Artistic evolution from surrealism to realism

During the vibrant 1970s, particularly amidst my studies at the Fine Arts Faculty at Universiti Sains Malaysia (USM) in Penang, painting was not merely a pursuit but an all-consuming passion.

In my artistic endeavours on canvas, utilizing emulsion paint or oil, particularly in studio exercises and assignments, my earlier works bore the unmistakable imprint of Post-Impressionism and Surrealism.

However, it was the emergence of Conceptualism, and to a certain extent, Futurism, that truly captured my artistic vision, thanks to the late Prof Redza Piyadasa, the pioneering figure of Conceptualism in Malaysia, who also served as my Sculpture lecturer.

The Surrealist master Salvador Dali (1904-1989) exerted a profound influence on my artistry, especially in pieces executed with emulsion paints. His works such as “The Burning Giraffe” (1937), “La Pesca del Atun” (1966), and “The Galatea of the Spheres” (or its Spanish iteration, “Galatea de las esferas”, completed in 1952) stood out as particularly intriguing.

These creations reflected Dali’s struggles against the backdrop of the world, a sentiment that resonated deeply with my own experiences during that period. The empathy I felt towards his work was truly transformative.

Notably, Dali’s 1944 masterpiece “The Dream Caused by the Flight of a Bee” stands out as one of his most captivating works, rivalling the controversial “Soft Construction with Boiled Beans (Premonition of Civil War)” from 1936. These pieces positioned Dali as a surrealist and a futurist within the artistic realm.

During my active painting phase, with a focus on oil and emulsion, Dali was in the twilight of his illustrious career, a period that coincided with my artistic exploration.

My foray into batik painting commenced in 1970, culminating in an exhibition a year later while I was in Form Four at Saratok Government Secondary School, also known as SMK Saratok.

The exhibition in 1971, hosted at the British Council in Kuching, marked a significant milestone. Accompanied by four fellow students under the guidance of our teacher, Joshua Jali Linggong, the event was a success, with three pieces of my batik paintings finding eager buyers.

In 1974, while in Upper Sixth Form at Methodist Secondary School in Sibu, I organized a one-man show, selling all 28 pieces of my batik creations. Despite engaging in numerous intriguing sketches, I have not delved into batik painting or any form of painting for the past six years. Inspiration seems to elude me.

My last batik painting was a commissioned piece for a wealthy client—an imaginative portrayal of a young woman, garbed in a traditional Iban ‘sarong,’ fetching water from a river with two gourd containers. This artwork now adorns her lavish abode, adding a touch of vibrancy and exoticism to the surroundings.

Between 1997 and 2002, during my time in the Brunei sultanate, I produced a substantial body of work in both Kuala Belait and Bandar Seri Begawan, selling over 20 pieces during APEC 2000.

These artworks, in addition to those sold at my exhibition in Sibu in 1974, now adorn the residences of collectors around the globe.

While the works of Dali and other artists had a limited impact on my batik pieces, my focus on realism over abstraction was clear. In my batik endeavours, I aimed to create pieces with a realistic appeal, catering to the preferences of buyers and collectors who leaned towards the tangible and relatable.

After exploring various painting techniques on canvas, including oil and emulsion, I underwent a transition period. Initially experimenting with expressionistic and surreal styles, as well as realistic depictions, I eventually rediscovered a preference for realism over abstract expressionism in the 1990s.

The question often arises, “What is batik?” According to the Encyclopedia Britannica, it is a dyeing technique where wax encloses specific areas, preventing the penetration of other colours.

Typically applied on cotton fabric, batik employs primary colours like blue, yellow, and red, which when combined, yield secondary hues like green, brown, and purple. I favour using primary colours alongside black and white for a vibrant effect.

Traditional batik artisans view the process as creating coloured patterns on white cloth by applying wax to reveal the intended designs. These patterns remain white until the final stages when dyed or painted to introduce additional colours.

In the realm of batik painting, the distinction lies in its ability to depict scenes, narratives, or messages through motifs, figures, shapes, colours, lines, patterns, brushstrokes, and other artistic elements specific to the medium.

What sets batik painting apart is its utilization of cloth, dyes, and wax. The hallmark of a batik painting is the presence of ‘cracks,’ resulting from applying thick wax on the cloth surface after colour application.

These cracks, once formed, are filled with dark hues like black, red, green, or blue, creating distinctive patterns that define the batik identity.

My initiation into batik painting occurred in 1970, during Form Three, under the guidance of the esteemed Sarawak batik expert, Stephen Teo. A year later, our exhibition in Kuching, under the mentorship of my cousin Jalie, marked a pivotal moment in our artistic journeys.

The group exhibition in 1971, held at the British Council Hall, was a seminal event for most of us. Subsequently, my colleague Mulok Saban and I became the first and second fine arts graduates from a Malaysian university in the state.

Unfortunately, our paths diverged from sharing our batik expertise with students. While Mulok briefly taught at a secondary school before assuming leadership at the State Printing Office, my career led me to various educational institutions and media organisations over nearly five decades, leaving me with only two cherished batik pieces.

The longing to stage another solo batik exhibition remains unfulfilled, though the passion still burns within me. Despite the limitations imposed by age, I firmly believe that artistic expression, especially in capturing youthful imagery, offers a powerful means to transcend the effects of time.

In closing, I urge fellow artists to persevere in their craft, as the act of creation not only enriches the soul but also offers a timeless refuge from the rigours of life.

And if all else fails, one can always find solace in the enduring allure of masterpieces like Leonardo da Vinci’s “Mona Lisa,” a testament to the eternal vitality of artistry.

The views expressed here are those of the writer and do not necessarily represent the views of the New Sarawak Tribune.