Tun M instead?’
“It took me a long time to figure out what I want to do with the figure. In the end, I decided to kitbash (add parts from a model kit) Tun M with an RX-0 Unicorn Full Armour Gundam.
“Arifin Amin (toymaker, designer, customiser and artist) is a mentor to me. So I asked him a lot of questions. From there, he guided me on what to do.
“There was a lot of trial and error. I even tried to put a runner in an oven to shape it, but it melted instead.
“So I used Sculpey [polymer clay] to add shape to the figure so I could slot in the shield, backpack, and [other parts].”
A soul for art
Article from the Sun daily by Azizul Rahman Ismail (posted on 22 Aug 2019)
SOMEWHERE in Kuala Lumpur, in an apartment surrounded by greenery, sits a young artist in his studio. He is at a table looking down at his latest work, lit by a single lamp hanging from the ceiling and whatever natural light that comes through the window.
Leaning against the wall are lean canvases ranging from the size of a small child to that of a fully grown man. Each of them show beautiful works of acrylic on canvas, colourful and inspired by nature.
This was our first impression of the studio of 27-year-old Haris Rashid, a self-made and accomplished visual artist.
Looking at his masterpieces, one could not have guessed that they were made by an avid outdoorsman with no formal education in fine arts.
When did you start doing art?
“I did my own work since college. I did artwork not realising it is fine arts, I just did it for fun. At first I started by opening booths selling prints and badges at Publika’s art row. Like the Fuyo Art Bazaar.
“It was just for fun. I didn’t make much money and I did that for about three years. I then worked at a desk job for a while, but it didn’t feel right. Working nine-to-five did not feel like the right thing for me. So it only lasted for six months.”
How did you get your first solo show?
“After the desk job, I continued doing the booth thing, hoping that it would be more profitable. By then I already had a body of work [but had] no knowledge of doing solo exhibitions ... I started emailing galleries around KL. I was pretty naive at the time. I thought, maybe, just maybe, that this would work.
“That’s when Artemis Art in Publika said ‘yes’ and gave me a solo show.
“From there my first solo show was with them. Tun Daim [Zainuddin, former Finance Minster], a family friend, opened the show, something that he has never done before and it shocked the art scene.”
How did you start in the art scene?
“I didn’t know getting into the art scene was difficult. I just got in and I just did it.
“I didn’t study fine arts. My work is very illustration-based, and I have a graphics design background. I studied working with digital art, but I didn’t like it. I like to be hands on with the art.
“I started with colour pencils and linework on paper, so my earlier works look like tattoos. A lot of line work and graphic influences.
“After the first show, the gallery suggested that I [work on] canvas, because it is easier to sell. Collectors want more, and it is easier to keep.”
How many artworks have you done?
“In the last five years I have produced a lot of artwork. What I keep in the studio is just the half of it, the other half is at my home. This is not counting the ones I have sold.
“The thing is I produce works quite quickly. So I accumulate a lot. All the big pieces I did for my second solo [exhibition] took me about six months. That’s approximately one piece per week.”
What inspires you?
“I’ve always liked colour and nature. Nature for me is like [something] I always go back to if I am frazzled. It is always square one for me.
“I use nature as a metaphor for our human condition. It is symbolic of what we go through. But then people look at it as a conventional floral thing.
“I used to not care much about having a message in my art. But, when I looked back, I realised there was a message that was unconsciously [inserted] there. The connectivity of every living thing; that we are all connected [at] an atomic level, and we are just constructed differently.
“When you look at the cell level, we are all the same. So like, its just me trying to humble ourselves as a human species. Just because we have a consciousness doesn’t mean we are better.”
What’s your latest work about?
“My latest work incorporates plastics. Recently I did an installation for the Bakat Muda Sezaman [award competition] based on plastic waste. I like that idea. And it’s timely, as the issue of plastic waste is widely talked about. How it is a part of us without us even knowing it.
“I didn’t want to put it in a negative light. But I just want to make a point that this is what is going to happen.”
Do people look at your age when they appreciate your art?
“The art appreciators, [and] young collectors who appreciate art for art, don’t mind. But then there are those who are like seniors in the art system, they care about your education, your age, your experience, even your name even more than what you do.
“I got a lot of backlash from my first solo from art institutions because I don’t have a fine art degree, because I was so young and because of the prices that my works were selling at the time.”
The singing doctor
Article from the Sun daily by S. Indra Sathiabalan (posted on 20 Mar 2019)
KLANG girl Meroshana Thaiyalan, 26, hails from a small close-knit family. As she puts it: “Family is number one to me and nothing comes above it.”
Her father is a businessman and her mum is a retired teacher, while her younger sister is currently in university.
This talented young lady is not only an award-winning singer (she won the SKOWT-VIMA Best New Act for her song Hearts Of Steel), but is also a medical doctor and an Indian classical music teacher.
Meroshana has loved singing since she was a child, putting on impromptu concerts for family and guests. When she was 15 years old, she participated in Yu Hua Idol, a school-level singing competition, and emerged as first runner-up.
With her newfound confidence, she started posting cover songs on social media, took part in singing shows like MTV Twisties Superstars, and started dabbling in songwriting.
She recently got hitched and she credits her husband – whom she met in college five years ago – for being someone who loves her unconditionally and who understands her career demands.
She describes him as “someone who’s always excited to co-manage my shows and an endless source of encouragement.”
Did you have formal training in singing?
“My formal training was the countless hours of singing in the shower.”
Tell us about your Indian classical music background.
“I started learning veenai (traditional Indian stringed instrument) under Shri Lalithalaya, with my coach Prakash Nambiar about 12 years ago.
“He was the best teacher anyone could ask for, and the veenai is such a beautiful instrument, that I knew I would have a lifelong bond with it.
“I graduated with a distinction in both my junior and teaching exams, performed in many cultural shows with Shri Lalithalaya, and joined in teaching veenai with Master Prakash, before I moved to Malacca for my housemanship.
“[When I return to] Kajang, I plan to continue teaching veenai again.
Did you want to be a doctor who sings, or a singer who treats people?
“I am a doctor who wants to, one day, treat people with my singing and my music. I never want to separate both.
“I am a doctor, and a singer, and in both ways I’m able to treat those who are in need of it. Music heals, and I can’t wait to implement that into patient care and medicine someday soon.”
Music and medicine demand 100% commitment. How do you balance things out?
“I won’t lie, sometimes it does get tough to balance the best of both worlds. Being a doctor can be really demanding both physically and mentally, and sometimes it can be tiring to focus on two things at once.
“But at the end of the day, I’m reminded of how much I love both music and medicine, and subconsciously it all falls into place. I wish I could give better advice on balancing careers, but I’m human and still learning too.”
How did you feel when you were bestowed the VIMA award for Best Newcomer?
“I was ecstatic! Never in a million years did I think I would make it up there, among all the big names!
“I’ve always struggled with my self confidence and insecurities, and winning the VIMA award really gave me the boost I’ve always needed in the music industry.
“I’m so happy my first single, Heart of Steel managed to get the recognition it did, because I truly wanted it to reach to more people, as I wrote it with the intention to spread self love and awareness.”
As a young person, what advice would you give another person on career choices?
“Choose what you love. Choose what you see yourself doing 100 years from today. Choose a career that makes you happy, and work from there.
“From then on, never stop working and striving, and build yourself an empire! The sky’s the limit and it’s not wrong to dream as many dreams as you want.
“People will always have things to say, they will always try to choose for you. There will be countless people trying to knock you off your pedestal, but never stop fighting for what you love –in this case, your career.
“I believe if you choose a career that you love and it makes you happy, you’re set for life. It all depends on what your life goal is. My life goal is to be happy. What’s yours?”
Article from the Sun daily by Mark Mathen Victor (posted on 8 March 2018)
TAKING photography to new heights, 22-year-old Ivan Lee is relatively new to the photography scene.
Yet his eye for shot composition, symmetry and colours has the young, self-taught photographer developing a growing cult following on social media.
“People know me for my work, and that’s something I’m proud of. You don’t have to know who I am, who is ‘Ivan’. If you recognise my work, I’m proud enough, because every artist has his or her own style,” Ivan explains.
“As an artist, if you work to the level where once your audience sees your photo and says ‘This is Ivan’s photo’, then no one can alter or copy it. You’ve already made it”.
Posting under the alias @kosherunit on Instagram, Ivan has begun to take his exploits to the skies with a Phantom 4 drone, resulting in stunning aerial photographs of Penang.
The extroverted Mass Communications graduate with an introspective view on life, art and photography recently took the time to speak to theSun.
How did you get into photography?
When I first started out as a photographer, last year around June, I started with an iPhone 6. I wasn’t really into photography, but life had a plan for me.
Before that I was a dancer, until I got appendicitis. So I had a major operation that made me stop dancing.
To me, I live and breathe in art. I love everything that has something to do with art. So I discovered that photography is one way for me to express myself in art form.
At the time, I was capturing images on an iPhone, and my parents encouraged me on. There was this one time I took a photograph of a really nice sunset in Batu Ferringhi, Penang.
And I told myself “This is one of the most beautiful pictures I’ve taken.
How am I going to overtake this picture next time?” Because when you do something, you want to get better.
How do you find locations for pictures?
I scout for it myself. In Penang, usually when I drive, I don’t really drive but I look around a lot. I’ll tell myself “This place looks really good”.
It’s just that I’ll have to be there, find the right angle and take the most beautiful picture I can get. So, I wouldn’t call myself a photographer, because he or she just takes normal pictures. I call myself a “visual creator”, because I alter my images into an art and style of my own. It’ll have my own colour grading, my own composition, etc.
How do you decide on which combination of camera, lenses and/or a drone goes with what you want to capture?
Before I started out, I did a lot of technical research. I would say my teachers were Youtube and Google; it was a lot of self-taught knowledge. I got most of my inspiration from Instagram, as it’s a community for artists. To get the picture I’m inspired to get, I need to know the technical aspects of a camera; the aperture, the light, shutter speed, lenses.
What is your creative process like when it comes to taking pictures?
Three months ago, I got a drone. In the beginning, I practised my drone for the first month, and the second month was for scouting. Whenever I’m driving around in KL, I would imagine, “Ivan, if you can fly on top of there, how would it look like if you looked down?”
To me as a photographer, I’m very drawn towards lines, geometry, and patterns. If you give me a line, I would figure out something that would make it look good. Be it from the top, side or bottom.
What is photography to you?
To me, photography is about creating something that will live forever even after I turn to dust.
Do you think social media and drones are changing the way pictures are and can be taken?
Yes, they are. Drones enable you to take aerial photos, where its technology is continuously advancing.
From starving to successful
Article from the Sun daily by Mark Mathen Victor (posted on 9 November 2017)
GLEEFULLY nodding in agreement to the mention of Howl's Moving Castle, an animated film by the maestro of Japanese animation Hayao Miyazaki that inspired a piece of art she had crafted using embroidery on gauze, Yim Yen Sum is a stripped down portrait of an artist.
Self-deprecating to a fault, and completely vacant in the stereotypes often associated to the more pretentious circle of artists, Yim claims, "I had no other talent. When I was in Form 3, I tried hard to study all the subjects, but my results remained bad. I felt like maybe I had no talent in studying, and that perhaps art is the only choice."
Not being bound by the shackles of responsibility as the youngest in her family, Yim would go on to join an art school, winning multiple awards and being part of various exhibitions along the way, before her big break came last year.
After almost seven years of living as a "starving artist", Yim submitted her embroidered artwork The Floating Castle for United Overseas Bank's 2016 Painting of the Year competition, ultimately snagging the US$25,000, (RM105,050) grand prize and a residency programme in Japan's Fukuoka Asian Art Museum.
Do you come from an artistically inclined family?
My mum loves craft. Before our family had financial problems, she would do crafts and decorations, but after, she had to work. By the time I was born, she had stopped completely. As for my father, he doesn't love art, and doesn't comment on my involvement in it.
As my mum was a chef, she would decorate the food so we would have the appetite to eat. I used to help her, when she would take the time to arrange things like carrots into flower shapes, small things that made the dishes look nice. It fascinated me.
Did they encourage you when you chose art?
As a first year student in college, I studied the basics of drawing, and when my mother saw my drawings, she responded "Oh, this is so realistic. My daughter painted this!" Initially they were really happy for what I could do, but after graduation, they were worried that art could not help me survive.
I tried to alleviate their worries, so I never asked them for money, and I had to work many jobs to survive, but after winning the prize money, I think they gradually began to believe in my ability.
Do you think it's necessary to study art in order to create art?
No, it's not necessary. There are artists without an art background, but they still do quite well. Yet what I cannot deny is that art school really helps us to find our voice. After I left high school, I knew nothing about art. But studying Fine Arts in Dasein Academy of Art really gave me a good guideline on how I could become an artist and which direction I could go towards.
What made you join UOB Malaysia's Painting of the Year competition?
I think you know! (laughs) The money! Other than the prize, I knew the winners from previous years. Gan Tee Sheng (2013's UOB Painting of the Year winner) is my best friend and I saw how his life changed after he won due to getting a lot of different opportunities.
At the time, I was still very poor and I had to do a lot of different jobs to sustain my livelihood, so I used to dream maybe I could join this competition, and it could change my life. I did not think I would win, as my experience was mostly in installation art pieces and sculptures, whereas the UOB competition were about paintings. I tried my luck.
Where do you get your inspiration for art from?
I grew up in KL, living in a flat with four houses. I never spoke to my neighbours, or knew anything about them. After I studied in college, I had a project about research and photography in Malacca. In my very first trip, I saw the difference while living with my friend's family in their neighbourhood, where everyone shared their food and conversed with each other as part of a community. It was very new to me. It made me think about the environment and the relationships between people.
Why was it important for you to highlight culture and tradition through art?
We study the past to know the future. We need to know who we are. This is the topic I felt would interest others as much as it interested me. Where we come from, who we are. I think this is important.
What was the experience that you took away from your Fukuoka Asian Art Museum residency programme?
It was my first time to Japan. I felt like the way they spoke and treated each other is so much different than what I had seen here. It was an interesting experience, because that environment affected how I talked and thought about things, even the language.
In full bloom
Article from the Sun daily by Nur Shahirah Mohd (posted on 18 May 2017)
LOCAL homegirl, Limzy remembers subconsciously telling herself that one day she would make a career out of being an artist. True enough, she has gained herself a reputation on social media platforms and has coined herself as a visual, lifestyle and fashion artist-illustrator with a penchant for flowers.
Inspired by her loving grandmother whom she made floral bookmarks for, she remembers pressing flowers between dictionaries and the result, the flowers bear a resemblance to coffee dresses. Today, she creates art in hopes for it to be meaningful and relatable to her grandmother who loved flowers.
Since young, her parents would enrol her in drawing competitions and in school, she would join national drawing competitions – and despite coming from the science stream with arts as an elective, she pursued her passion in fine arts in college.
Initially working with Western paintings and watercolour, she was later introduced to delicate flowers by her aunt who is a florist.
Starting with a blog to share her paintings, she eventually decided to make it her career and started recruiting a team. Building their way up, they have collaborated with companies such as Dior and Lavieflo.
What were you doing before becoming an artist?
After graduating, I taught art at my college in the children’s department and after that, I was transferred to the gallery department as a gallery assistant. I was doing work that is art related although it was somehow different because it was a nine-to-five job which I felt did not give me the creative output.
I got inspired when teaching children because we were using ordinary materials such as alphabet macaroni, leaves, stones and broken crayons. That was where I took all the bits and pieces to compose small artworks every day after work. It was fun at first and eventually escalated into something serious.
I then thought to myself, maybe I could use some of these materials in my artwork and make it relatable to the public.
How do you get inspired to draw?
It sounds very cliché, but I get it everywhere. I do most of my research on Pinterest, in magazines and by just observing people.
As I am more focused on fashion illustrations now, I draw a lot of figures and characters hence I enjoy watching people – their personality and attitude, the way they walk, and how they dress and their style.
Whereas for flowers, I love to take walks at parks, visit the florist and even plant them myself – and the inspiration comes naturally. When I switched from Western painting to fashion illustration, I struggled because I didn’t want to make it commercial and figure drawing was my worst subject in school. But I went with the flow, like the saying, when life gives you lemons, make lemonade.
How did you build your company?
I built it along the way and didn’t know there is a thing called fashion illustration. I got into the industry unintentionally.
We are set up as an events company focusing on artwork creation and live events. Everything comes down to me, but the team helps reduce paperwork and liaising. They don’t draw, but they learn basic things like how to apply or press the flowers and calligraphy.
What have you learned from art?
I think I have learned a lot. The biggest artwork I have done was a mural, and I really enjoyed creating it.
I also enjoy doing installations in shopping malls or visual merchandise displays. The execution usually takes a week, but the planning probably takes one or two months.
Article from the Sun daily by Bernard Cheah (posted on 29 November 2016)
HE may be quiet, but Yuli Yap has a lot on his mind and he transforms these thoughts into art.
Being diagnosed with autism did not stop this Ampang lad from obtaining a degree in graphic design from Curtin University, Australia. It certainly did not restrain him from setting up his own studio Predator Art and Design (facebook.com/YuliYapDesigns/), where he produces various artworks to serve the needs of skateboarders, surfers, bikers, hot rod enthusiasts, and metalheads.
His artworks have been featured in two solo exhibitions and other events such as The Best of You Exhibition 2015, Hong Kong International Art Fair in 2013 and the 7th Malaysia International Dive Expo 2012.
How long have you been making art?
I have been drawing since I was four years old, but I started the art studio in 2010. I use all kinds of mediums, ranging from digital to pen and ink, watercolours, acrylics, markers and pencils.
What inspires your artworks?
I am inspired by all kinds of things. For my acrylic paintings, I am inspired by nature and the cities. I like painting a lot of Japanese scenes as I am fascinated by Japanese culture, Zen and its simplicity. I am trying to diversify into other types of paintings, beyond Japanese culture. I get inspiration from vintage toys, hot rods, motorcycles, classic cars, video games, comic books, heavy metal, punk culture, movies, fast food, action sports, skateboarding, surfing, and tattoos.
Can you share about your fascination with Japanese culture and heavy metal.
I really like samurai and the Edo period of Japan before the Meiji Restoration. I am in love with the katanas (swords) and the armour that the samurai wore. What interests me most is the kabuto (helmet) with its intricate detail in design, in addition to the horns and the mask which were modelled after the Japanese rhinoceros beetle.
I like martial art such as ninjutsu and bushido, as well as the numerous weapons they have. I am also very fond of the Japanese tea ceremony, the art of growing bonsai, and the principle of Zen and simplicity, as well as Japanese mythology and folklore such as dragons, kappa, oni and tengu.
A lot of heavy metal graphics often reflect the mythological or legendary aspects of cultures of the long forgotten bygone era.
Besides autism itself, what are some challenges you had to overcome growing up?
I faced a lot of bullying in school and university, and rejection in general.
As a result, I took up skateboarding, an activity that helped me to do something on my own unlike team sports like football and basketball. Through skateboarding, I learnt balance, met new people and improved my self-confidence. I also started listening to metal and punk music to cope. From these, I channel all my angst into art.
Tell us about the stigmatisation of those living with autism.
A lot of people do not recognise autism in Asia. Those with Asperger’s Syndrome are perceived to be rude as they lack social cues, the ability to read body language and fit in with others. To most people, they come across as eccentric. In addition, it’s difficult to find employment because most corporations see autism as a liability.
What’s next for you?
I plan to keep producing art and make a name for myself in the art scene.
Any advice for aspiring artists?
Try not to be influenced by too many people. Art is a reflection of who you are; be yourself and it will reflect in your art. Individualism is sacred.
Other hobbies: Travelling, taking walks in the forest, and skateboarding.
Favourite food: Japanese.
Favourite flicks: Ghost Rider (2007), The Last Samurai (2013) and The Lord of the Rings film series