Exhibition
KEE THUAN CHYE THUAN CHYE and I have been friends since 1966 when we met in Form 1 at Penang Free School. He was kind enough to contribute two items for the exhibition: a display of his books and a presentation, ‘A Word with You: Readings and a Chat with
Exhibition
‘OFF STONE: Works of journos & ex-journos made after hours or post-career’, Oct 5-17, 2024 at my gallery was, by far, my most ambitious project. I gathered 18 journalists and ex-journalists to exhibit their works and/or make presentations on matters close to their heart. In this four-part series, I
Art
WAITING for others can be stressful, frustrating and infuriating. This is especially so when we have nothing else to do and do not know the length of the wait. There is, in addition, a sense of helplessness. Sociologically, waiting can be linked to power dynamics and inequality, wherein the less
Art
IN MID-2023, Khoo Boo Teik, a close friend from school days, asked me if I could design the cover of his book, Anwar Ibrahim: Tenacious in Dissent, Hopeful in Power. It got me thinking about a few pieces of art for the cover. “Tenacity & Hope” was one of them.
Storytelling
As Behind the Stories was being put together, Kay Tat asked pioneer staff – Tan Boon Kean, Au Foong Yee, Azam Aris, Dorothy Teoh, Chong Cheng Hai and me – to write something about our days at The Edge or theSun that meant something to us. I chose to write about the
Photography
PERUSING KF Choy’s photos, I get the feeling each has travelled a complicated journey with many thoughtful sojourns undertaken by the artist to invigorate or ameliorate its parts — before we are brought to the grand finale. Every piece is reaching out to us; each marriage of form and content
Photography
KF CHOY’S easy-going demeanour belies the intensity and seriousness with which he practises his art. One only discovers how deeply-committed he is by spending time with him, easing out the intricacies of his approach and method. For one, Choy thinks and works in a holistic manner. Clicking his camera
Art
I CONNECT well with whimsical art. It must have manifested from my “other self”, suppressed by a lifetime of serious work and other pressing commitments. True, an innate form of playfulness had been in me all the time but it took the depressing depths of Covid to push mine to
Art
FOR practical reasons, I have used ink and pencil for many of my earlier pieces on paper. When I was invited by Art Voice to join an online exhibition called “Works on Paper”, I quickly chose this one because it was one of the more memorable. I had posted it
Exhibition
WHEN one of my best friends, Lam Yoong Koy, showed me some photos of his trip to Southern Xinjiang last October-November, I thought they were excellent documentary evidence of a region that has engendered much curiosity. I asked if there were more. And indeed there were – some 10,000 of
Exhibition
EARLY this year, when curator Stephen Menon invited me to take part in ArtVoice’s collaborative project with Universiti Malaya called ART+EDUCATION, I quickly agreed. It would be an opportunity for me to put together and share my ideas on two aspects of my life, art and publishing. The
Art
WALTER BENJAMIN, in his essay The Story Teller, bemoaned the decline of traditional storytelling in the modern era. The ancient art of oral storytelling, rooted in direct experience and communal interaction, he believed, was all but gone. Telling stories in his days (1892-1940) was dominated by written literature, especially mechanically-produced