What do you do?
I am a primarily self-taught painter. I make colourful and playful abstract paintings.
What's your background?
I was born in Penang, Malaysia. I am a second-generation Malaysian with South Indian heritage. My mother tongue is Tamil. I attended a government-run school in Malaysia. The medium of instruction was Malay. English was taught as a subject. I spent a year in Victoria, Australia under the umbrella of an international exchange student programme and obtained a Victorian high school certificate. I went on to study law at Leicester University in the United Kingdom. I was admitted to the English Bar as a member of Lincoln's Inn and worked as a lawyer in Kuala Lumpur and Melbourne prior to embarking on a career as an artist.
How long have you been painting full time?
I've been painting sporadically throughout my life and as a career for the last seven years. It has been my childhood dream to be a full-time artist.
Have you had any formal training in art?
I have had a modest amount of instruction on contemporary painting techniques during a short course at the Victorian College of the Arts in Melbourne.
How would you describe your work?
The work reflects an inward journey towards self-knowledge and spiritual awareness. The painting process subdues the analytical mind and creates a conducive space for introspection. The key concept explored is the source and nature of physical existence and experiences. Click HERE to read some introspective poems.
How do you make your paintings?
A big part of this process involves intuition. I paint when inspired to do so. Inspiration comes in the way of a thought or feeling that prompts me to express what is going on inside me in a non-objective way using only my imagination. I do not look for things outside of me for creative stimuli. The compositions, colours, and motifs flow intuitively from within onto the canvas. I paint using a limited palette.
Which artists and styles have influenced your work?
The early painting style was influenced mainly by South East Asian textile and Australian Aboriginal art. As the style took shape, my fascination with the Bauhaus and Surrealist painters like Paul Klee, Vasily Kandinsky, and Joan Miro began to influence the work resulting in simplification and a shift towards geometric shapes, asymmetrical forms, purposeful colours, and lyrical lines while preserving a naive untutored approach to making the paintings. The gradual shifts and changes in my style happen organically,
How does your work fit in with the history of art practice?
My work is a blend of modern and contemporary art. The paintings show different influences from modern art movements that thrived during the Avant-Garde period (1910-1930) such as Suprematism, Bauhaus, De Stijl, and Surrealism. The writing that breathes life into the paintings is reflective of contemporary artists like Cy Twombly who used written text, myths, and poems as a conceptual foundation for their abstract art; although, in my case, the writing is not paired with the artwork.
How would you like the audience to respond to your work?
The colours, shapes, and lines in the paintings have a soft language—only a quiet mind can hear their whispers. Each piece is a marker on my inward journey towards balance, peace, and harmony. Through my work, I invite the audience to turn within and investigate to what extent their conditioned thoughts and beliefs (some of which date back to childhood experiences) influence their present perception of reality. I would be pleased if those who come into contact with my work took a little time to contemplate these three questions without overthinking: 'Does this art engage my attention?'; 'What do I see?'; 'How do I feel?'
The colourful, playful, and naive paintings are intended to entice the inner child in the audience to come out and play. Children are so happy and full of energy. They are always engaged in the present moment with no concerns of past or future. Children do not analyse or calculate—they just enjoy life as it flows.
What art do you most identify with?
I love all forms of artistic expression. The artworks could be realistic or abstract; it's not so much the genre or level of skill, but how an artwork speaks to me that really matters. I like some artworks for their aesthetic qualities and others for their imaginative or intellectual content.
How would you describe your attitude or approach to creativity in society?
Creativity is woven into everything that we see, hear, and do. Art is creativity in its purest form. By making time for art in whatever form, one can find relief from the tedium of everyday life and seek balance in a world unduly tilted in the direction of material pursuits.
How do you title your paintings?
I don't give the paintings a descriptive title. The paintings are sequentially numbered, for example, S265 / 2019.
Why don't you give the paintings a name or descriptive title?
The paintings could be seen through the eyes of a child or an adult. A child sees things as they are and intuitively feels the visual stimulation from what appears before them. An adult, however, tries to make sense of things through analysis and their perception is more likely to be influenced by names and descriptions. By giving the paintings a nondescript title, I invite the adult audience to forgo analysis and simply enjoy the visceral experience.
What is the purpose of repetition in your work?
In my work, repetition is rhythm and movement in what is seemingly a random juxtaposition of shapes, colours, and lines. Some artists might find repetition a challenge because they perceive it to be boring and lacking in creativity. I am, however, of the opinion that it's not possible to explore the furthest depth of one's creativity when there are constant changes in direction.
What’s integral to the work of an emerging artist?
I believe it's consistency. Artists who consistently produce artworks that exhibit focus, personal voice, and aesthetic sensibility show a strong commitment to their practice; they have the potential to gain a devoted following and pique the interest of serious collectors.
What’s your strongest memory of childhood?
I grew up in a working-class neighbourhood comprising children of different ethnicity. My parents could hardly make ends meet; so, I was left to my own devices for fun and entertainment. Fortunately, my hometown is in and amongst nature: tropical jungles, undulating hills, waterfalls, streams, and lakes. My fondest memories are of time spent outdoors just being a playful and adventures kid. I am still that kid at heart who can be quite mischievous at times.
How has embracing spirituality as part of the art practice impacted your lifestyle?
My lifestyle has not changed much except for becoming more aware of my habitual thoughts and beliefs. I have not developed a different moral code or indulged in abstinence. I still enjoy all the pleasures that life offers and have my ups and downs like everyone else. The only difference between then and now is that I am more in touch with how I create my experiences—good and bad. I do not see spirituality and materialism as being mutually exclusive; it's about striking a balance between the two in order to experience a joyful and peaceful existence. I do not believe that spiritual awareness leads to a stoic life; on the contrary, it has liberated me from misconceptions and fears, which in turn, has given me a renewed sense of freedom. Click HERE to see my take on the cycle of existence.
What is the core message that you wish to share with your audience?
We are formless eternal consciousness individually focused in human form for joyous expansion. Life is meant to be fun but when we forget our true identity and the transient nature of all things, we become unduly attached to people, things, and situations that result in struggle and suffering. Everything that is manifest will eventually return to the unmanifest to complete the natural cycle of existence. Ultimately, the true measure of success in this journey is not material success but the extent to which we are able to be happy from one moment to the next regardless of the external conditions.
What does being an artist mean to you?
To me, being an artist is about doing what you love and experiencing inner peace, joy, and contentment. I wish to live in the moment by flowing with the natural unfolding of life. I am grateful for all my experiences - good and bad - as each helps me evolve in some way. I am glad to have followed my heart's calling. With respect to the audience, I hope my work encourages them to give a second thought to the proposition that everyone is creating and experiencing their own subjective reality. Once we awaken to this realisation, we can learn to organise our mind to become deliberate creators of our experiences.
What are your goals?
As an artist, I hope to consistently produce and exhibit new works. Personally, to get happy and stay happy as much as possible.