Penang Art Show Lowres Updated On Aug 14

YONG MUN SEN
ABDULLAH ARIFF
KUO JU PING
DATO TAY HOOI KEAT
DATO CHUAH THEAN TENG
KHAW SIA
LEE CHENG YONG
PENANG ART: THEN & NOW 2015
Supported by
TAN CHOON GHEE TAN CHIANG KIONG HO KHAY BENG

CHEUNG POOI YIP CHIA YU CHIAN TAN LYE HOE
DATO TAY MO LEONG DR CHEW TENG BENG
KHOO SUI HOE ISMAIL HASHIM CHONG HON FATT
DATO TANG HON YIN TOYA JAMES SUM
KOAY SOO KAU ERIC QUAH HENG EOW LIN
YEONG SEAK LING DR CHENG HAW CHIEN
CHEW CHOON CHONG HIP SENG
FAUZAN OMAR KHOO CHEANG JIN
HASNUL JAMAL SAIDON CHOO BENG TEONG
LEE ENG BENG ALEX LEONG PHEH IT HAO
ESTON TAN CHAN KOK HOOI CHNG KIAH KIEAN
TANG YEOK KHANG LOW CHEE PENG
TAN KAI SHEUAN
PENANG
PREVIEW: 4 SEPTEMBER 2015
EXHIBITION: 5-6 SEPTEMBER 2015
VENUE: MENARA IJM LAND, PENANG
KUALA LUMPUR
PREVIEW: 10 SEPTEMBER 2015
EXHIBITION: 11-20 SEPTEMBER 2015
VENUE: THE EDGE GALERIE, KUALA LUMPUR
Supported by
Artwork detail: DATO CHUAH THEAN TENG, COMBING HAIR, 1989 SEE PAGE 21
CONTENTS
FOREWORD
PREFACE
INTRODUCTION
ARTWORKS
11
ARTIST INDEX
94
CREDITS
96
Artwork detail: YEONG SEAK LING, BABY ROCK SERIES, 1996

SEE PAGE 61
FOREWORD
APPRECIATING
PENANG ART
WHEN TRACING THE DEVELOPMENT OF MALAYSIAN ART, WRITERS AND
RESEARCHERS INVARIABLY QUOTE THE FORMATION OF THE PENANG
IMPRESSIONISTS SOCIETY IN 1898 ON THE ISLAND. THAT IS THE EARLIEST
DATE THAT DOCUMENTS ART ACTIVITY IN MALAYSIA IN THE MODERN ERA.
Though established by the Europeans for the Europeans in
the heyday of the British colonialists, this society is still signicant when we want to track how far ne art has come in
Malaysia and the artists who contributed to its development.
According to the publication Eight Pioneers of Malaysian
Art (2013) by Dato Dr Tan Chee Khuan, it wasnt until 1931
that Abdullah Ari and two Chinese artists were able to exhibit their pictures in the Penang Impressionists Society.
However, the honour of being the rst Malayan artist to
hold an art exhibition in the country was reported to be Ooi
Hwa, who showed his works in Penang in 1927. Ooi Hwa and
Lee Cheng Yong are said to be the rst Penang artists to have
studied art overseas at the Shanghai Academy of Fine Arts.
Another signicant fact in tracing the development of
Malaysian art is the year 1920 when Yong Mun Sen moved
from Singapore to Penang and later set up his art studio. A
passionate artist and activist, Yong was deeply involved in
art societies in Penang and Singapore and was instrumental
in the formation of the Nanyang Academy of Fine Arts in Singapore in 1938.
Earlier in 1935, the Yin Yin Art Society, also known as
the Penang Chinese Art Club, was formed. This society was
spearheaded by its founder members who were also artists,
namely Lee Cheng Yong, Yong Mun Sen, Dato Tay Hooi Keat
and Kuo Ju Ping, among others.
But times have certainly changed since those early days
of development of the art scene.
In our exhibition Penang Art: Then & Now, the 41 selected
artworks document how well the concept of ne art has developed in the country and specically, Penang.
As a project that involves Penang curators, primarily,
lawyer and collector Lee Khai, 47, and artist-gallerist Koay
Soo Kau, 69, the emphasis of this non-selling exhibition is
to showcase signicant artworks on loan from distinguished
collectors, artists and their family members. The focus of the

project, which this catalogue documents, is the art associated with Penang rather than Penang-born artists. Obviously,
there are many more than 41 artists associated with Penang
art but due to practical considerations, the curators have had
to conne themselves to a specic number.
The key word of this project is prominence in terms of
the artists accomplishments and their name recall by their
peers, art collectors, curators and writers. Therefore, the curators look at the achievements of the artists without regard
to their gender or ethnicity.
In this respect, the pioneer or rst-generation artists
selected comprise Abdullah Ari, Kuo Ju Ping, Dato Tay Hooi
Keat, Dato Chuah Thean Teng, Khaw Sia and Lee Cheng Yong.
The second-generation artists picked are Tan Choon
Ghee, Tan Chiang Kiong, Ho Khay Beng, Cheung Pooi Yip, Chia
Yu Chian, Tan Lye Hoe, Dato Tay Mo Leong, Dr Chew Teng Beng,
Khoo Sui Hoe, Ismail Hashim, Chong Hon Fatt, Dato Tang Hon
Yin , Toya, James Sum, Koay Soo Kau, Eric Quah, Heng Eow Lin,
Yeong Seak Ling, Dr Cheng Haw Chien, Chew Choon, Chong
Hip Seng and Fauzan Omar.
The third-generation artists chosen are Khoo Cheang
Jin, Hasnul Jamal Saidon, Choo Beng Teong, Lee Eng Beng,
Alex Leong, Pheh It Hao, Eston Tan, Chan Kok Hooi, Chng
Kiah Kiean, Tang Yeok Khang, Low Chee Peng and Tan Kai
Sheuan.
In selecting the artworks, one has to consider, among
other factors, whether the work represents the artists typical or signature style. But the counter argument to that criterion is that certain artists constantly evolve and may no
longer paint in a previous style. Therefore, our curators reasoned that one should not pigeonhole an artist based on his
perceived style of the past.
Thus, the selection process had to balance what was the
best work available for the exhibition and what could and
should be shown at the venues concerned.
And in choosing the latest generation of artists, the curators also had to weigh what was signicant about their art. Had
it made an impact? And did it relate to the present generation?
Penang art has evolved from the days of bucolic landscapes, batik works and gurative paintings of local denizens
engaged in daily activities such as manual work or leisure pursuits including dancing the ronggeng.
While some artists continue the legacy of the masters of
the past, such as Tan Choon Ghees watercolour paintings of
George Towns streets, there are those who have embraced
the concept of social commentary in contemporary art, such
as Chan Kok Hoois covert messages in his witty paintings.
Due to the inherent and generally conducive factors in
Penang, where collectors still buy art for arts sake, skilled artists, whether part-time or full-time, will continue to progress
in spite of local market limitations. The passion to create art is
still very evident in Penang.
We hope that this corporate social responsibility project,
Penang Art: Then & Now, will spur on the art community in
Penang and elsewhere to do more to encourage greater art
appreciation in the country.
At this juncture, we would like to thank the two curators,
Lee Khai and Koay Soo Kau, for spending their invaluable time
on the project despite their work commitments.
We are also most grateful for the loan of artworks from
knowledgeable collectors who had the good fortune of being
in the right place at the right time to secure such marvellous
works for their collections. Their names are documented in
this catalogue.
Besides the collectors, we also acknowledge the loan of
works from some artists and from the family members of artists who have passed on.
Last but not least, we thank IJM Land for their all-round generous support to enable this project to be organised successfully.
HO KAY TAT
Publisher & Chief Executive Ocer
The Edge Media Group
Mutiara Damansara, August 2015
Artwork detail: KHOO CHEANG JIN, THAIPUSAM, 2003 SEE PAGE 71
PREFACE
EARLY DAYS OF
PENANG ART
PENANG USED TO LEAD IN THE ART SCENE BEFORE INDEPENDENCE IN 1957.

AND IN THOSE DAYS, ARTISTS FACED GREATER CHALLENGES COMPARED TO
THE PRESENT GENERATION.
Nevertheless, many of the countrys leading artists were from
Penang or came here and made a name for themselves.
Today, there are more opportunities, and artists are able
to sustain themselves better.
Many artists of yesteryear were trained overseas. The nearest ne arts institute was the Nanyang Academy of Fine Arts in
Singapore or the Shanghai Academy of Fine Arts in China.
I was trained as an art teacher. At that time, we talked
about and practised creativity.
The other day, I had a conversation about certain artists
who tended to have a signature style or created a certain identity.
The good point is that collectors can recognise their artworks, but the bad point is that such works can be mediocre
or stereotypical.
An artist should always be searching and experimenting
at dierent phases of his life.
I dont like artists who resort to old ideas and rehash them
like putting old wine in new bottles.
One of the rst Malaysian artists to have an exhibition
overseas was the late Dato Chuah Thean Teng in 1959. He
used to love talking about his exhibition days in London.
The rst Malaysian who became a full-time artist was
Yong Mun Sen. He passed away in 1962. He had a gallery in
Penang Road.
Dato Tay Hooi Keat was the rst person to have had formal
art education in the West at the Camberwell School of Art in Britain. He was the rst visual artist to be conferred a Datukship.
He was an important educationist and art inspector. He
had a nickname Lao Hor, meaning tiger. Everybody was
afraid of him, but I got along well with him. I remembered talking to him when I had my solo show at the Penang State Art
Gallery. He actually praised my arrangement of lettering and
understood about spacing and optical illusion. Despite his
erce personality, when you got to know him personally,

you would nd that he was an understanding person.
Tan Choon Ghee was an artist who didnt interact much
with people. Even when I talked to him, it was only on certain
matters.
There are dierent types of people with dierent characters. Some artists can have strange personalities.
I am supposed to be part of the second generation of artists, together with prominent names like Tan Chiang Kong, Tan
Lye Hoe, Dato Tay Mo Leong, Khoo Sui Hoe and Cheung Pooi
Yip. All these artists are very close to me, and our friendship
goes back a long way.
Lye Hoe was a good friend. He was a very good teacher
who encouraged and talked about creativity. As educationists, we dont believe in mediocre work or churning out old
stu over and over again; we believe in good and creative art.
Choon Ghee inuenced Khoo Cheang Jin. Honestly,
every individual must search for himself and create his own
identity, even though he has been inuenced by the work of
others. Every artist should be creative in his own way.
Pablo Picasso used to say that everyone is born an artist.
Sometimes, it is sad to see that when certain individuals
are born with the artistic gift, their talents are not nurtured. It
is a waste. There is no doubt that the development of art in
Malaysia will ourish.
Nevertheless, it is our duty as senior artists to sow more
seeds so that there will be richer harvests in the future.
So, by having exhibitions big or small young artists
will be motivated. Even grati art by young artists in Penang
has inuenced and made an impact on the public.
Certain artistic styles prevalent in Penang are quite conservative. But the exposure to and inuence of multimedia art
is signicant today as well.
Artwork detail: DATO TAY HOOI KEAT, WELD QUAY, CIRCA 1968-1980 SEE PAGE 19
Penang artists tend to be conservative because they are

comfortable with their medium of expression and the environment. Their work is not as provocative as that seen elsewhere.
Nevertheless, they should be sensitive towards present-day issues.
Political issues can be a motivating factor for art today
because it can have a hidden message.
Abstract art dont just emerge, it is actually a progressive development. Generally, all artists must learn to express
themselves freely. They should not just stay in their comfort
zone but be willing to take risks and think out of the box.
Art became more vibrant in Penang from 2000 onwards,
with more shows and art galleries.
Before that, there were only a few galleries and they did
not hold exhibitions. But today, there are so many galleries
holding diverse art shows.
The popularity of grati, wall murals or street art at local
heritage sites also attract crowds of admirers and members
of the public who dont usually visit galleries.
There have been more visitors moving around, photographing the wall paintings and indirectly getting involved in art.
COLLECTING ART IN PENANG

Penang folk have been exposed to art for the last century.
So, definitely, there are many kinds of art collectors. Some
buy art for enjoyment as they can admire the paintings
that adorn the walls of their homes or workplaces. And
needless to say, there are collectors who purchase works
of art as an investment.
Those who collect art are people who have extra money
to spend.
Generally, it starts with people who want to have some
paintings on their walls. They include professionals who have
been overseas and are exposed to art in other parts of the world.
Of course, one may say that only the rich can splash their
money on art. But sometimes, members of the middle-income
group who love art are quite willing to acquire good artworks.
Anyone who loves art will collect if he has the money. On
the other hand, if one has money but no interest, he is unlikely
to buy.
People in the corporate sector who have the means and appreciate art will likely get involved and buy art as an investment.
Art education and appreciation are the primary motivating factors.
Nevertheless, Penang people are more cautious and
conservative when it comes to buying art and they dont buy
on impulse. They usually do their homework on the types of
art they tend to collect.
When good artworks turn up on the market and buying
opportunities arise, they will move in.
Apart from that, many corporate headquarters are located in Kuala Lumpur. Therefore, any decision-making on the
acquisition of artworks is done there.
I am very happy that The Edge Media Group, through
The Edge Galerie, is continuing what IJM Land has done before in supporting the documentation and exhibition of fine
art. This collaboration with IJM Land is a vital contribution
towards the encouragement and development of art and
culture in Penang.
ARTIST & GALLERIST

Koay Soo Kau, 69, is an important and inuential gure in the Penang art scene.
Trained as an art teacher, Koay is also
an artist, curator and gallerist who opened
Galeri Seni Mutiara in George Town in 2005.
His rst solo exhibition was held in 1969,
followed by 25 others to date. He still shows
his work periodically, with the most recent
exhibition at the Penang State Art Gallery.
To date, he has organised an incredible
number of art exhibitions. And in his endeavours, Koay has encouraged and promoted quite a few artists in
Penang by giving them their rst solo shows and nudging them along.
Besides curating exhibitions, Koay is also an accomplished
art restorer after being motivated by a visit to the Sistine Chapel in
Rome. Over the years, he has had the opportunity to work on major
works in various media by leading artists of Penang for private collectors and institutions.
Since 2014, Koay sits on the Penang State Art Gallery committee, where his years of experience and association with Penang art
and artists place him in an invaluable position to help oversee the development of Penang art.
Koay has a wealth of information on artworks and important
artists in the state who have passed on. For instance, he can even recall that the most expensive painting by the late Chia Yu Chian only
cost $150 in those days.
In life, Koay is guided by the motto of his alma mater, Bukit Mertajam High School Accomplish or Do Not Begin.
KOAY SOO KAU

Co-curator
Penang Art: Then & Now
Penang, July 2015
INTRODUCTION
ECLECTICISM
PREVAILS IN
PENANG
THE TRADITION OF FINE ART IN PENANG, OR EVEN IN MALAYSIA, ISNT THAT
LONG COMPARED WITH THAT IN THE WEST OR NEIGHBOURING COUNTRIES
LIKE INDONESIA OR THE PHILIPPINES.
We are looking at a hundred years or so. As a trading port,
Penang used to attract and import artists. It was and still is
eclectic, it is a place of fusion.
People came and went. Lots of Europeans, especially the
British, were here, and some of them were artists. Then, we
attracted artists from among the immigrant groups, especially
the Chinese and, to a lesser extent, the Indians.
We had people who came with an art background, such
as Dato Chuah Thean Teng.
After World War II, during the 60s, 70s and 80s, we started exporting artists. That may have been because the Penang
art scene was becoming slightly less interesting.
Many artists left Penang to explore the world, to nd
better opportunities elsewhere. Artists such as Khoo Sui Hoe,
Eng Tay, Lee Long Looi and Peter Lim.
But what I have noticed of late is that we are beginning
to attract artists again. Not only are we getting back those
artists who left, but encouragingly, we are also attracting new
ones. Artists who were not born in Penang and artists who are
not connected to Penang.
I see many young artists coming from Kuala Lumpur
and many foreign ones as well. I think that has got to do with
George Towns Unesco World Heritage listing.
And we cannot neglect to mention the vibrancy of street
art in Penang now. However you see it, street art has moulded
Penang to a great extent.
Lithuanian artist Ernest Zacharevic has made Penang
very popular. Of course, the island has also made him very
popular. Hes the only artist that I know who has an endorsement deal with Samsung.
The Penang street-art scene is still very popular. We still
have lots of people doing it. In recent years, we have seen the
emergence of the Urban Sketchers.

The movement started in the US as late as 2008. Chng Kiah
Kiean is very involved and Khoo Cheang Jin as well, since 2009.
Now the USk has weekly activities, especially on
weekends, involving artists, whether full-time or amateurs, as
well as art enthusiasts. They meet and sketch plein air (in the
open air).
The vibrancy it brings to the art scene is good. In that
sense, such art activity is going to be perpetuated.
At the same time, we are also attracting a lot of people
who are doing installation art, which is more contemporary.
Art academics and artists such as Dr Chew Teng Beng, Dr
Zakaria Ali, the late Ismail Hashim, Hasnul Jamal Saidon and
Fauzan Omar are signicant contributors to the development
of art in Penang.
Ive always lamented that the art faculty of Universiti Sains Malaysia (USM) seems to be disconnected from the
Penang art scene. I very much would like to see USM play a
bigger role.
Actually, the university started something in George
Town a few years back. It was called the USM Art and Culture
Centre, but it was shut after a few years.
Perhaps, USM was too visionary. That era was before the
Unesco World Heritage status was given to George Town and
before the craze for art and culture in Penang. And before we
started having all this young energy seen with the advent of
the George Town Festival and street art. I would very much
like to see USMs art faculty play a more active role in Penang.
What more can be done?
Yes, I do have interest, I do encourage, I do try to nurture
artists. But I also see my role in promoting art appreciation.
And I think the Penang State Art Gallery is a good platform.
Artwork detail: DR CHEW TENG BENG, SOUNDS OF SOUTH CHINA SEA, 2003 SEE PAGE 41
Art appreciation is very important for the general public, particularly school children. We dont have a tradition of visiting
galleries or museums.
A few years ago, I revisited the National Museum in Kuala
Lumpur. It was on a weekday morning and I saw two groups of
students along with their teachers. One group was from a Japanese international school and the other from a French international school. There were no students from Malaysian schools.
At the Penang State Art Gallery, we try to get students
to visit and learn about art. Basically, from art appreciation,
we can also nurture future artists, collectors and art professionals. For me, when I get someone interested in art or see
someone buying art for the rst time, the sense of fulllment
is great.
One of the artists associated with Penang selected for
this project is James Sum, who has been in London for over
40 years. But he comes back every year.
I notice that many young artists look up to him and they
often consult him whenever hes in Penang. Even when he is
in London, he keeps a close watch on the art scene here. Every
so often, I get a call from him and his information is ahead of
mine. And hes not selsh in sharing his knowledge. Thats
James Sum.
Artist Koay Soo Kau has run Galeri Seni Mutiara, the most
active gallery in Penang, for some years. He is one of the most
important art promoters in Penang and makes it his mission
to enable artists to have their rst solo shows in the gallery in
George Town.
Eric Quah has been overseas for 30 years, including stints
in Melbourne, New York and Nanjing. He has brought his world
view to Penang.
As for Heng Eow Lin, I see him inuencing a number of
younger artists like Tan Kai Sheuan and Renny Cheng.

Yeong Seak Ling was quite active 10 years ago but lately,
he has been quietly doing his art.
Chinese art seems to exist in a parallel art world in Malaysia. But artists trained in the Lingnan style are supposed
to be able to cross the divide as the art is all about bringing
innovation to Chinese ink painting. In that respect, third-generation Lingnan artist Dr Cheng Haw Chien is signicant for his
contribution to the realm of Chinese art.
Based in Singapore, Chew Choon is another ne Chinese
ink artist who was born in Penang. He lectures at the Nanyang
Academy of Fine Arts in Singapore.
He has travelled the world and spent time in Africa. He
inspires other Penang artists with the exposure and vision
of exploring untraditional subjects. His artistic niche is Chinese ink painting with an African safari theme. Such works
serve to inspire and encourage young artists to see what
else they can do.
Based in Kulim, Chong Hip Seng is part of the Utara Group.
He is very active in Penang and Thailand, so in that sense, we
have a bridge between Malaysia and our northern neighbour.
Fauzan Omar has been with USM for a few years now. He
is one of the few lecturers who bring their students to art galleries in George Town.
An architect by profession, Khoo Cheang Jin is an active
artist as well as president of the Penang Water Colour Society.
Chng Kiah Kiean is the honorary treasurer. We are very happy
to see the duo benchmarking watercolour art in Penang.
The Penang Water Colour Society had been very inclusive,
taking in anyone and everyone. But I think over the last few
years, the committee has been trying to raise the standards.
Hasnul is big in media art, so thats very contemporary.
Choo Beng Teong is doing what he does best in his niche

area of painting birds. And doing what you do best can be inspiring to others.
Lee Eng Beng is part of the new generation of Penang
streetscape artists. He has successfully shown how a streetscape artist can transform himself. Currently, hes doing more
gurative art, so thats interesting to observe.
Alex Leong is also a streetscape artist.
Now based in Adelaide, Pheh It Hao can also be categorised as a streetscape artist. Most, if not all, of his works are
done plein air.
Eston Tans world travels enrich his art. He is another
good role model for younger artists.
We have included these artists on our list because they
each have a distinct enough painting style to merit attention.
In the past, it wasnt easy for people in Khoo Sui Hoes
generation to travel, but they managed to explore the world to
soak in on the sights and sounds of foreign countries.
However, younger artists are not doing as much of that.
But I see a change. I would say that theres no reason for you
not to travel the world. If not physically, at least on your computer. Nowadays, it is so much easier to get information and
to see things.
Collectors usually amass what theyre familiar with. You
have to be a very determined collector to, say, collect Indian
art. It takes a lot of eort and very few people can do that.
Penang is eclectic, we welcome anything and everything.
It is very diverse.
MAKING PROGRESS
The art scene in Penang is progressing, but whether it is developing as fast as many would like, I dont know.
But Im happy enough with the things that I am seeing. Of

course, there is always room for improvement. But Im enjoying the variety of art available in Penang.
There arent quite enough art collectors in the state. I always encourage artists to come and create art in Penang but
sell their work elsewhere.
An Indonesian artist has told me that the vibes that he
gets in Penang are better than in Bali. So, come and create art
in Penang.
The younger artists selected for this project are all technically very competent. In fact, this is my rst requirement of
the artists proposed. Technically, you must be able to pull o
whatever you want to do. If its all idea but no execution, if its
just mere talk but not executed well, you might as well be a
writer, not an artist.
And this group which includes Chan Kok Hooi, Chng
Kiah Kiean, Tang Yeok Khang, Low Chee Peng and Tan Kai
Sheuan is what I would call thinking artists.
Kok Hoois art is very quirky. It tells you whats on his
mind and how things travel from his head to the canvas.
Also from Chung Ling High School is Kiah Kiean, one of
my favourite artists and an excellent graphic designer. He was
instrumental in designing all the Penang State Art Gallery retrospective publications.
Yeok Khang is equally adept at painting murals on walls
as well as painting on canvas. He also does Installation art.
Artists like him constantly come up with ideas that are just
waiting to be executed.
Chee Peng is the only marble sculptor that I know in Malaysia. But if you look closely at his metal sculptures, woodwork and stonework, theyre all very high quality in terms of
concept, execution and nishing.
In general, striving for excellence is a trait that Penangites
and Malaysians lack. But I hope that meticulous artists like
Chee Peng will inspire others to do so.
I see great ideas behind some installation art but the execution is poor. That detracts from the works.
If you want to go international, you must be able to execute your art well, and Chee Peng is one who has done that
impressively.
Kai Sheuan, who was trained in Taiwan, is an excellent
gurative artist who is thinking all the time. I have a weakness for good gurative works, so I look forward to more
items from him.
For this project, limiting the headcount to 41 artists was
dicult, but it had to be done because of space constraints
rather than anything else.
I very much would like to see a longer list. With a bigger
exhibition, we would be able to include more artists.
IJM Land is a keen sponsor of the arts in Penang. Currently, the company is working on the Penang Sculpture Trail
in collaboration with the Penang State Art Gallery and Friends
of the Penang Earth Group started by Hitori Nakayama. I chair
this group and our plan is to do 50 public art projects comprising sculptural works within 10 years.
In fact, IJM Land has already sponsored and built a workshop for sculptors at the new Penang Museum site at 57
Macalister Road. The idea is to bring artists from the Asia-Pacic. Basically, the participants create sculpture for free, but
they get an honorarium for living expenses and materials. The
budget for each project is about RM80,000. We are always
looking for sponsors.
And we hope that with such participation, there will be interaction with the public and people can see the artists at work.
Eventually, the artists will place their work in public places.
LEE KHAI
Co-Curator
Penang Art: Then & Now
Penang, July 2015
COLLECTOR & ACTIVIST

Lee Khai, 47, is a lawyer and an ardent art collector who is an all-round arts and heritage activist involved in writing, curating and organising exhibitions in Penang.
He also sits on the Penang State Museum Board and Penang State Art Gallery
Committee. He is chairman of Friends of the Penang Earth Group.
Lee attributes his passion for art to his father, a visionary primary school headmaster of Li Tek School on Maxwell Road, who organised many art competitions and
fraternised with artists. Thus, Lee became acquainted with many of his fathers artist
friends, including Khoo Sui Hoe.
Lee appreciates art in all its forms, such as landscape, still life, portraiture and
Penang streetscape. But he has a particular fondness for gurative art.
He says: I enjoy realist artwork as much as installation works and artworks with
social commentary and political content. As long it is good art, I encourage the development of all kinds of art. The more, the merrier.
He believes the foundation of a cultured and civil society is based on art appreciation.
10
ARTWORKS
YONG
MUN SEN
B. SARAWAK, 1896 D. PENANG, 1962
Born Yong Yen Lang in Kuching, he was sent to Taipu, China, to

learn calligraphy in 1901.
In 1918, Yong began working at a bookshop in Singapore. In
1920, he was sent to the bookshops branch in Penang on Carnarvon Street. Captivated by the beauty of the island, he lived
there until his death in 1962. Inspired by his new environment,
Yong changed his name to Yong Mun Sen and set up Tai Koon Art
Studio on Chulia Street in 1922. The studio was later renamed
Mun Sen Studio (Penang Road). He was a founding member of
the Penang Chinese Art Club in 1935 and in the same year, also
helped to form the Singapore Society of Chinese Artists.
Around the time of his success as an artist in 1930, Yong became interested in the works
of European artists such as Gauguin and Van Gogh. And due to his training in Chinese calligraphy, Yongs signature style combined the techniques of Chinese ink painting and a Western colour palette. His watercolour paintings feature uid, colour washes, especially in his landscapes,
which depict a whimsical representation of his subjects. His painting style invariably sacriced
details for an expressive interpretation of man and nature. Ten years after his passing, Yong was
honoured with a memorial exhibition at the National Art Gallery in March, 1972, and in September
of the same year, he was given another memorial show at the Penang Museum Art Gallery.
RONGGENG
1949, 90CM X 125CM, OIL ON CANVAS
Collection of Dato Dr Tan Chee Khuan
12
13
ABDULLAH
ARIFF
B. PENANG, 1904 D. 1960
Abdullah started out as an art teacher at the Anglo-Chinese

School in Penang. With his sophisticated skills in watercolour
painting, he was brought into the Penang Impressionists Society. This was an exclusive club limited to Europeans at the
time, a policy broken only for Abdullah as his skills as an art
instructor were required. After a brief involvement in Malaysian politics between 1947 and 1955, he began to hold solo
shows in the US in venues such as the Mint Museum of Art
at Charlotte, New York. He also submitted works to the United Society of Artists group exhibition at the Royal Society of
British Artists in London, where he became the rst Malayan to be elected for Fellowship of the
Royal Society of Art (F.R.S.A.) England. With his new honourable position, Abdullah was invited
to participate in the prestigious Le Salon of the Society of French Artists at Grand Palais des
Champs-lyses.
A staunch nationalist, Abdullahs work hints of social commentary that highlighted the need
to improve social conditions as well as the ght for independence. However, Abdullahs watercolour paintings of nature which saw him named a pioneer of watercolour painting in Malaysia
alongside Yong Mun Sen are characterised by his meticulous care in use of the medium. His
style, in comparison to Yongs, was much more detailed and sometimes regarded as being more
European in its approach. After his death in 1960, two roads were named after Abdullah by the
Penang City Council while the National Art Gallery hosted a retrospective exhibition of his paintings in 2004 to commemorate the 100th anniversary of his birth.
HOMEWARD DUCKS
CIRCA 1955-1960, 45CM X 60.5CM,
WATERCOLOUR ON PAPER
14
15
KUO
JU PING
B. CHINA, 1908 D. PENANG, 1966
Born Koay Seng Chye in Fujian, Kuo emigrated to Penang with

his parents in his teens and enrolled at the Nanyang Academy
of Fine Arts in Singapore later on. He became one of the academys rst graduates in 1940. Although he did other jobs, art
was always his passion, evidenced by how he used to climb
on to rooftops to get a better view in order to paint scenery.
Kuo was well respected by fellow artists for his devotion to his
craft. In addition to being a founding member of the Penang
Chinese Art Club in 1935, Kuo gave art tuition to many highschool students.
He majored in oil and watercolour painting, which show
inuences of the Impressionist style. His art media included pastel, charcoal, pencil, marker pen
and Chinese ink painting. Having been educated in Chinese, Kuos paintings were typically signed
in Chinese or stamped with a seal. His artwork only became sought-after after his death in 1966.
In fact, during his lifetime, many of his works were given free to the local community. A memorial
exhibition in his honour was held at the Penang State Art Gallery in August, 1997.
FISHING BOATS
UNDATED, 50CM X 40CM, OIL ON CANVAS
Collection of Dr Tan Chong Guan
16
17
TAY
HOOI KEAT,
DATO
B. PENANG, 1910 D. 1989
Born in Nibong Tebal, Tay was a founder-member of the

Penang Chinese Art Club in 1935.
He not only produced vibrant modern paintings but was
also an important gure in art education in Malaysia. In 1948,
Tay was given a Ministry of Education scholarship to study
at the Camberwell School of Art in England. He studied there
for four years and returned to Penang. He advocated a more
modern and structured approach to painting to local artists,
who were then painting what he described as chocolate
box eye candy. For his dedication to art education, Tay was
appointed Penang Superintendent of Art and elevated to the Ministry of Educations Federal
Inspectorate until his retirement in 1969.
While balancing the two roles, he also set up the Penang Art Teachers Council, where he
promoted self-expression, passing on his knowledge of the new art movement advocated in
the West. Such an approach emphasised form and colour. However, Tays concept of art clashed
with that of the more traditional and academic approach towards art education. For example,
Abdullah Ari stuck to the concept that drawing was the foundation of all art forms. But the two
artists respected the dierences in their own methods of teaching. Tay was rm in his teaching
style and came to be popularly known as Lau Hor (Hokkien for tiger).
Tays work shows a variety of styles, which he explored throughout his life, ranging from
Academic Realism in his early paintings to Cubism and Expressionism in later years. A characteristic of his work, is the kaleidoscopic use of colour. He was also a deeply religious man and
in the last few years of his life, he worked on oil paintings depicting Jesus Christ. Although Tay
was better known as an art educationist, he also left behind highly accomplished paintings that
transcend time.
WELD QUAY
CIRCA 1968-1980, 60CM X 90CM, OIL ON CANVAS
18
19
CHUAH
THEAN TENG,
DATO
Chuahs interest in art was inspired at an early age while observing his mother engaged in needlework. Together with his
parents, he moved to Penang at 16, only to return to China
four years later to enrol at the Amoy Academy of Art in Fujian. There, he received formal instruction on drawing, Chinese
brush painting and Western oil painting. But his training was
cut short when he developed typhus fever, which forced him
to move back to Penang in 1932. While working as a trader in
Medan, Indonesia, Chuah passed several batik factories that
manufactured sarung. When the war ended, he opened a batik factory himself with funding from his uncle but it could not compete with the cheaper prices
of the Indonesian imports. So, after only a year of operation, the factory closed. Chuah, who
was left with stocks of expensive imported dyes of dierent colours, decided to experiment
with batik painting. He perfected his technique in 1955 and was eventually recognised for his
innovative approach to batik painting. He was even featured in Readers Digest (October, 1988)
where he commended for his batik work.
What was distinct about Chuahs work was the way he combined the traditional technique
of using the tjanting (a copper shoe-shaped tool used to apply wax) with his training in Western
ne art, particularly easel painting. Instead of an easel, Chuah chose to apply the wax to cloth.
A basic sketch was done with charcoal, which was then layered with hot wax to apply dierent
coloured dyes. The process was meticulous and required up to six days or more to complete.
Chuahs work had been exhibited extensively, from Japan to the US. With international recognition, Chuah, who is referred as the Father of Batik Painting, created an innovative identity for
Malaysian art a culmination of the inuences of Malaysias various races and cultures.
COMBING HAIR
20
21
KHAW
SIA
In 1927, Khaw studied at the Sin Hua Art Academy in Shanghai

where he learnt the techniques of Chinese calligraphy and ink
painting.
In 1937, he emigrated to Penang with his family. Later, his artwork techniques included the use of oil, pastel and watercolour.
In the 1940s, he visited Bali where he was captivated by
the sights and scenery of the exotic island. This inspired him to
produce paintings of Balinese women and the landscape.
His other passion was cultivating and studying orchids
which he painted in great detail particularly in his inimitable
style of depicting dewdrops on the plant. He even joined the American Orchid Society to pursue
his horticultural interest.
In his lifetime, Khaw painted a great variety of subjects and among his other well-known
works are his still life compositions.
Khaw continued to paint until his death in 1984.
In 1997, he was honoured by Penang State Art Gallery with a memorial exhibition.
THE ORCHIDS
1970, 52CM X 75CM, WATERCOLOUR ON PAPER
Collection of Crystal & Ivan Gooi
22
23
LEE
CHENG
YONG
An enigmatic gure on the Malaysian art scene, Lees artworks have become highly sought-after in recent years especially at local auctions.
There have been exhibitions that highlighted pioneer artists of Malaysia and Singapore that also featured Lees work
such as Artists imagine a nation: SG50 in Singapore in 2015.
Lee was also highly regarded as an art teacher at Chung
Ling High School in Penang.
In the local art scene, Lee was better known for his role
as the founder of the Penang Art Club. Nevertheless, Lee held
several exhibitions in Penang at the Philomatic Union on Acheen Street in 1932 and the Penang
Museum and Art Gallery in 1955 and 1965 which featured paintings as well as sculptures.
In 1995, three of Lees oil paintings were selected for Christies auction of Southeast Asian
paintings in Singapore.
Lees works comprised largely of oil paintings, inspired by the post-Impressionist style of
Cezanne, Van Gogh and Gauguin. Inuences of French Impressionism and German Impressionism can be discerned in his simplied gures set against a vibrant background.
Lees subjects often include women, whether young or old, dressed or undressed. This may
be related to the tragic loss of his wife when he was just 21, leaving him with four children to bring
up on his own. An anecdote by Penang-based art collector and artist Dr Askandar Unglehrt suggested that it was a reection of the artist who was struggling between the crushing responsibilities of bringing up his children and the need to nd the time and peace of mind to satisfy his
urge to create, through art, a world of his own to counterbalance the shortcomings of the world
around him.
Lees best-known sculpture is of Malaysias rst Prime Minister Tunku Abdul Rahman a
relief in plasticine and plaster of Paris, placed on top of a sheet of glass. Another characteristic
of Lee was the fact that he deed superstition as a Chinese artist depicting the deceased. Lees
depiction of his subjects could be pensive, matter of fact or thought-provoking. His instinctive
use of vibrant colours either in constrasting tones or in a harmonious combination, tend to create an alluring eect.
BOATING
CIRCA 1940s-1950s, 50CM X 40CM, OIL ON CANVAS
24
25
TAN
CHOON
GHEE
B. PENANG, 1930 D. 2010
A student of Kuo Ju Ping as well as a graduate of the Nanyang

Academy of Fine Arts in Singapore and the Slade School of
Art in London, his paintings have long been popular with collectors. Tan is best known for his watercolour paintings of
Penang streetscape.
In his lifetime, Tan was bestowed with many awards and
scholarships. One came from the West German government
and another for television set design from the Australian
Broadcasting Commission.
Three years after Tans death, 86 sketch books containing some 12,000 of his drawings were acquired by the Penang State Art Gallery. Subsequently,
a book entitled, A Lifetime of Drawing, was published to document the drawings and sketches.
These sketchbooks reect the countless hours Tan put into his studies.
What makes Tans watercolour artwork such a signicant part of Penang art is the sense of
poignancy and aptness in each painting. Each work reects the artists love for his hometown.
His ability to capture the distinct character of each scene with his sure and steady lines, is
testament to his early training in draughtsmanship. There are no superuous lines or objects or
gures which are unresolved or out of place in his compositions. There is always balance and harmony in a Tan Choon Ghee work.
Tan was equally skilled at oil painting and such works are quite rare and hard to acquire.
A retrospective exhibition was held by the Penang State Art Gallery in 2000 in Tans honour.
TOWER BRIDGE
1992, 43.5CM X 59.3CM, OIL ON CANVAS
MOUNTED ON BOARD
Collection of Mrs Tan Choon Ghee
26
27
TAN
CHIANG
KIONG
B. PENANG, 1932
Tan studied at the Teachers Training College in Penang before

attending the National Taiwan Normal University to pursue his
bachelors degree in ne arts.
This provided him the foundation to develop his distinguished style of watercolour paintings.
Tan was also an active member of various societies such as
the Penang Art Society, Penang Watercolour Society and Singapore Watercolour Society.
Tan has also been active at Chung Ling High School in
Penang as the acting art supervisor. Over the years, he has generously imparted his knowledge and experience to budding artists.
Tans painting style incorporates Chinese art concepts and watercolour techniques. There is
a certain Impressionistic quality in his brushstroke and overall composition.
Of late, Tan has experimented with acrylic paint. It is a medium that is more conducive to his
desire for a more immediate and expressive style.
In 1996, Tan was given a retrospective show at the Penang State Art Gallery.
JUNGLE JOY 1
1988, 60CM X 60CM, ACRYLIC ON RICE PAPER
Collection of the Artist
28
29
HO KHAY
BENG
B. PENANG, 1934 D. 1986
The Penang-born artist is known for his signature style of layering on textures matched with spontaneous brushstrokes.
A master at nostalgic scenes with a strong narrative, Hos
paintings were mostly oil on canvas. The appeal of his works
lies in his instinctive choice of colours combined with familiar
themes most viewers can recognise or relate to.
Ho graduated from Nanyang Academy of Fine Arts in Singapore in 1959 and held a solo exhibition at the Chin Kang Association in Penang in 1965. He then left for Italy to further his
studies at the Rome Academy of Fine Arts.
While in Rome, Ho held solo shows at such galleries as Galleria Guilla Flavia (1966), Galleria
Michelangelo (1967) and Galleria Darte I Volschi (1968). Between 1965 and 1968, he won six gold
and silver medals at national and international art competitions in Italy.
Ho also participated in group shows, such as the Singapore Local Artists exhibitions, Penang
Art Society annual exhibitions (1959 to 1984) and the Nanyang Academy 20th anniversary exhibitions (1957 and 1958).
He held the post of vice-president of the Penang Art Society between 1970 and 1975 and
was a member of the Nanyang Academy Association of Malaysia and the Nanyang Academy
Alumni Association of Singapore.
Hos works have been exhibited internationally in Hong Kong, India, Singapore, Spain, Switzerland, the US and France.
DEVOTEES
1983, 105CMX90CM, OIL ON CANVAS
30
31
CHEUNG
POOI YIP
B. PENANG, 1936
In the early 1960s, Cheung had hopes of becoming a full-time

artist but circumstances proved otherwise.
He worked in his family business as a frame-maker due
to the unstable economy at the time. He spent whatever free
time he had on his art.
Incidentally, many of Cheungs clients were artists and
he had the opportunity to fraternise with such well-known
personalities as Dato Chuah Thean Teng and Tan Choon Ghee
which reinforced his ambition to be an artist.
In 1961, one of his artworks was chosen for the Singapore Local Artists Annual Show which created a buzz on the local art scene.
Cheung has held many solo exhibitions including at Galeri Seni Mutiara in George Town in
2008 and in The Art Gallery, Penang, in 2011.
Initially, Cheung primarily worked with oil paint but in the 1970s, he started to use acrylic
paint as well.
In his early works, Cheung mainly focused on the rural landscape in Sungai Petani. There
were also various gurative works composed with an intriguing background.
Cheungs artworks has a certain charm that evokes nostalgia and sentimentality.
The artist was honoured with a retrospective show at the Penang State Art Gallery in 2014.
STREET
Collection of Galeri Seni Mutiara
32
33
CHIA YU
CHIAN
B. JOHOR, 1937 D. KUALA LUMPUR, 1991
Born in Kota Tinggi, Chia went to the Nanyang Academy of

Fine Arts in Singapore in 1958 not as a full-time student but
as a frequent visitor to learn about art.
Due to his exceptional talent, Chia received a grant from
the French government to study at the Ecole Nationale Superieure des Beaux Arts in Paris in 1959.
Chia remained in France for three years and received
awards for his art including Honourable Mention by Salon des
Independent and Societe des Artistes Francaise, Paris. He held
a few solo exhibitions in Paris including at Galerie de Viliers and
Salon de Paris.
Chia moved to Penang to open his own studio and became a professional artist. He passed
away at 55 in Kuala Lumpur.
Chia was one the few Malaysian artists whose work was selected by Christies and Sothebys for their auctions of Southeast Asian art in Singapore.
Chia was equally skilled working in oil, pastel, watercolour or Chinese ink.
He looked towards artists such as Maurice Utrillo for inspiration in his choice of colour palette for his paintings, as well as Oscar Kokoschka for his gurative work.
Chia was known for the consistent quality of his paintings and he would typically sign them
prominently.
STANDING GIRL
34
35
TAN
LYE HOE
B. PENANG, 1938 D. 2010
Tan studied at the Anglo-Chinese School in Penang and went

on to train as an educationist. In 1959, he received his Teachers
Certicate from the Ministry of Education.
As an artist, Tan was active in various societies including
the Penang Watercolour Society and the Penang Art Society.
In 1996, Tan held a major solo exhibition entitled, Reections of Time, as well as a retrospective exhibition of his work
dating back to 1963.
A charitable man, he organised a solo exhibition of 40
works in 2005 entitled, I Have a Dream, and contributed the
proceeds to the Penang Adventist Hospital Heart Patients Fund.
I thank God for giving me the ability to paint, he said at the time. What better way for me
to use my talent than for a worthy cause, particularly in helping the needy who require heart
surgery?
As a watercolourist, Tans work focused on the uidity of colours and the eect of a colour
wash on the medium and the overall composition.
In his lifetime, Tans dual role as an educationist and artist was duly recognised as early as
1964 when he received an award from the National Art Gallery and the Excellent Services Award
from the Ministry of Education in 1991.
Later in life, he took on the role of adviser to the Penang Teachers Art Circle in 2006.
GOLDEN SEGMENT
1968, 84CM X 70CM, OIL ON BOARD
Collection of Mrs Tan Lye Hoe
36
37
TAY MO
LEONG,
DATO
B. PENANG, 1938
At 19, Tay was enrolled in an art course at the Provincial Taipei

Normal College in Taiwan.
After a study tour of Paris at the invitation of a French
ambassador, he was inuenced by the French approach to
watercolour painting, and began to explore the medium in the
1950s.
He then became interested in batik painting, which superseded his reputation as a watercolourist, and is now known as
one of the three top batik painters in Malaysia.
Tay held various solo exhibitions as early as the 1960s
including at the British Council, Kuala Lumpur, in 1965 and Samat Art Gallery, Kuala Lumpur, in
1966. He also exhibited at the international level at the France-Nell Gallery, Tokyo, in 1966 and at
the Miami Museum of Modern Art, Florida, in 1968, to name but a few.
His participation in group exhibitions span the globe, from Salon Internationale dArt, Basle,
Switzerland (1995), to the Sao Paolo Biennale, Brazil (1969).
Due to the obstacles he faced in his early days of trying to learn batik painting, Tay has produced books that inform the public of the techniques of producing batik art. Till today, Tay still
oer free lessons to anyone especially art teachers to learn his batik techniques.
He has also served as chairman of the Penang State Art Gallery, member of the Penang
State Museum Board and president of the Penang Watercolour Society and as adviser to several
other art societies.
Tay strives to develop batik painting into the modern era with his Stone Flowers series that
feature a more abstract composition and technique rather than sticking to his more popular and
traditional series that depict Balinese maidens, rubber estates or lotus blooms.
His batik dyes are of the nest quality and he has even invented his own wax holder. His
innovation in the traditional method of the double-dye stems from his research into Japanese
wax-xing techniques.
Tay was honoured with a retrospective exhibition by the Penang State Art Gallery in 2009
that featured watercolour and batik paintings dating back to the 1950s as well as his modern
works.
At 77. Tay has travelled widely and still paints regularly and with fervour. He is also recognised as one of the important artists of the Chinese art world and is sought-after for his works
for exhibitions in China.
LEGONG DANCERS
1992, 180CM X 90CM, BATIK
Collection of Penny & Brian Coomber
38
39
CHEW
TENG
BENG, DR
B. KUALA TERENGGANU, 1938
In 1967, Chew was awarded the Fulbright-Hays scholarship to

pursue art studies at the Cranbrook Academy of Art in Michigan.
He not only completed his bachelor degree course but
earned a masters degree in ne art as well.
In the US, Chew received quite a few art awards including
the Paul Neal Averill Prize and the rst prize in the Michigan
Bloomeld Art Association contest.
He also completed his PhD in Fine Art at New York University.
After returning to Penang, Chew established the ne arts
programme at Universiti Sains Malaysia, where he eventually became associate professor of the
Art Centre.
In 1995 and 1997, Chews paintings were among the few Malaysian works selected for auction by Christies Singapore.
Besides being an academician, Chew has also been involved in the research of paper-making, which is an essential element of his work.
Chews technique relates to the manipulation of textures and enhancing the tactile quality
of paper via various processes including layering, stamping, sponging and embedding.
Chews paper research has brought into focus various innovative techniques in processing.
In particular, paper made from beaten bres of the banana and pineapple plants oer a superior
quality.
In his artwork, Chew is able to create a rich saturation of colours on his unique medium that
is visually arresting in terms of composition and execution.
SOUNDS OF SOUTH CHINA SEA

2003, 85CM X100CM, OIL ON CANVAS
40
41
KHOO
SUI HOE
B. KEDAH, 1939
Khoo Sui Hoe, who is also known as Ray Khoo, graduated

from the Nanyang Academy of Fine Arts, Singapore, in 1961.
He returned to Penang where he resided and subsequently
won multiple awards for his oil paintings, including the rst
prize in oil in the Malaysian Art & Craft Competition in 1965.
Thirteen years later, Khoo was granted a scholarship by
the John D. Rockefeller 3rd Fund to study the development
of contemporary art in the US at the Pratt Graphic Centre in
New York.
Khoo has held various solo exhibitions locally and internationally, notably a solo exhibition at Leland Art Gallery, Taiwan (1969), Raya Gallery, Kuala
Lumpur (1978-80), Lynn Kottler Galleries, New York (1981) and Houston Centre 2, Houston
(1988).
Between 1995 and 1998, Khoos paintings were selected for auction in Singapore by both
Christies and Sothebys.
Currently residing in Arkansas with his wife and youngest son, Khoo regularly returns to
Penang and frequently visits Kuala Lumpur and Singapore for exhibitions and visiting other.
Famed for his gurative oil paintings on canvas, Khoos compositions typically depict whimsical creatures of all shapes and sizes caught in intriguing situations. Sometimes, the compositions depict landscape or the element of water that seem to engulf the gures who are usually
painted with a variety of expressions, whether they are doe-eyed or round-eyed.
In his work, Khoo tends to focus on the concept of inner balance which the artist explains
as a state of mind which is immune to external irritants.
HANDS UP GREETINGS
Collection of Dato Lim Chong Keat
42
43
ISMAIL
HASHIM
B. PENANG, 1940 D. 2013
Ismail is widely regarded as the few prominent art photographers in the country.
He established his reputation on the local art scene with
his black-and-white silver gelatin prints of sentimental subjects, like an old-fashioned barber shop, that were invariably
hand-tinted.
His interest in photography was kindled by observing his
father, Hashim Hanadi, a keen photographer.
Ismail graduated with a BA in Fine Arts in 1972 from Universiti Sains Malaysia (USM). And in 1977, Ismail went to Washington State University in the US to pursue a Master of Fine Arts qualication which he obtained
two years later.
When he returned to Penang, Ismail was appointed as the graphic design and photography
lecturer at USM. It was a post he held for 16 years from 1979.
A humble yet sharp and fun-loving man, Ismails talent and interest was not only in producing mesmerising images as he was equally keen on various branches of the arts, including music
and poetry.
A founding member of the Aliran reform movement dedicated to the pursuit of justice, freedom and solidarity, Ismail was heavily involved in designing the covers of its journal.
In recognition of his photography work, Ismail has received awards in New York in 1975 and 1979.
Inspite of the era of digital images, Ismail steadfastly stuck to lm photography even when
darkroom printing became more prohibitive in cost due to limited demand.
Rather than rehearsed or staged, Ismails photographic images came from spontaneous
snapshots. The scenes always seem to be pregnant with meaning. A common theme of his
work was the passing of time.
He had a tendency to photograph trivial subjects that were somehow given new meaning
by his way of framing the scenes and invariably tinged with a sense of nostalgia.
Ismail was not merely a romanticist despite his endearing images. He was always thinking
about the message he was conveying, such as the concept of time passing.
Occasionally, the viewer can discern elements of dark humour in Ismails images that subliminally convey a sense of social commentary which tend to prick ones conscience.
Before his passing in 2013 due to a road accident, Ismail was given a retrospective exhibition
by the Penang State Art Gallery in 2010, a rare achievement for a photographer.
OLD CHARM: BIRD CAGE

2002/2010, 15CMX15CM, HAND-TINTED BLACK & WHITE
GELATIN SILVER PRINT
Collection of Galeri Seni Mutiara
44
45
CHONG
HON FATT
B. PENANG, 1941
As a founding member of the Penang Watercolour Society,

Chongs list of achievements include a major award from the
China Watercolour Paintings Open Competition in 2001.
Since 2003, he has also conducted oil painting workshops
in New Zealand.
Chong has exhibited solo exhibitions in various galleries in
China such as the Jiang Men Art Gallery in 2008 as well as Jing
Xiu Art Gallery in 2009.
A prominent gure in Malaysian art, Chong is a master of
impasto work that emphasises dramatic light and shade effects. His works are distinctly impressionistic due to his bold and expressive use of oil paints.
In his Chinese temple series, he could paint the same subject from diverse perspectives and
yet is able to highlight a dierent aspect in each composition.
In the early 1990s, Chong overcame a slump in his career by painting landscapes that included beach scenes and lately, oil palm plantations.
Nevertheless, what makes Chong a distinguished artist identied with Penang is his enduring series of work that depict the streetscape of George Town over ve decades. His work is an
invaluable documentation of the development of Penang.
A retrospective was held honouring his work in 2012 by the Penang State Art Gallery.
QUARRY IN KINTA VALLEY

Collection of Khai & Annie Lee
46
47
TANG
HON YIN,
DATO
B. PENANG, 1943
Known for his Water Margin and Silk Road abstract series of
paintings, Tang is a distinguished gure in Malaysian art.
A graduate of Universiti Malaya, Tang has pursued his
passion for art since his school days.
He draws inspiration from American artists such as Mark
Rothko and Richard Diebenkorn. Their inuences can be discerned in Tangs work in the way he uses space but interpreted in his own way.
Active in the local art scene, Tang joined the UTARA art
group in 1978 and later became its secretary. He was also a
member of the Penang Teachers Art Circle and Persatuan Pelukis Malaysia. He is currently the
chairman of the Penang State Art Gallery committee.
Since 1983, Tang has held solo exhibitions in Penang, Kuala Lumpur and Melbourne. And
since 1978, he has participated in numerous group exhibitions locally and internationally.
Tangs acrylic on canvas works are predominantly abstract compositions which allude to
the innity of space.
Although the titles of his paintings relate to nature, he has stated that they are not about
the environment.
His abstract paintings allow the viewer to see in the minds eye the majesty of the unknown
and the journey towards it.
My paintings reect the way I see the world with optimism and hope. In the 1960s, I
saw many paintings entitled The Joy of Living I feel alive and happy when I paint. To me, art
is a vehicle for self-discovery. Staring at a large canvas is quite an experience. And eventually,
to make it say all the unspeakable emotions and feelings within oneself is what my painting is
all about. Someone said that without art, the crudeness of reality would make life unbearable. I
agree, I want my art to exalt the human spirit and help it soar above the pettiness of daily life,
says the artist of his work.
SILK ROAD #44

2014, 144CMX200CM, ACRYLIC ON CANVAS
48
49
TOYA
(LIM KOON
HOCK)
B. PENANG, 1943
In his art career, Lim Khoon Hock is better known as Toya.

His primary education was at Chung Ling High School in
Penang. And in his early years, he worked as a rubber tapper
to help support his family.
He learnt batik painting in Indonesia but his artwork media
include watercolour, oil and Chinese ink.
In 1971, Lim attended classes on drawing in Australia for
six months.
He has held solo exhibitions in the US (1967, 1975 and
1976), Thailand (1969 and 1970), Australia (1971), Indonesia
(1972), Switzerland (1974) and England (1988).
Due to his innovative approach to batik painting, Lim has been invited to the UK to demonstrate his technique at the University of Leeds, Bradford College of Arts, London College of Arts
and St. Martins School of Arts.
His paintings have attracted many overseas art collectors, especially from the US, Germany, Sweden, Thailand and Hong Kong.
In 1994, he was the rst artist to have a batik painting accepted by Christies for auction in
Singapore.
Since 2005, he has been based permanently in Singapore.
HARVEST
CIRCA 2000S, 69CM X 86CM, BATIK
50
51
JAMES
SUM KIN
HING
B. PENANG, 1944
Sum studied ne art in Dublin in 1965 and in 1966, he furthered

his studies for two years at Sir John Cass School of Art in London.
In 1971, he graduated from South Bank University in London majoring in interior and graphic design.
In those ve years, Sum immersed himself in various art
forms, taking courses in drawing, watercolour and oil painting.
His other passion is collecting 19th and 20th century Chinese paintings and travelling frequently around Europe and
Asia, especially China.
Since 1963, Sum have held solo exhibitions in Penang and
Kuala Lumpur.
Among other foreign cities, Sum has participated in many exhibitions in London including
at the Royal Academy of Art and Foyles Art Gallery as well as in the Royal Watercolour Society
shows.
He has also won awards including rst prize in the All London Logo Competition (1969) and
was named Outstanding Newcomer in 1995 by the Royal Watercolour Society in London.
Working in mixed media, Sums paintings range from ink and watercolour on paper to oil on
board.
His versatility as an artist can be seen in his range of styles which include abstract compositions as well as landscapes and depictions of scenes from his life.
A dening feature of his major works such as his oil on canvas paintings is his handling of
colours that combine deft strokes with strategic drip work for an innovative composition.
Although he resides in London, Sum returns regularly to Penang.
The Penang State Art Gallery will honour him with retrospective exhibition in 2016.
DEWY MORNING MOUNTAINS

52
53
KOAY
SOO
KAU
B. PENANG, 1946
Koay embarked on batik painting as well as oil painting in the

1960s.
He focused on art as his major option at the Teacher
Training College where he obtained his teaching qualication
in 1967.
Since 1969, Koay has held many solo exhibitions including
his 7th Solo Batik Painting Exhibition, Petchburi Gallery Bangkok,
Thailand and 8th solo show in Sydney in 1975. In 1977, he held his
12th and 13th solo in Sydney. In 1999, he held his 22nd Solo Batik
& Oil Painting Show (Metamorphosis II) in NN Gallery, Kuala Lumpur and 24th solo show at the Penang State Art Gallery in 2004.
Koay has also participated in various group exhibitions in Penang and overseas, including
Abu Dhabi and Japan.
Highly active in the local art scene, Koay has served on the Penang Teachers Art Circle
committee as chairman (1993-97) and advisor (1998-2000) as well as Penang State Art Gallery
honorary secretary (1995-99).
In 2006, Koay opened Galeri Seni Mutiara in Penang after persuasion from art collector and
friend Dr Tan Chong Guan to oer a platform for artists to showcase their works. Since then,
Koay has organised at least one exhibition every month.
Koays own batik works are based on the foundation of Malaysian batik principles. But invariably, his compositions bear a surrealistic element yet the works often relate to local cultural
elements.
His oil paintings show a great attention to detail, particularly in the folds of the textile depicted or the texture of the fruits that frequently appear in his compositions.
Another common element of his oil paintings is the mid-air suspension of objects that create a dynamic relationship in the works with a sense of urgency.
PANORAMA #III
2002, 220CMX103CM, BATIK
54
55
ERIC
QUAH
B. PERAK, 1946
Born in Taiping, Quahs family moved to George Town when he

was a child. He recalls growing up on Carnarvon Lane in an old
shophouse dwelling.
When studying at Chung Ling High School in Penang (1960
to 1964), Quah had help in his art lessons by pioneer artists like
Lee Cheng Yong and Dato Chuah Thean Teng.
He started work as an art teacher in Kota Kinabalu and
Sandakan. In 1969, he held his rst solo exhibition at the YMCA
centre and the British Council in Kota Kinabalu.
In 1972, he held his rst overseas solo show at Seiko Gallery
in Taipei.
He then furthered his art education at Cauleld Institute
of Technology in Australia (now Monash University, Cauleld Campus) where he obtained his
bachelor of ne art degree in 1976.
Residing in Australia, Quah spent three decades creating art that won many awards despite
challenges. He was particularly active in the Melbourne art scene from the 1970s through 1990s.
Indeed he exhibited at the Young Originals, an art gallery in Melbourne, from 1977 to 1994 where
the director Carlotta Bush became his mentor until her death in 1994.
He spent two years (1982 and 1983) at New York Studio School on a scholarship and where
he gained renewed inspiration for his work. In New York, Quah met American composer John
Cage and used his score entitled Four Walls to create a collage of the same name.
Quah was the rst Malaysian artist to have his work featured in a publication by Thames and
Hudson, New York (TIME, 1982) and in The Collage Handbook by John and Joan Digby.
Quah moved to China on a teaching fellowship at Nanjing Normal University for a few years.
Over there, he developed a technique of incorporating calligraphy on rice paper.
In his collage work, Quah would tear or cut away with various implements such as scalpels,
scissors and even with his ngers. He would then apply on the surface various media including
charcoal, paper and paint, to achieve the desired texture. His other techniques include dripped
paint, splashed ink and squeezing tubes of paint on to canvas. Later in his career, he experimenting with digital collaging.
Quahs oil paintings invariably feature themes that focused on his own culture and heritage.
On the other hand, his collage works usually centred on the element of social commentary, particularly on the subject of foreigners marrying for citizenship.
Although his oil paintings seem to celebrate the sunny side of life depicting yellow and green
rich elds executed with expressive strokes, there are also dark undertones.
After 30 years away, Quah returned to Penang in 2003 and has been residing in Air Itam
near kith and kin and where he has his own studio.
In 2011, he was honoured with a retrospective at the Penang State Art Gallery.
A DAY TO REMEMBER
2001, 180CM X 180CM, OIL & COLLAGE ON CANVAS
(PART OF A TRIPTYCH)
56
57
HENG
EOW LIN
B. KEDAH, 1946
The full-time painter and sculptor graduated from Nanyang

Academy of Fine Art in Singapore in 1970 and headed for Europe in 1974 to further his formal art education. While a student
at Nanyang, Heng was mentored by Lim Yew Kuan and Georgette Chen under whom he learnt to do portraits. He toured
Europe, painting portraits to support himself for a year. A common feature in Hengs work is the human gure, which he uses
to express his emotions in his paintings and sculptures.
Since establishing himself as an artist, Heng has travelled
the world, showcasing his works in public and private establishments. His works have been exhibited in the Penang State
Gallery and Della Butcher Gallery at Hyatt Regency Hotel in Singapore. He was also involved in
group exhibitions in Singapore, Bangkok, Taiwan, London, France and Switzerland. In the past 47
years, Heng has visited 40 countries to experience the art and culture of each destination.
Sokka Gakkai Malaysia hosted the artists retrospective show in Kuala Lumpur in 2015. It
was entitled A Journey of 47 years An Exhibition of Painting and Sculptures by Heng Eow Lin.
RED BIKINIS
58
59
YEONG
SEAK
LING
B. IPOH, 1948
One of Malaysias most accomplished watercolourists, Yeongs

passion for art started in his early years at Chung Ling High
School when he won the Major Award in the Salon Malaysia Art
Competition in 1966.
He became a full-time artist in 1991. Based in Penang, he established Galeri Art Point in 1996 and Art-Group-Penang in 2003.
His mentors were Khor Ean Ghee, Lee Cheng Yong, Dato
Chuah Thean Teng and Tan Chiang Kiong. He started with charcoal drawing, then went on to watercolour before moving to
acrylic and oil. However, between 1965 and 1990, he concentrated on watercolour painting.
Yeongs artwork has been featured internationally when
one of his paintings was used in Readers Digest as well as in Bank Negara Malaysias publication,
Warna & Rupa.
Besides Bank Negara, his meticulously detailed paintings can be also be found in other institutional collections such as the National Art Gallery, Hong Leong Bank, Penang State Museum
& Art Gallery, Philip Morris in the UK, among others.
Yeong held his rst solo exhibition at the Penang State Museum & Art Gallery in 1972. It was
sponsored by British Council, Penang.
BABY ROCK SERIES

Collection of Mr & Mrs Yap Wing Chun
60
61
CHENG
HAW
CHIEN, DR
B. PENANG, 1948
Artist, poet and calligrapher, Cheng studied the Lingnan style

of painting which fuses elements of Western and Japanese realism with Chinese ink painting on rice paper.
Cheng learnt Chinese brush painting and Western art
when he was an adolescent. After secondary school, he furthered his education in Taiwan and Hong Kong.
He held his rst solo exhibition in 1969 at the Hui Aun Association in George Town. Since 1970, Cheng have held over
100 solo exhibitions in various countries including Taiwan, Singapore, England, Indonesia, Australia and China.
In 1974, he graduated from National Chengchi University
in Taiwan.
In 1997, he obtained a master of ne art degree from Summit University of Louisiana in the US.
In 1999, he obtained his PhD qualication from St George University, Oxford, in the UK.
In 1978, Cheng started lecturing in a secondary school as an art coordinator. In 1984, Cheng
was appointed principal of Central Academy of Art, Kuala Lumpur.
His most recent solo art exhibition was held at the National Art Gallery in Kuala Lumpur,
between 2010 and 2011.
Cheng is best known for his uid ink and watercolour landscape paintings with an enduring
ethereal quality.
LONELY BOAT IN MISTY MORNING

2006, 45CM X 37CM, INK ON BOARD
62
63
CHEW
CHOON
B. PENANG, 1949
As a child, Chew used to sit under the trees of a rubber plantation owned by his father, sketching animals.
A graduate of the Nanyang Academy of Fine Arts in 1975,
Chew started with Chinese ink painting and moved on to
acrylic on canvas.
Chew had little interest in rubber trees when he was
growing up. He was more passionate about capturing the
beauty of animals in his art.
Now based in Singapore, the artist is well known for his
study-tours of southern and eastern Africa in search of wildlife in nature reserves in order to paint them.
His works are much sought after in Europe and exhibited in many galleries there.
Chew has won many awards, among them the Young Artist Distinction Award (Malaysia),
Ministry of Culture Special Award (Singapore), Honourable Mention Award (Singapore), Whaletail
International Wildlife Exhibition Gold Award (Africa) and Wildlife Artist of the Year (London).
Since 1995, some of his major works have been accepted by Christies and Bonhams for
auction.
Chew held his rst solo exhibition entitled Out of Africa in 1989, followed byCall of the Wild
in 2007 and Peace Loving Giant and Wild Vitality in 2013.
A collection of his best work and photographs spanning over 30 years has been documented in a book called, My Africa.
ZEBRA
2006, 48CM X 71CM, INK ON PAPER
Collection of Mr Ho Sen Feek
64
65
CHONG
HIP SENG
B. PENANG, 1950
Chong studied lithography in Switzerland in 1973.

In print-making, he experimented with the capability and
limitations of a photocopier by reprinting his sketches.
When producing a new series, Chong is not concerned
about how his work is categorised or whether people called
them drawings or prints. What matters most, is the outcome
of the process, even if only one artwork is produced.
Besides print-making, Chong is also an accomplished
painter whose acrylic on canvas works depict stylised gures.
They are typically rendered with a bold, white outline on a
black background. His compositions tend to have a geometric
pattern or element that often resemble a grid.
Chong held his rst solo exhibition at Galeria Penang in 1983, followed by Shenns Fine Art in
Takashimaya, Singapore, in 1995 and at Penang State Art Gallery in 2007.
He also participated in group exhibitions in various parts of Asia including Singapore, Thailand, Indonesia, China and Japan. His works have been collected by institutions such as Universiti
Utara Malaysia, National Art Gallery in KL, Singapore Art Museum and Siam Art Museum Hatyai.
I AM BELOW THE PYRAMID

2011, 180CM X 90CM, ACRYLIC ON CANVAS
66
67
FAUZAN
OMAR
B. KELANTAN, 1951
Fauzan is an associate professor of ne art at Universiti Sains

Malaysia in Penang.
In 1973, he received his rst diploma from Universiti Teknologi MARA for art and design and in 1974, he obtained a
second diploma in art education.
In 1984, he graduated with an MFA in painting from the
Maryland Institute College of Arts, Baltimore, in the US.
In 1989, Fauzan won rst prize in the Malaysian Scenes
Art Competition organised by the National Art Gallery in Kuala
Lumpur.
He received the Australian Cultural Award from the International Cultural Relations Department of Foreign Aairs and Trade, Australian High Commission,
Kuala Lumpur in 1995.
In the same year, he also won the Major Award in the Philip Morris Art Competition held at
the National Art Gallery.
Initially known for his post-formalist abstract Layer Series in the 80s, Fauzans subsequent
journey in the 90s to 2000 were marked by his series of technically-demanding, laborious and
highly tactile paintings. These were inspired by multifarious forms and characters from his natural and cultural environment. Themes such as diversity, growth, decay, blossom and erosion
were expressed in vibrant colours, usually in acrylic. He employs a rich visual language and enjoys exploring the language and nuances of painting.
His solo shows included Rejuvenation held at Artloft Gallery in Starhill, Kuala Lumpur, in
2005; Sustainable Development Through The Arts, USM-ABN Amro Arts & Cultural Center
in Penang in 2006; Resonance, Muzium dan Galeri Tuanku Fauziah, Universiti Sains Malaysia,
Penang; and Come July to October: Aftermath of Fury .in 2013.
Over the years, he has been involved in many group exhibitions in Japan, India, Singapore,
Australia, Indonesia and the US.
CONNECTING AND DISCONNECTING THE FRAME

68
69
KHOO
CHEANG JIN
B. PENANG, 1963
Trained as an architect in Australia, Khoo graduated from the

School of Architecture in University of New South Wales in
1991.
But painting is a passion that he cant ignore. He travels
with his sketchbook and is particularly attracted to streetscapes with interesting architecture. His sketches of people and
buildings are equally as accomplished as his paintings. Images
of his work can be viewed on his Facebook page.
His main medium is watercolour and Khoo is highly adept
at highlighting the overall ambience of the scene. His paintings
of buildings pay special attention to the interplay of light and
shadow and which renders it an alluring composition. In comparison to the building structure, his
rendering of people, animals and plants tend to be devolved gures or represented by specks or
colour washes. Currently, president of the Penang Water Colour Society, Khoo is highly active
in the art scene. He is co-founder of Urban Sketchers Penang and a member of the National
Watercolor Society in the US, among others.
As an avid artist, he regularly participates in exhibitions at home and abroad. His solo shows
in Penang and Kuala Lumpur include Sketches of Penang (1998), Old Charms in the New Millenium (2000), Somewhere in Time (2007), Spaces: Here and Now (2007), Penang, My Penang
(2012) and Penang Sketches and Watercolours (2012).
In 1995, Khoo was among 22 artists selected for participation in the President Charity Art
Exhibition in Singapore The Presidents Watercolour Selections.
The awards he has received include the Young Artist Award in the Penang Museum Annual Art Exhibition (1980), one of the 12 winners in the Malaysia Landscape Watercolour Painting
competition organised by Dunlop Malaysia Bhd and National Art Gallery, Kuala Lumpur (1982),
the Youth Art Excellence Award in the Singapore National Day Youth Art Exhibition (1994), Highly
Commended Award in UOB Groups 13th Painting of the Year competition, Singapore (1994), Silver Award in S P Setia Art Fair, Penang (2001) and one of the six winners in the SAKSI nationwide
art competition organised by the National Art Gallery (2003).
THAIPUSAM
2003, 76CM X 56CM, WATERCOLOUR AND INK ON PAPER
Collection of Mr Teh Kiak Seng
70
71
HASNUL
JAMAL
SAIDON
B. PERAK, 1965
Hasnul is an academician with the soul of an artist.

In 1988, he received a diploma in art and design (ne art)
from Universiti Teknologi MARA (UiTM). In 1991, he graduated
from Southern Illinois University in the US with a bachelor in
ne art.
Then in 1993, he received his master in ne art majoring
in electronic arts from Rensselaer Polytechnic Institute, Troy,
New York.
Hasnul has lectured at several universities in Malaysia and
used to serve as head of programme as well as deputy dean
and director of several art departments including as head of
the museum and gallery.
His inuence in the Penang art scene extends far and wide. He has been appointed or served
as director, external examiner and evaluator, guest lecturer, curriculum design consultant, curator, editor, writer, jury, speaker, facilitator and adviser to various visual art and creative projects.
He has also contributed his services to academic journals and art publications.
Two of his curatorial works have been listed as among the top visual art exhibitions in Asia
by Art iT magazine.
Over the years, Hasnul has been engaged in inter-disciplinary and multi-media practices
which include painting, drawing, installation work, digital print, video and new media art. He has
also worked on exhibition design, stage design and graphic design.
Hasnul also writes and performs his own songs, fusing traditional instruments with acoustic
guitar to create folk music, which he calls Kebun Bunyi. He has been involved in experimental
performances and theatre productions as art director, technical director and production and
stage designer.
Known as one of the early proponents of electronic, video and new media art in Malaysia and
Southeast Asia, Hasnul has participated in many international and local exhibitions and screenings,
including the 2nd and 3rd Asia-Pacic Triennial of Contemporary Art in Brisbane, Australia. His works
have been exhibited and screened in Hong Kong, Japan, South Korea, Australia, the Philippines, Indonesia, Singapore, Hawaii, the Republic of Cezch, Denmark, Spain, Sweden, Canada and the US.
Hasnul has also won several local and international awards, including the Atlanta Film & Video Festival Award (the US), National Artist Award (Trans-dimensional Artist), Malaysian Young
Contemporaries, Philip Morris Art Awards and Asean New Media Awards.
PULANG KE DAKAPAN MAHOODIAH

2015, (SET OF 3) DIGITAL COMPOSITE PRINT ON CANVAS,
26.5CMX26.5CM
72
73
CHOO
BENG
TEONG
B. PENANG, 1966
This full-time artist is an exceptional painter of wildlife especially the feathered species. He studied commercial art at Sain
Academy of Art in Penang from 1985 to 1987 while attending
a two-year course on art, graphics and painting at Universiti
Sains Malaysia.
Birds are his favourite subject and his bird-watching spot
is Penang Hill, where migratory birds like the curlew, sandpiper,
plover and redshank attract his keen eye.
Choos work is noted for his meticulous technique of watercolour painting that renders an exacting degree of realism
to each composition.
In 1987, Choo held his rst solo exhibition in Penang. In 1990, he held a wildlife watercolour
art exhibition with Teh Yiew Kiang for the Malayan Nature Society World Conference on Biodiversity. He held his second solo exhibition in 1992 and his third in 1996, both at The Art Gallery,
Penang.
Choos paintings can be seen at the USM Art Gallery, Equatorial Hotel Penang and Novotel
Hotel Penang.
RED JUNGLEFOWL (GALLUS-GALLUS)

74
75
LEE
ENG BENG
B. PENANG, 1967
Lee is both an artist and art teacher who established his own
Eng Beng Art Centre in Penang.
He is also an active member of the Penang Water Colour
Society, Penang Art Society, Kedah Art Society and Malaysian
Watercolour Society.
As an artist, Lee has won numerous accolades including
the Young Artist Award in the Penang Museum Annual Art Exhibition and rst prize in the Malaysian Watercolour painting
competition organised by the Teochew Association in 1994.
Lee paints mainly in watercolour but is equally adept at
painting in acrylic and oil on canvas. His early works focused
on the streetscapes of George Town and lately, he has been focusing on gures with characteristically enlarged limbs.
He has held several exhibitions around the country and internationally. His solo shows include Artbeat The Pulse of Urban Expressionism (2011), Penang Life (2011) and Lee Eng Beng
Works on Canvas (2015).
Lees participation in group exhibitions include the Asian International Watercolour Exhibition in Taiwan (1993) and in China (1994 & 1996). He also took part in the Incheon Global Cities
Arts Exchange Exhibition in South Korea in 2009.
PENANG STREETSCAPE
76
77
ALEX LEONG
YIM KUAN
B. PENANG, 1969
Leong represents the latest generation of skilled watercolourists in Penang who continue the legacy of masters like the late
Tan Choon Ghee.
He started out as an illustrator between 1991 and 1992 and
went on to be a graphic designer till 1995. Then between 1995
and 2012, he taught art for a living and painted in his spare time.
Since then, he has scaled back his art classes to the weekend
at his own studio. On week days, he paints full-time.
The watercolourist has participated in many group exhibitions locally and internationally since the early 90s.
His work was rst shown in the Love & Charity art exhibition in Penang in 1993. Then in 1995, he participated in the World Water Colour Exhibition in
China. Among the most recent group shows, he took part in the International Watercolour Exhibition in Bali in 2014.
To date, he has held only one solo show in Kuala Lumpur entitled, Alex Leong Watercolour
Solo Art Exhibition in 2012 and his upcoming show in Penang this September is entitled, Heritage
Building in Exquisite Water Colour.
But he has already won awards including Young Talent Award at the Penang State Pesta Art
Competition in 1992, winner of the Malaysia Open Watercolour Competition organised by Han
Chiang Association in 2003 and rst prize in the Putrajaya National Water Colour competition
in 2008.
He is a member of the Malaysian Watercolour Society, the Penang Watercolour Society, the
Penang Art Society and the North Kedah Art Society.
Having only turned professional in the past two years, Leong is considered relatively fresh
to the art scene. But he has already made an impact with his skills and talent for painting streetscapes and gurative works that depict the multi-cultural environment of Penang.
NYONYA WEDDING
Collection of Mr Tan Thean Jin
78
79
PHEH
IT HAO
B. PENANG, 1972
Currently based in Australia, Pheh received a full scholarship to

study ne art at Malaysian Institute of Art in 1991.
Subsequently in 1999, he pursued a degree in ne art at the
Surrey Institute of Art and Design, University College, England.
After his studies abroad, Pheh returned to Malaysia and
worked as a gallery curator at Elle Six Art Gallery in Kuala Lumpur for four years.
Since 1989, he has participated in over 100 exhibitions
locally and internationally, including solo exhibitions like Linear Non Linear in Elle Six Art Gallery in 2002; Negative Space:
The Depth of Nothingness in Nelson Hays Gallery, Bangkok, in
2008; and The Gift in David Summer Gallery, Australia, in 2013.
Pheh won a number of awards for his work as well third place in the 1st Putrajaya Watercolour Competition in 2006, Jurors Award for Young Contemporary Awards in 2007, third place
in the Second Putrajaya Watercolour Competition in 2008 and second place in the Paintings &
Ceramics Exhibitions & Competition in 2013.
KUAN YING TEMPLE, PITT STREET

2007, 56CM X 76CM, GRAPHITE & WATERCOLOUR ON PAPER
80
81
ESTON
TAN
B. PENANG, 1972
Like many dedicated and talented artists, Tan developed keen

interest in painting as a child.
Coming from a poor family, he would save up for art material to full his artistic passion.
Tan was awarded a scholarship to study at the Malaysia
Institute of Art in Kuala Lumpur. He then furthered his studies at The One Academy of Communication Design, also in KL,
where he was engaged as a lecturer after graduating.
The recipient of various awards, Tan turned full-time artist in 2000. He has since held many solo and group exhibitions
both locally and internationally. His works have also been auctioned at Bonhams and Christies in recent years.
Tan draws inspiration from nature and paints landscapes and cityscapes in his thickly-layered style invariably dotted with orbs and streaked with dashes of bright colour.
Having had to work at night in his youth, many of his paintings are night scenes with a play
on light, reecting his eternal optimism.
To date, his solo exhibitions in Penang and Kuala Lumpur include Homecoming (2013),
26 degree centigrade (2012), Down to Earth (2009), Poetic Line (2008) and Thought of Life II
(2005).
His recent overseas solo shows include City of Lights Nightscapes of Hong Kong (2014),
Human in Nature in Taiwan (2011) and Down to Earth in Austria (2009).
KAMPUNG HOUSE
82
83
CHAN
KOK HOOI
B. PENANG, 1974
Chan studied at the Malaysian Institute of Art on a full scholarship from 1993 to 1996.
Since 1995, he has been involved in several group exhibitions, such as Shah Alam Open 1995 held at Galeri Shah Alam
and Young Talents 1995 organised by Bank Negara Malaysia.
Lately, Chan has participated in the group show Being
Human at Art Stage Singapore 2015 and was one of the 15
Malaysian artists involved in the exhibition, Looking Ahead,
held by Fergana Art Space in Penang.
The majority of Chans solo exhibitions have been overseas with his rst solo show, Imitating, held in Vermont, the
US, in 2007. And in 2012, his Sell Out show was held at Art Seasons Singapore, a fringe event of
Art Stage Singapore.
He has been the recipient of several awards. In 2003, he was among the top ve winners of
the Philip Morris Malaysia-Asean Art Awards organised by the National Art Gallery and a nominee of Best Original Set Design-2nd BOH Cameronian Art Awards.
In 2014, he was named a nominee for the Asia-Pacic Breweries Foundation Signature
Art Prize by the Singapore Art Museum. All these achievements have meant that Chans artwork can be seen in various museums and galleries in Malaysia and overseas, like National
Visual Arts Gallery in Kuala Lumpur, Penang State Art Gallery, Singapore Art Museum, Beppu
Art Museum in Japan, National Taiwan Museum and Korea Fine Art Association.
Skilled at acrylic and other media, Chans work is characterised by his own witty take on
social issues felt by the silent majority in society. Invariably, his compositions, which may not
always be pretty to look at, has the tendency to provoke our thoughts and prick the collective
conscience.
50 YEARS OF SORROW
2013, 76CMX99CM, ACRYLIC & THREAD ON BLUE VELVET
Collection of Mr Valentine Willie
84
85
CHNG
KIAH
KIEAN
B. PENANG, 1974
Chng has two bachelors degrees from Universiti Sains Malaysia.

In 1999, he graduated with a science degree in Housing,
Building & Planning and in 2000, he obtained his architecture
qualication.
A founding member of Urban Sketchers (USk) Penang,
Chng made his mark in the local art scene with his expressive
ink drawings and sketches of George Town streetscapes and
foreign cities. Occasionally, his drawings have a watercolour
wash particularly for parts that depict greenery.
In 2000, he held his rst exhibition Chng Kiah Kiean Solo
Exhibition in Penang and followed by, My Sketches Diary, in 2002. His most recent exhibitions
were Sketching Penang in 2014 and Line-Line Cerita in 2009.
Active in promoting art, Chng has served as an instructor in educational events like USk
Singapore 2015 Symposium in Singapore and Bandung Sketchwallk #25 International Edition in
Indonesia.
Among various public venues, Chng work can be seen at the Penang State Art Gallery, Muzium & Galeri Tuanku Fauziah at Universiti Sain Malaysia as well as Kuo General Hospital in Tainan
City and Hotel Dua in Kaohsiung, both located in Taiwan.
CHEAH KONGSI
2011, 27CM X 75CM, GRAPHITE ON PAPER
86
87
TANG
YEOK
KHANG
B. PENANG, 1975
Born in Bukit Mertajam, the landscape designer turned professional artist studied interior design at the Malaysian Institute of Art and was named the Best Student of the Interior
Design Department.
Before becoming a full-time artist, Tang was involved in
several art exhibitions. Among other events, he participated
in the Urban Interpretation Art Exhibition in Kuala Lumpur in
2008, the 2nd Putrajaya National Water Colour Competition
& Exhibition in 2007-08. He also took part in the Resonance
International Art Workshop Exhibition in Kuala Lumpur and
Blossom Art Exhibition in Penang.
From 2009, Tang got more involved in painting and travelling as well as exhibiting his works
in Asia and Europe.
His artwork has been collected by institutions such as Malaysia National Portrait Gallery,
Galeri Petronas, Penang State Art Gallery, Malayan Banking Bhd and United Overseas Bank.
Meanwhile, Tang is exploring new ways to use art to promote public interests and the welfare of local communities.
DREAM HOUSE I
88
89
LOW
CHEE PENG
B. PENANG, 1975
Best known for his sculptures, Lows forte is in turning marble into exquisite shapes such as in the form of babies. He
works with a variety of medium from stone, metal, resin and
found objects.
The professional artist has won many awards, including
the Major Prize in Pesta Open Art in 2009 for his installation
R.A.T Rhythm Around Transmission.
Low has held several solo exhibitions, including at Galeri
Seni Mutiara, Penang, in 2013 entitled A/B/C. In 2014, he participated in Hin Bus Depot Art Centres second art exhibition
entitled Think About It. In his latest 2015 show at the same
venue entitled B-Series, Low expanded his pre-occupation with babies and infants caught in
intriguing situations. Some of the metal cone and tree sculptures are as high as six metres with
a base as wide as 2.4m. Invariably, they are all juxtaposed with pure-white marble babies and
other objects.
His work highlights issues such as globalisation, materialism, environmental degradation
and the challenges that face the next generation.
As the father of a young child, Low reects upon the future of the human race.
Conceptually adventurous and technically skilled, Low was previously commissioned to
create a line sculpture of Sir Norman Macalister and his wife for the Macalister Mansion boutique hotel in Penang.
I BELIEVE
2012, VARIABLE DIMENSIONS,
STAINLESS STEEL AND MARBLE
90
91
TAN
KAI
SHEUAN
B. PENANG, 1984
Newly emerged and still evolving, this full-time artist has the
technical skill to stand out among his peers.
Tan represents the newest generation of talented artists who have something to say and exploring the ways and
means to say it.
His early works are quite well-executed and follow all the
fundamentals of portrait painting. But lately, he seems to be
inuenced by the contemporary art scene of showing irreverence to the conventions of what is considered collectable art
with his series of nude self-portraits in his Seriously Supercial solo show in Penang in 2013.
Whether he is trying to be provocative for the sake of getting attention or truly trying to
break away from the dictum of what Penang art is all about, remains to be seen. But he is one
talent that cant be ignored.
Tan graduated from Taiwans Chinese Culture University, majoring in ne art, in 2007 and
held his rst solo show BEWILDER in Penang in 2009. His second solo exhibition I Still Feel Lonely
was held in Shanghai, China.
Tans group exhibitions include The First New Expression at the World Art Biennial in Henan,
China, in 2011. In 2012, he participated in two exhibitions entitled RESCUBE and 12 in Penang. In
2014, he took part in THINK ABOUT IT and in 2015, AYAM WHAT AYAM, both held in Penang.
JUST FOR LULZ 08

2013, 150CM X 100CM, CHARCOAL ON PAPER
92
93
ARTIST
INDEX
94
Abdullah Ari
15
Alex Leong
79
Chan Kok Hooi
85
Cheng Haw Chien, Dr
63
Cheung Pooi Yip
33
Chew Choon
65
Chew Teng Beng, Dr
41
Chia Yu Chian
35
Chng Kiah Kean
87
Chong Hip Seng
67
Chong Hon Fatt
47
Choo Beng Teong
75
Chuah Thean Teng, Dato
21
Eric Quah
57
Eston Tan
83
Fauzan Omar
69
Hasnul Jamal Saidon
73
Heng Eow Lin
59
Ho Khay Beng
31
Ismail Hashim
45
James Sum
53
Khaw Sia
23
Khoo Cheang Jin
71
Khoo Sui Hoe
43
Koay Soo Kau
55
Kuo Ju Ping
17
Lee Cheng Yong
25
Lee Eng Beng
77
Low Chee Peng
91
Pheh It Hao
81
Tan Chiang Kiong
29
Tan Choon Ghee
27
Tan Kai Sheuan
93
Tan Lye Hoe
37
Tang Hon Yin, Dato
49
Tang Yeok Khang
89
Tay Hooi Keat, Dato
19
Tay Mo Leong, Dato
39
Toya (Lim Koon Hock)
51
Yeong Seak Ling
61
Yong Mun Sen
13
95
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YONG MUN SEN

PENANG ART: THEN & NOW 2015

TAN CHOON GHEE TAN CHIANG KIONG HO KHAY BENG

Artwork detail: YEONG SEAK LING, BABY ROCK SERIES, 1996

collectors, artists and their family members. The focus of the

Artwork detail: KHOO CHEANG JIN, THAIPUSAM, 2003 SEE PAGE 71

PENANG USED TO LEAD IN THE ART SCENE BEFORE INDEPENDENCE IN 1957.

erce personality, when you got to know him personally,

Penang artists tend to be conservative because they are

COLLECTING ART IN PENANG

ARTIST & GALLERIST

KOAY SOO KAU

emergence of the Urban Sketchers.

younger artists like Tan Kai Sheuan and Renny Cheng.

Choo Beng Teong is doing what he does best in his niche

But Im happy enough with the things that I am seeing. Of

COLLECTOR & ACTIVIST

Born Yong Yen Lang in Kuching, he was sent to Taipu, China, to

Collection of Dato Dr Tan Chee Khuan

Abdullah started out as an art teacher at the Anglo-Chinese

Collection of Dato Dr Tan Chee Khuan

Born Koay Seng Chye in Fujian, Kuo emigrated to Penang with

Collection of Dr Tan Chong Guan

Born in Nibong Tebal, Tay was a founder-member of the

Collection of Dato Dr Tan Chee Khuan

Collection of Dr Tan Chong Guan

In 1927, Khaw studied at the Sin Hua Art Academy in Shanghai

Collection of Crystal & Ivan Gooi

Collection of Dato Dr Tan Chee Khuan

A student of Kuo Ju Ping as well as a graduate of the Nanyang

Collection of Mrs Tan Choon Ghee

Tan studied at the Teachers Training College in Penang before

Collection of the Artist

Collection of Dato Dr Tan Chee Khuan

In the early 1960s, Cheung had hopes of becoming a full-time

Collection of Galeri Seni Mutiara

Born in Kota Tinggi, Chia went to the Nanyang Academy of

Collection of Dr Tan Chong Guan

Tan studied at the Anglo-Chinese School in Penang and went

Collection of Mrs Tan Lye Hoe

At 19, Tay was enrolled in an art course at the Provincial Taipei

Collection of Penny & Brian Coomber

In 1967, Chew was awarded the Fulbright-Hays scholarship to

SOUNDS OF SOUTH CHINA SEA

Collection of Dato Dr Tan Chee Khuan

Khoo Sui Hoe, who is also known as Ray Khoo, graduated

Collection of Dato Lim Chong Keat

OLD CHARM: BIRD CAGE

Collection of Galeri Seni Mutiara

As a founding member of the Penang Watercolour Society,

QUARRY IN KINTA VALLEY

Collection of Khai & Annie Lee

SILK ROAD #44

Collection of the Artist

In his art career, Lim Khoon Hock is better known as Toya.

Collection of Dato Dr Tan Chee Khuan

Sum studied ne art in Dublin in 1965 and in 1966, he furthered

DEWY MORNING MOUNTAINS

Collection of Khai & Annie Lee

Koay embarked on batik painting as well as oil painting in the

Collection of the Artist

Born in Taiping, Quahs family moved to George Town when he

Collection of Khai & Annie Lee