In general I have covered all the periods of my creative encounters in this few months of blogging - discovered.
Before I flag down 2007,I think it is best to plan for 2008 blogging. Among others I plan to blog on the following:
a) Write more about my current creative encounters, i.e. under forward- naturally category especially in the landscaping arena.
b) To write more on dramatic, literary( poetry and prose) , exhibition and display art, and singing ( music) encounters.
Sunday, December 30, 2007
Saturday, December 29, 2007
A Tribute to Othman Borhan ( Part VI )
Othman's Art of the Nineties
The exposure Othman had during the International art Exhibition and Workshop, held at Kuching from 8-17 September 1989 was crucial in developing him as a renowned and credible Kuching Malay watercolourist of the early 1990's.
In the early 90's he took a notable interest in studying nature close up and personal. His treatment to landscapes, natural objects and water retains a transparency and dreamlike quality uniquely in semi- abstract expressionistic stlye.
One style that he adopted from the International Art Exhibition experience was that of Yusuf Ghani's colourful, free flowing lines and strokes and figures in perpetual motion or movement. Yusuf Ghani was one of the teachers during the International Art Exhibition and Workshop.
This move to semi-abstract and abstract expressionism was slowly making a mark on the Kuching art scene and his works were quickly taken up by corporate sponsors and individuals.
Here we see Othman at his best. There seemed to be much promise for him in the world of art to go international if only not to his early demise.
Othman Borhan, Water colour and Ink, Bako Tide Pools , 78 cm x 78 cm , 1991.
Othman Borhan, Water colour, Exodus Series No.4/89. circa '89.
Othman Borhan, Water colour and Ink , Matang Shallows, 78cm x 118 cm, 1991.
Othman Borhan, Water colour, Renderings of Tropical Terrain in Green, 30 cm x 50 cm, 1990.
Othman Borhan as Secretary and Coordinator of International Art Exhibition and Workshop held at Kuching , 8 - 17 September , 1989.
The exposure Othman had during the International art Exhibition and Workshop, held at Kuching from 8-17 September 1989 was crucial in developing him as a renowned and credible Kuching Malay watercolourist of the early 1990's.
In the early 90's he took a notable interest in studying nature close up and personal. His treatment to landscapes, natural objects and water retains a transparency and dreamlike quality uniquely in semi- abstract expressionistic stlye.
One style that he adopted from the International Art Exhibition experience was that of Yusuf Ghani's colourful, free flowing lines and strokes and figures in perpetual motion or movement. Yusuf Ghani was one of the teachers during the International Art Exhibition and Workshop.
This move to semi-abstract and abstract expressionism was slowly making a mark on the Kuching art scene and his works were quickly taken up by corporate sponsors and individuals.
Here we see Othman at his best. There seemed to be much promise for him in the world of art to go international if only not to his early demise.
Othman Borhan, Water colour and Ink, Bako Tide Pools , 78 cm x 78 cm , 1991.
Othman Borhan, Water colour, Exodus Series No.4/89. circa '89.
Othman Borhan, Water colour and Ink , Matang Shallows, 78cm x 118 cm, 1991.
Othman Borhan, Water colour, Renderings of Tropical Terrain in Green, 30 cm x 50 cm, 1990.
Othman Borhan as Secretary and Coordinator of International Art Exhibition and Workshop held at Kuching , 8 - 17 September , 1989.A Tribute to Othman Borhan ( Part V )
Abstract Water colours of the 90's
Othman Borhan, Water colour , Bluescape with Red Streaks, 25x30 cm, 1990.
Unframed and in Private collection.
Othman Borhan, Water colour, Rendering of Tropical Terrain in Green, 35x 50 cm, 1990
Unframed and in Private collection
Othman Borhan, Water colour , Bluescape with Red Streaks, 25x30 cm, 1990.Unframed and in Private collection.
Othman Borhan, Water colour, Rendering of Tropical Terrain in Green, 35x 50 cm, 1990
Unframed and in Private collection
Friday, December 28, 2007
A Tribute to Othman Borhan (Part IV)
Bold Experiments in Water colour of the late 80's
Throughout the eighties, Othman Borhan's water colours were very 'scholarly', true to form and style of 'western colour' techniques.
However, towards the late 1980's he began to undertake more bold strokes, wide washes and sublime colour schemes to 'plein air' water colour painting.
These studies and experiments were to become later a harbinger to highly successful semi-abstract water colour and acrylic paintings of the early 1990's.
Othman Borhan, water colour, Seaside with two boats. 30x40 cm, circa Sept.'89
Unframed and in Private collection.
Othman Borhan, water colour. Damai Resort from South China Sea. 30x40 cm, 11 Sept '89.
Throughout the eighties, Othman Borhan's water colours were very 'scholarly', true to form and style of 'western colour' techniques.
However, towards the late 1980's he began to undertake more bold strokes, wide washes and sublime colour schemes to 'plein air' water colour painting.
These studies and experiments were to become later a harbinger to highly successful semi-abstract water colour and acrylic paintings of the early 1990's.
Othman Borhan, water colour, Seaside with two boats. 30x40 cm, circa Sept.'89Unframed and in Private collection.
Othman Borhan, water colour. Damai Resort from South China Sea. 30x40 cm, 11 Sept '89.
Unframed and in Private collection.
Othman Borhan, water colour, Landscape. 30x40 cm, 2 Sept'89.
Othman Borhan, water colour, Landscape. 30x40 cm, 2 Sept'89.
Unframed and in Private collection.
Wednesday, December 26, 2007
A Gallery for MY Paintings
Exhibition Spaces
It started in 1995 at my office in Tanjong Batu, Bintulu. There I built a corner on raised platform to put on display my framed paintings. Then when my office moved to a second floor unit at Parkcity Commerce Square Phase I in 1999, I exhibited them at my office walls and at a cyber cafe below my office.
Note: Abstract paintings done in 1995 displayed in my office at Parkcity Commerce Square, Bintulu,Sarawak. Malaysia.
Virtual Gallery
In 2007, with compliments from blogger, I was able to build a virtual gallery for my paintings at cyber space, accessed at http://mygalerimood.blogspot.com/ . Thus this year (2007) represents an important chapter in exhibiting my paintings for a wider and more international audience, thanks to the Internet and especially to blogger making available blog sites freely for anyone in the whole wide world.
It started in 1995 at my office in Tanjong Batu, Bintulu. There I built a corner on raised platform to put on display my framed paintings. Then when my office moved to a second floor unit at Parkcity Commerce Square Phase I in 1999, I exhibited them at my office walls and at a cyber cafe below my office.
Note: Abstract paintings done in 1995 displayed in my office at Parkcity Commerce Square, Bintulu,Sarawak. Malaysia.Virtual Gallery
In 2007, with compliments from blogger, I was able to build a virtual gallery for my paintings at cyber space, accessed at http://mygalerimood.blogspot.com/ . Thus this year (2007) represents an important chapter in exhibiting my paintings for a wider and more international audience, thanks to the Internet and especially to blogger making available blog sites freely for anyone in the whole wide world.
Monday, December 24, 2007
A Tribute to Othman Borhan (Part 111)
Well known Malay water colourist
In the Kuching art scene of the late 80's, Othman Borhan stood out as probably the only well known Kuching born Malay artist who made it good at the water colour medium.
Artists in Sarawak in the 80's were conveniently grouped under the Sarawak Artist Society of which almost all its participating members were artists in and around Kuching town. The society which was comprised of artists from various ethnic origins, held regular exhibitions through out the 80's. But these exhibitions were largely composed of works of the 'heavy weight' artists of the art fraternity in Kuching then of which the Chinese group was more active and predominating.
Towards the later part of the 80's , Othman's watercolours showed intense subjectivity especially in capturing the 'ambience' or 'mood of the place'. He achieved this by employing ' atmospheric effects' . His technique and style showed a departure from the majority of Chinese water colourists who tended to optimise the use of the Chinese brush. His use of 'western' brushes found good effect in his paintings , thus providing a 'modernising' influence on water clour technique or style at that period.
In terms of colour, there is lesser use of black colour ( as in Chinese ink black) in highlighting figures or outlines or economical strokes so typical of Chinese water colour painting. His was a very western use of colour and feel.
Othman Borhan, water colour on paper, 34x50 cm, circa 1988, Rural Sarawak
( Unframed and in Private collection)
Othman Borhan, water colour on paper,26x35 cm, 1988, Kampung.( Unframed and in Private collection)
Othman Borhan, water colour on paper, 40x35 cm, 1987, Farm House.
In the Kuching art scene of the late 80's, Othman Borhan stood out as probably the only well known Kuching born Malay artist who made it good at the water colour medium.
Artists in Sarawak in the 80's were conveniently grouped under the Sarawak Artist Society of which almost all its participating members were artists in and around Kuching town. The society which was comprised of artists from various ethnic origins, held regular exhibitions through out the 80's. But these exhibitions were largely composed of works of the 'heavy weight' artists of the art fraternity in Kuching then of which the Chinese group was more active and predominating.
Towards the later part of the 80's , Othman's watercolours showed intense subjectivity especially in capturing the 'ambience' or 'mood of the place'. He achieved this by employing ' atmospheric effects' . His technique and style showed a departure from the majority of Chinese water colourists who tended to optimise the use of the Chinese brush. His use of 'western' brushes found good effect in his paintings , thus providing a 'modernising' influence on water clour technique or style at that period.
In terms of colour, there is lesser use of black colour ( as in Chinese ink black) in highlighting figures or outlines or economical strokes so typical of Chinese water colour painting. His was a very western use of colour and feel.
Othman Borhan, water colour on paper, 34x50 cm, circa 1988, Rural Sarawak
( Unframed and in Private collection)
Othman Borhan, water colour on paper,26x35 cm, 1988, Kampung.( Unframed and in Private collection)
Othman Borhan, water colour on paper, 40x35 cm, 1987, Farm House.
( Unframed and in Private collection )
Sunday, December 23, 2007
A Tribute to Othman Borhan (Part 11)
Escape to Rural Sarawak
Through out the early '80's till mid 80's , Othman worked as a car salesman and this job required him to travel frequently outside Kuching. His travels outside Kuching must have been instrumental in giving inspirations to depict the beauty of Sarawak country side.
Executed mainly in watercolours, he did a series of paintings on rural landscapes. Working under pressure and competition as a car salesman in fast paced Kuching,and raising a family, I find that in his paintings he sought solace and escape in the serenity and quietness of rural Sarawak.
Othman Borhan, Water colour on paper, 27 cm x 32 cm, 1986, Sarawak Street Scene.
(Unframed and in private collection)
Othman Borhan, Watercolour on paper, 27 cm x 32 cm,1986, Lonesome Red,( Unframed and in private collection)
Through out the early '80's till mid 80's , Othman worked as a car salesman and this job required him to travel frequently outside Kuching. His travels outside Kuching must have been instrumental in giving inspirations to depict the beauty of Sarawak country side.
Executed mainly in watercolours, he did a series of paintings on rural landscapes. Working under pressure and competition as a car salesman in fast paced Kuching,and raising a family, I find that in his paintings he sought solace and escape in the serenity and quietness of rural Sarawak.
Othman Borhan, Water colour on paper, 27 cm x 32 cm, 1986, Sarawak Street Scene.(Unframed and in private collection)
Othman Borhan, Watercolour on paper, 27 cm x 32 cm,1986, Lonesome Red,( Unframed and in private collection)Thursday, December 20, 2007
Closing the Year 2007
Artistically what have I achieved? Only one word that best describes it ...blogging. The later part of this year I discovered blogging and many more hours( frustrating as well) of creativity in the blogging arena. I worked hard to keep stock of all my paintings , some still in my possession ( artist collection ) while others are in photographic images( sold/lost/damaged) and to put them up in cyber space. This virtual gallery is now called...GALERI MOOD ....accessed at mygalerimood.blogspot.com/ . Stories to the paintings and drawings are available at another blog site called ...beingmy2.blogspot.com/ and beingmy.blogspot.com/ ( the latter being the original version before I got jammed, blocked or unable to access it, thus the birth of beingmy2)
In the long term BEING MY - will be the basis of a proposed book which is in the works for 2008. This book will be about my encounters with creativity not solely confined to painting and drawing. In the proposed book, my creative handiwork in landscaping, exhibition & display art, the performing arts especially stage drama and children's theatre , poetry and singing will all be accounted for.
Blogging is the main method for me to get the book down to writing.
In the long term BEING MY - will be the basis of a proposed book which is in the works for 2008. This book will be about my encounters with creativity not solely confined to painting and drawing. In the proposed book, my creative handiwork in landscaping, exhibition & display art, the performing arts especially stage drama and children's theatre , poetry and singing will all be accounted for.
Blogging is the main method for me to get the book down to writing.
Tuesday, December 4, 2007
A Tribute to Othman Borhan (Part 1 )
An Introduction
This tribute will be done in a series starting with this posting . Othman Borhan was a contemporary of mine while studying art at Tanjong Lobang College, Miri in the late 1960's.
In 1969 he was awarded the Best Art Student while in upper six form. In the same year , he won first place in an Art competition held at Gymkana Club Miri.
His reputation as an artist grew when he returned to Kuching after finishing his sixth form, especially towards the late 1980's, while at the same time kept busy and on the move by his business career. His artistic standing in Kuching climaxed in the early 1990's'.
It is fitting that his image was shown in a news report about an exhibition of top Sarawak artists in 1991. This exhibition was made possible due to the patronage of one of Bintulu's richest company, the MLNG Sdn Bhd. In the exhibition his 'rockscapes series'and 'dreamscape series' were a clear indication of the impact of the exposure to various international artists in a week long art exhibition and workshop held at Kuching Civic Centre in 1989. His clear direction and newfound fusion in transparency and semi abstract painting was surely an indication of better things to come.
A picture of his "Rockscape Series" entitled 'the matang shallows', ink and water colour, 118 cm x 78 cm , done in 1991. This painting was exhibited at the ' Beauty of Sarawak ' painting exhibition sponsored by MLNG Sdn Bhd, 18-22May. 1991 at Dewan Tun Abdul Razak, Kuching.
A New Straits Times cutting of the 'Beauty of Sarawak' event, highlighting four of the exhibitors, Othman included.
Othman Borhan, in front of his award winning batik painting held during an Art Competition show in Miri during his younger days at Tanjong Lobang College.
Front cover of Art Exhibition booklet, of eight top Sarawakian artists held at Dewan Tun Abdul Razak, Kuching, Sarawak. Sponsored by MLNG Sdn Bhd.
In 1989, Othman was instrumental in organising an international level Art Exhibition and Workshop , organised jointly by SEDC, Sarawak Artist Society and Art Affairs Singapore at Kuching Civic Centre. This workshop exposed him to new trends in art, especially abstract and semi- abstract and these impacted him in his later works, done in early 1990's.
An example of a very early work. Done in water colour, 35 cm x 30 cm , unframed and entitled " Riverine Kampung Serenity",1986.( Private collection)
This tribute will be done in a series starting with this posting . Othman Borhan was a contemporary of mine while studying art at Tanjong Lobang College, Miri in the late 1960's.
In 1969 he was awarded the Best Art Student while in upper six form. In the same year , he won first place in an Art competition held at Gymkana Club Miri.
His reputation as an artist grew when he returned to Kuching after finishing his sixth form, especially towards the late 1980's, while at the same time kept busy and on the move by his business career. His artistic standing in Kuching climaxed in the early 1990's'.
It is fitting that his image was shown in a news report about an exhibition of top Sarawak artists in 1991. This exhibition was made possible due to the patronage of one of Bintulu's richest company, the MLNG Sdn Bhd. In the exhibition his 'rockscapes series'and 'dreamscape series' were a clear indication of the impact of the exposure to various international artists in a week long art exhibition and workshop held at Kuching Civic Centre in 1989. His clear direction and newfound fusion in transparency and semi abstract painting was surely an indication of better things to come.
A picture of his "Rockscape Series" entitled 'the matang shallows', ink and water colour, 118 cm x 78 cm , done in 1991. This painting was exhibited at the ' Beauty of Sarawak ' painting exhibition sponsored by MLNG Sdn Bhd, 18-22May. 1991 at Dewan Tun Abdul Razak, Kuching.
A New Straits Times cutting of the 'Beauty of Sarawak' event, highlighting four of the exhibitors, Othman included.
Othman Borhan, in front of his award winning batik painting held during an Art Competition show in Miri during his younger days at Tanjong Lobang College.
Front cover of Art Exhibition booklet, of eight top Sarawakian artists held at Dewan Tun Abdul Razak, Kuching, Sarawak. Sponsored by MLNG Sdn Bhd.
In 1989, Othman was instrumental in organising an international level Art Exhibition and Workshop , organised jointly by SEDC, Sarawak Artist Society and Art Affairs Singapore at Kuching Civic Centre. This workshop exposed him to new trends in art, especially abstract and semi- abstract and these impacted him in his later works, done in early 1990's.
An example of a very early work. Done in water colour, 35 cm x 30 cm , unframed and entitled " Riverine Kampung Serenity",1986.( Private collection)Monday, December 3, 2007
The Mature Years: AYU
AYU
dalam kejemuan membalik-balik lembaran hidup
terasa jejari lembutmu menyentuh tanganku
lalu kita bersua berbisik misteri
hingga tersebut rindu di hati
kau bebayang asyik kupandang
dan setiap kali ilham menggoda
aka kutempuhi keujudanmu
jua kubilang kehadiranmu
kerana tahu pertemuan ini akan berlalu
meskipun hajat kuat mahu mencapaimu
bukan mengecapi bebayang fana
sekejap datang terus berterbangan
tetapi keseluruhanmu yang memiliki kesemuanya
selagi ku belum mendekati makna senyummu itu
akan kukejar setiap waktu
rela kutunggu ketibaanmu
pun sepintas jari saat kau mendetik datang
pada hidup ini ia sepanjang musim kebahagian.
22.7.81
Artist collection: AYU, 94 cm x 70 cm, water colour, 10.10.74
The Mature Years: Chrysanthemum
Artist Collection: Chrysanthemum , 87 cm x 67 cm, mixed media, 9.12.75
The Mature Years: Spray of Flowers
Artist Collection: Spray of Flowers , 95 cm x 71 cm , water colour, 18.4.76
The Mature Years: The Doors of Life
The Doors of Life
The doors of life are always open
But it is to open our mind and heart
To be self-conscious of Life and Existence
That remains a task
Artist collection: Door of Life ,in mixed media,95 cm x71 cm, 8.8.81.
The doors of life are always open
But it is to open our mind and heart
To be self-conscious of Life and ExistenceThat remains a task
Artist collection: Door of Life ,in mixed media,95 cm x71 cm, 8.8.81.
Wednesday, November 28, 2007
The Mature Years: Mr. Voong's Final Impact
Sometimes when we are just being a student, especially in our early formative years, we do not have the means to know how far our education will advance us in the future. Our fervent hope is to be successful in whatever life's undertakings we chose to follow later in life. But upon deeper reflection, I will not be doing justice to myself , the guidance of a superb art teacher and a very encouraging school environment in Tanjong Lobang School of the late 1960's, if I don't pay a tribute to Mr. Voong. I realised much later in life that the early stirrings of creativity that were instilled in me during the Tanjong days continued to flow in my 'Young Man as Artist' period and right on till 'My Mature Years Period'. Mr. Voong has inspired me in deeper ways than I could imagine. My skills in handling the Chinese brush I attributed much to his training. My early exposure to modern art or abstract art as we used to refer it then was largely through his demanding lessons but nonetheless filled with much fun, wit and laughter and his generosity with knowledge makes me feel that learning knows no boundary. Just as well , my exposure to batik painting, sculpture ( clay ), poster art, mixed media and water colour in 'plein air' were acquired early through his teachings , remains forever a treasured repertoire as I struggled to master the various art genres and techniques over my mature years period. Finally I think I would not have obtained a Principal Pass A in the HSC Art Paper if not for his constant encouragement and my perceptions of him as an excellent model of an art teacher.Those lessons and learning metamorphosed in a rather unique art exhibition which I held at the Sarawak Museum, Kuching on 14/10/81 , partly to celebrate my 30 th birthday. But what touched my heart now when I thumb through the Exhibition visitors' book was a comment that best described Mr. Voong's impact on me.
" Hello, schoolmate of Tanjong long ago- Those were the days. And the work Mr.Voong gave you to do has borne fruit- congratulations."
Annis Lim, 17.10.81
As a matter of great note to me, about ten copies of the booklet that accompanied the exhibition were bought by Rex Bookstore, Kuching to be sent to The Library of Congress. Today if you are to surf the internet, and visit amazon.com , and search under 'Books' category, and type Pameran Lukisan dan Puisi Mood you will see mention of the book even after 26 years of the event. Well, all these would not have been possible without an excellent teacher in the person of Mr. Voong. That much I owe him.
Migration of Being MY
Tonight I decided , after weeks of not being able to access my previous site of the same name, to migrate to a new site. Thus, Being MY in 2nd Edition. With this migration, I have now completed the migration of my other blog sites as follows:
1) mylandscapingstory.blogspot.com/
2) mystandingtall .blogspot.com/
3) mybintuluhistory.bogspot.com/
(The newer ones have 2 added to its url and 2nd Edition to the blog's name for differentiation purpose).
Well let's pray the previous problems I faced earlier will not be repeated again in the immediate future. God willing.
1) mylandscapingstory.blogspot.com/
2) mystandingtall .blogspot.com/
3) mybintuluhistory.bogspot.com/
(The newer ones have 2 added to its url and 2nd Edition to the blog's name for differentiation purpose).
Well let's pray the previous problems I faced earlier will not be repeated again in the immediate future. God willing.
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