Transit A0 @ HOM Art Trans

Expanding on the previous A4-sized theme, this fund raising showcase allows artists to contribute on a larger dimension this year. Signature styles prevail, where Chong Siew Ying's charcoal landscapes and Zuraimi Rahim's aluminium construct flank an in-your-face political finger by Phuan Thai Meng. Recent evolutions see Marvin Chan depicting children faces on epoxy, as Ahmad Zakii Anwar experiments with pastel to draw a man's head. Eschewing a change of medium to explore other subjects, Kow Leong Kiang and Gan Chin Lee paint attractive nudes that take after post-Impressionist portrayals of human desolation. Twisting bodies in small spaces describe both paintings, although scattered rubbish in the latter evoke a more powerful (Freud-like?) struggle. Chin Kong Yee's early portrait projects less strain at first glance, but the bald head, blue table, and stacked chairs, delineate a central figure of personal importance.

Chin Kong Yee - Standing portrait of C.B.G (2001)

Chan Kok Hooi utilises thread to illustrate men's perverted gaze, leather backing a peculiar choice of background which dulls the carnal presentation. Saharuddin Supar's giant grater provides an amusing counterpoint to Hamidi Hadi's introspective 'Solat', while a lemon sky lights up Chong Kim Chiew's tonal exploration disguised as an ode to Munch. Grounded pumice cover Fauzulyusri's contribution, the singular drawing of a box surrounded by cave-like textures recalling his early Lembah Bujang works. Repeated layering and scraping of a porous rock invokes powerful emotions, as the time of viewing coincides with an unintentional association with a recently demolished archaeological site. Less significant but important nonetheless, documentation of the local visual arts are hopefully preserved via the efforts of MARS (Malaysian art Archive & Research Support), the receiving party of this event.

Fauzulyusri - Sekotak (2013)