This blog was created as a venue for printmakers in Malaysia to come together and share ideas, information and facilities.
We also would like to create awareness, spread the love for printmaking!

Sunday, 29 December 2013

Spot Art 2013 - Chua Shu Ruei

In the recently concluded Singapore Biennale 2013, there was a parallel event called Spot Art 2013.

SPOT ART is a high quality, juried art festival for art students and artists under 30 in Asia that aims to strengthen relationships between artists, art institutions and arts professionals in Southeast Asia. Our event will take root as a dynamic and meaningful event for the art world, as well as for the general public, where young artists can mingle with an international audience of art professionals, art collectors, peers and tourists. SPOT ART is an opportunity not only for artists to be seen and heard, but also for the audience to reflect on their creativity as a sign of our times. It is a time to look and listen to what they are saying, reach out to them as they do to us and offer our support and encouragement as they work tirelessly to enrich and advance our cultural heritage. SPOT ART is a new and innovative addition to the burgeoning art infrastructure in Singapore. 

Congrats to Chua Shu Ruei from ASWARA,  the only Malaysian entry selected under a rigourous process by a 7-person selection committee.

Two of her 'Manusia' series artworks were selected for the exhibition : Orang Boxes 2 and Orang Boxes 3

Orang Boxes 2
Orang Boxes 3
They are print installations that combine extended and alternative printmaking with light boxes. She uses digital print and ready made/industrial prints.

Look familiar? Aren't those orange boxes we see so much during Chinese New Year? Just how does Shu Ruei conceptualise her work?

She credits it mainly to her Fine Art training at ASWARA where they were encouraged to incorporate local traditional heritage culture into contemporary art. "This is as a way to preserve and evolve the significance of traditional culture so that it can continue to be relevant within a contemporary context", Shu Ruei explains.

The Manusia series is her Diploma graduation project at ASWARA. In her final semester, she majored in Printmaking and minored in Sculpture.

We first met Shu Ruei when she accompanied ACG members and Art Malaysia's Editor-in-Chief, Liew Kean Yap on a short visit to her lecturer, Juhari Said's Akal Di-Ulu (studio / home / farm).

She is a soft-spoken and a dedicated artist. Imagine, in her research of our Malaysian Chinese Lion Dance, she followed a local lion dance company (Wan Seng Hang Dragon and Lion Arts) for over 2 and a half years. She frequently visited their workshop to observe their materials and techniques. She also followed and documented them during performances and practice sessions.

And then incorporated this research into the Manusia series which deals with the issues of dehumanisation, identity and self-categorisation. 

Flashback: POCHOIR - stenciling technique

Speaking of Haute Couture (high fashion), in the 1950s, top fashion houses like Balenciaga & Dior would print magazines for their clients showing their latest designs in full colour and with fabric swatches.

To ensure these colour are as close to the original, they used a stencilling method called Pochoir.

"....Pochoir, which means stencil in French, had its heyday in the 1910s and 1920s when it was widely adopted by the era’s cutting edge illustrators such as Paul Iribe, Georges Lepape, George Barbier and André Édouard Marty for their illustrations that appeared in ultra-exclusive fashion and lifestyle magazines such as Gazette du Bon Ton, Journal des Dames et des Modes andModes et Manières d’Aujourd’hui. The works that appear in these pages are among the supreme expressions of the pochoir technique, requiring up to 100 separate stencils, in perfect registration with each other, for the colouriste to execute the illustrators’ elaborate compositions.  Because of the cost associated with production, the use of pochoirlargely died out in the economic downturn of the early 1930s.

L’Officiel de la Couleur and Cahiers Bleu are two of the few fashion publications that continued to use the technique regardless of expense.  Perhaps this is because of the extraordinary range of colors and levels of transparency available with the use of impaste or chemical color mediums; “Impastes were thicker and more solid and number about fifty colors. ‘Chemicals’ were preferred because of their transparency and extraordinary range.  More than 1,400 were available.”  Compared to the limited-edition fashion publications and artist books of the Teens and Twenties, the use of pochoir in L’Officiel de la Couleur and Cahiers Bleuis relatively simple.  Each color appearing on the page indicates the use of a different stencil which was laid upon the page, which had been previously printed with the black lines of the illustration.  Brushes, gudgeons or pompons were used to apply the colors, one at a time, to the page.  Rarely are do more than three to five colors appear per page, translating to an equal number of stencils, or patrons, required.
The customer-base for this publication was clearly international as it was concurrently published in French, English, Spanish, and Portugese with the promise that readers would be advised “each quarter…on the colors which are to be in vogue in the upcoming season, via this “veritable work of art,” which was “highly sought after by book collectors.”

Friday, 6 December 2013

The Flyway Print Exchange - an update

In June 2013, we received an invitation (call for entries) to join a printmaking exchange initiative related to shorebirds conservation.

Here's a Facebook page for those interested to follow development of this event..

The Flyway Print Exchange is an art project that links 20 artists from 9 different countries along the East-Asian Australasian Flyway.
The Flyway Print Exchange is an exchange between artists living in different countries along the East-Asian Australasian Flyway, the flight path travelled by Australia’s migratory shorebirds twice annually between their breeding and non-breeding grounds.

Twenty artists, from nine of the twenty-two Flyway countries, will create prints inspired by the idea of the Flyway. One print from each edition will then be posted, unprotected, along the Flyway and back, echoing the birds’ journey, adding the impression of migration and distance to the works and referencing the weathering of the migrating birds’ plumage. The prints, weathered and pristine, will be exhibited together in Melbourne in 2014.
....The Artists
The twenty artists who are participating in the Flyway Print Exchange range from recent graduates and emerging artists, to academics and established artists of long standing. The artists and the countries they represent are:
Australia: Alexis Beckett; Kate Gorringe-Smith; Helen Kocis Edwards; Amanda O’Sullivan; Vida Pearson;
three indigenous artists (to be confirmed) from Waralungku Arts
New Zealand: Celia Walker
Indonesia: Syahrizal Pahlevi
Singapore: Tham Pui San
India: Radhika Gupta; Kavita Shah
South Korea: Hyun Tae Lee
Japan: Kyoko Imazu
China: Cui Xiao Hua; Ni Jianming; Feng Jiaming
USA (Alaska): Garry Kaulitz; Edwin Mighell

View websites of the event and some of the artists, to view their works ..

Friday, 30 August 2013

Calling all Malaysian Print Artists

Calling all print artists .... 
come join 1001 Malaysian Artists & Sculptors exhibition 
25 Sept - 29 Sept 2013 @Viva Homes - Exhibition Hall, Kuala Lumpur.

and also be on the E-DIRECTORY
The nation's largest artists' convergence, all-in-one massive online e-Directory. 
to see a preview of the e-directory

All Malaysian artists and sculptors are encourage to send in your info to : 
or call Art malaysia office 03-9281 6868 (office hours)


Saturday, 3 August 2013

ASWARA - Graduation exhibition (visual arts) 2013

From 19 June 2013 to 2nd of July, the graduating class of 2013, Art Dept at Aswara had their graduation exhibition.  Among them were some interesting printmaking artwork, either explicitly print or a mix with other media.

I was invited to view the exhibits by Ms Chuah Shu Ruei, part of the organising committee but was not able to attend. However, she was kind enough to roundup some pretty amazing print works by the graduates for our viewing pleasure.

It's always interesting and inspiring to view works by new, aspiring artists!!

Ean Siew Yieen 
- Majored in Printmaking
Ean Siew Yieen- 'Traditional Life II'- Stencil print, acrylic
- Theme: Lotus
- Ean Siew Yieen perceives the lotus beyond it's usual Buddhistic connotations, and instead explores its role in traditional health foods and medicine.

Aizat Amir bin Ahmad Sanusi 
- Minor in Printmaking
Aizat Amir- 'Saya Budak Baru Belajar'; Mixed media- Silkscreen, oil paint, collage, lacquer
- Theme: Pantun Melayu
- Aizat's installation piece based on the pantun 'Buah Cempedak Diluar Pagar' invites the viewer to reminisce on old school days, and to realize how we are still and always pupils to our everyday environment.

Anith Fatin binti Hafidzi
- Majored in Printmaking
Anith Fatin- 'Songket Bunga Melur (Jasmine)'; Silkscreen printing, glass, Stainkis
- Theme: Songket Motif
- Anith Fatin incorporates songket motifs into her work to rekindle and deepen the viewers awareness and understanding of this traditional craft; it's elegance, history, and     great cultural value.

Muhamad Hazul bin Abu Bakar
- Minor in Printmaking
Hazul Bakar- 'Kill By Money'; Silkscreen printing, Bitumen, ink on canvas
- Theme: Before and After
- This series is based on the Hadith 'Lima Perkara Sebelum Datangnya Lima Perkara' and on the artist's thoughts and observations of contemporary society. His work mulls on a society lost and negligent of their religious duties, and the consequences of this.

Abdul Aziz bin Mohd Suhaimi (Suhaiziz)
- Minor in Printmaking
Suhaiziz- 'Rhythm of Champions' - silkscreen printing
- Theme: Rhythm
- Through his series, Suhaiziz ponders, distorts and explores the world of Wayang Kulit music and instruments.

Chuah Shu Ruei 
- Majored in Printmaking
'Orang Boxes'_ Digital Print, light box, ready made objects
- Theme: Dehumanisation 

- 'Orang Boxes' is a Manglish play of words, where a small typo in 'orange boxes' changes its meaning to 'people boxes'. Mandarin orange boxes are a metaphor for how        assigning identity to ourselves and stereotyping is a way of packaging/objectifying/dehumanising ourselves and each other. 

Saturday, 6 July 2013

A Town Called George

Paris-based artist, Marie Dargent, gives George Town a new tinge, hue and perspective through a complex series of processes that includes the ancient method of hand-printing on a stone lithographic press. The colours, composition and use of collage and photography recaptures Dargent’s transient emotions of George Town, in the same esprit as her series covering the cities of Istanbul, Venice, Paris and Kuala Lumpur. Dargent and her husband, photographer John Brunton were in Malaysia last year for an architectural heritage exhibition using the same technique.
For more info:
Date: 7 June - 7 July 2013

Time:Hotel hours
Venue:Victory Annexe Lobby, E&O Hotel, Georgetown, Penang.
Admission: Free

From FB  post :   Art 101: Lithography
Meet artist Marie Dargent in Victory Annexe, E&O Hotel today and tomorrow (6 & 7 JULY 2013) to learn the process of lithography, which is used for her collection of A Town Called George. Catch her from 2pm to 5pm on both days.
More info:

Wednesday, 19 June 2013

Flyway Print Exchange.

Received this last week.  Malaysian printmakers, do contact them directly if you are interested.

Call for Artists : Flyway Print Exchange.
A Melbourne-based project seeking to unite artists along the East-Asian Australasian Flyway and promote shorebird conservation.

I am currently, with the endorsement BirdLife Australia, initiating a print exchange around the idea of the East Asian-Australasian Flyway. Participating artists will be asked to create a print in response to the stories of Australia’s migratory shorebirds, then to create an edition with three purposes. Firstly, every artist will receive one of each print. Secondly, additional copies will be available for exhibition and sale. Thirdly, I will post one print from each edition, unprotected, along the flyway and back, to then exhibit alongside its pristine counterpart. If they find their way home, the prints will be weathered by the journey. If they don’t, that too will be significant.
I am looking for a representative artist from as many Flyway countries as possible (these are: the USA [Alaska]; Russia [Siberia]; Mongolia; China; North Korea; South Korea; Japan; the Philippines; Vietnam; Laos; Thailand; Cambodia; Myanmar; Bangladesh; India; Malaysia; Singapore; Brunei; Indonesia; Timor; Papua New Guinea and New Zealand). After an initial exhibition in Melbourne I hope to travel the exhibition to some of the countries of the other participating artists.

If you would like more information, or if you know any artists living in flyway countries who might like to be involved, I would love to hear from you.

Kate Gorringe-Smith

The Flyway Print Exchange – Introduction 

The Flyway Print Exchange is an exchange between artists living in various countries along the East-Asian Australasian Flyway, the flight path travelled by Australia’s migratory shorebirds twice annually between their breeding and non-breeding grounds.

-          To bring together artists from a wide variety of cultural and artistic backgrounds
-          To publicise the age-old linking of our countries through the natural phenomenon of bird migration
-          To raise awareness of migratory shorebirds.

The Flyway
Artists are invited to investigate the idea of the Flyway and to use it as the starting point for their work.

The annual departure and arrival of migratory birds is a spectacle which has symbolic meaning in numerous cultures around the world. Many of these birds travel vast distances, crossing several countries and entire continents during their annual cycle of migration.

The countries that comprise the East-Asian Australasian Flyway are: the USA (Alaska); Russia (Siberia); Mongolia; China; North Korea; South Korea; Japan; the Philippines; Vietnam; Laos; Thailand; Cambodia; Myanmar; Bangladesh; India; Malaysia; Singapore; Brunei; Indonesia; Timor; Papua New Guinea; Australia and New Zealand.

The Prints
Artists will be invited to create a limited edition of a print produced in response to the idea of the flyway and the bird species that frequent it. Finished editions will be posted to the project co-ordinator in Melbourne, Australia.  The dimensions of the print will also be specified, and paper and postage will be provided.

- Each artists will receive one of each print in the exchange.

- Two prints from each edition will be posted, with no protective cover, along the Flyway to Alaska and back to Australia to mirror the journey undertaken by the birds. The weathered print will then be exhibited, alongside its pristine counterpart. The weathered print will refer to the physical reality of the birds’ journey.

- The remaining prints (as many as the artist wants to print in addition to those produced for the above purposes) will be offered for sale.

A proportion of the money from sales will be donated to BirdLife Australia to the Shorebirds 2020 Project which is working to conserve migratory shorebirds. BirdLife Australia would also have limited reproduction rights of the Exchange images for both publicity and revenue purposes.

The prints from the exchange, both weathered and pristine, will first be exhibited in Melbourne, Australia. The exhibition will be publicised throughout the membership of BirdLife Australia, as well as through Australian art media.

Our aim is then to seek galleries along the Flyway to subsequently exhibit in the countries of each participating artist. We would ask participating artists for their input as to appropriate venues for the exhibition. 

Approximate Timing
September 2013:  Participating Artists finalised
March 2014:  Editions completed and posted to the co-ordinator
June 2014: ‘Flyway’ prints return from posting along the Flyway and back
September 2014: First exhibition of the Flyway Exchange in Melbourne, Australia 

This document is a preliminary draft of the details of the exchange. Artists’ who express an interest in participating will be sent the final conditions of entry, a registration form and more specific details of the Flyway and the species that traverse it. 

Please send expressions of interest to:

Kate Gorringe-Smith
Flyway Print Exchange Co-ordinator
Mobile: 0432 322 408

Friday, 31 May 2013

Loo Foh Sang - veteran printmaker

I was torn between work and visiting Loo Foh Sang's most recent exhibition. But duty (work) first, so i didnt make it to the opening. However our local daily, The Star gave a two-page spread of his exhibition opening. 

These are excerpts from the article

Tuesday May 28, 2013

Artist’s printmaking skills shine at solo

Photos by ART CHEN and courtesy of Samadee Studio

...PRINTMAKING is not a common art medium in Malaysia, which is why Loo Foh Sang takes great pride in being one of the few local artists who has mastered the various printmaking techniques.

“Printmaking allows me to express my creativity and observations in a different manner,” said the 69-year-old, who also specialises in oil painting and Chinese contemporary ink painting.
“Printmaking is not an easy technique to master. The printing press machine and colours are also very costly. I adapted by converting rubber press machines into printing press machines and made my own colours.”
....The full-time artist and part-time teacher was speaking at the opening of Malaysia Master Printmaker: Loo Foh Sang Solo Show 2013 exhibition at Samadee Studio, Bukit Jalil.

Museums Malaysia Innovation Department director Zanita Anuar (left) officiated at the event.
“Printmaking can be categorised into four main categories — relief techniques such as woodcut and metalcut, intaglio techniques (etching and engraving), planographic techniques (monoprinting and lithography), and stencil technique (silkscreen printing),” said Loo.
He employed different techniques for the 46 pieces of print works featured in the exhibition.
.... Malaysia Master Printmaker: Loo Foh Sang Solo Show 2013 will be held until June 2 at Samadee Studio, 6-1, Block 4, Jalan Jalil Jaya 4, Jalil Link, Bukit Jalil, Kuala Lumpur (same row as Hailam Kopitiam, above Tutti Frutti).
The exhibition is open to the public from Tuesdays to Sundays, from 11am to 6pm.
For details, call 012-235 5661 or visit

While searching for this article online at, i found another earlier 2011 article where Mr Loo speaks candidly about his life, his exhibition & his aspirations..

Sunday June 5, 2011

No flight of fancy


After years of dabbling in various art forms, a veteran artist has solid plans etched out for the future.
IT was 60 years ago when a nurse came to tend to his ill father in their little wooden house in Gambang, about 30 kilometres from Kuantan, Pahang, but Loo Foh Sang says the memory of that day is as clear as if it was yesterday. After all, she accurately predicted his future.
“Your little boy will grow up to be a successful artist one day,” the nurse told his mother, while admiring his charcoal works on the walls of the house.
Loo, the youngest boy in a family of nine children, was then seven.
“I drew on every surface I could find and my mother didn’t seem to mind. No one gave much thought to what the nurse said because it was not common then for people to pursue drawing seriously. 
.... The artist often ends up gesturing frantically with his hands when trying to get a point across.
“I think I’d be able to explain what I mean much better in French. Sometimes I feel like I’ve lived in France for so long, I’ve forgotten how to speak English!” he adds, referring to the 20 over years he spent abroad.
It was there that he learned the art of printmaking – the focus of this exhibition – under the tutelage of Englishman Stanley William Hayter, the printmaker and painter who founded Atelier 17, one of the most influential print workshops of the last century.
“Paris is nice, very nice. There was plenty going on in the art scene there, although I did sometimes find it difficult to make friends with the locals. I studied French for a year and spent four years studying art at the École Nationale Supérieure Des Beaux-Arts in Paris before printmaking.
The handsome, young Loo in Paris
“I took twice as many classes as anyone else with Hayter because I wanted to return to Malaysia as quickly as possible. But after coming home, I changed my mind and instead returned to Paris, where I opened my own studio and lived for another 17 years. My twin sons were born and raised there and I only returned to Malaysia in 1988.”
For the next 15 years or so, Loo taught printmaking at the Malaysian Institute of Art and was subsequently appointed head of the fine arts department at Central Academy of Art (unfortunately now defunct), both in KL.
“That was the reason I came back to Malaysia – to teach and educate others. Many people here do not know much about printmaking and I thought it was time to come home and give back what I can.”
..... He believes it is his unique spin on a traditional printmaking technique that sets him apart from the other artists.
“Coming up with the ‘right’ composition to best capture the motion in these works, with the level of detail that I incorporate, is not something easy to do. But you have to work hard,” he says.
And work hard he does. Particularly as he is determined to be a centenarian.
“I have big plans and I plan to live up to at least 100. I will start a printmaking research centre and workshop. Once I hit 70, I will make arrangements to open an art museum. Maybe I’ll call it the Loo Foh Sang Museum of Art,” he adds, grinning.
Well, i for one certainly feel that he can be a centenarian and beyond! ...cos when we were walking up the slope to our hotel in Macau, Mr Loo (the oldest of our group) was the first to reach the top :)

And having chatted and travelled with him for 5 days during our printmakers sojourn to Macau 1st Triennial Exhibition last year, it's his attitude to life, his passion for his art balanced by a good sense of humour and a sense of purpose is what makes him succeed in all he does, coupled by the support he gets from his loving artist wife, we look forward to his future ventures!!

Tuesday, 21 May 2013

Open Studio@ Studio Terap Ulang, USM

This is an invitation from Universiti Sains Malaysia - Terap Ulang Studio --

In conjunction with Rintis, Studio Terap Ulang will hold 
an Open Studio from Monday May 20th. until Wednesday May 22nd.

All are invited to visit our studio and attend our printmaking demonstrations.

Our guests from Thaksin University, Thailand will demonstrate on
 the process of aluminium plate lithography .

What is Rintis?

Sunday, 21 April 2013

☆ Coming Soon ☆

Malaysia Master Printmaker: 
Mr. Loo Foh Sang, Solo Show 2013

Exhibition Period:
11~31 May, 2013

Opening Ceremony:
3 pm, 18 May 2013
(Refreshment will be served)

Opening Hours:
11am - 6pm, Tue - Sun (Monday Closed)

Samadee Studio
6-1, Block 4, Jalan Jalil Jaya 4,
Jalil Link, Bukit Jalil, Kuala Lumpur.

Contact Us:


Tuesday, 19 March 2013

Chinese printmaker..Jiang Miao - Woodcuts

I came across this series of prints from Ode to Art, Singapore

It's a fresh look at the age-old - Woodcut technique!

This is what they have to say
Born in Jilin in 1981, Jiang Miao obtained a Bachelor's Degree in Fine Art from the prestigious Central Academy of Fine Arts in Beijing in 2005. She went on to major in woodblock printmaking and received a Master's Degree in Fine Art in 2009 from the same institution. Having attracted a considerable amount of attention from the artistic community in Beijing even before she graduated, Jiang held her highly successful and critically acclaimed first solo show at the Triumph Art Space in 2009. Her signature black and white prints have garnered attention for their uncanny depiction of the relationship between self and other. 

The woodblock is arguably the most ancient and time-honoured form of expression in East Asian printmaking. Distinctive for its sophisticated designs and ubiquitous application of flat colour, the woodblock has served as a great source of inspiration to many Western artists such as Whistler and Gauguin. 

Within China itself, the woodblock print movement initiated by the famous author Lu Xun gained popularity in the 1930s for its sociopolitical content. 
姜淼 女孩系列之9, GIRL SERIES NO. 9
90 X 90 CM, PAPER

Ode to Art is pleased to present the work of contemporary Chinese artist Jiang Miao. Jiang has introduced a fresh modern twist to this culturally important art form through her ethereal prints, which combine the abstract with the realistic.

女孩系列之46, GIRL SERIES NO. 9
90 X 90 CM, PAPER
Enjoy and be inspired!

One more -- I particularly like this

Review (extract from Ode to Art, Singapore) : In The Spaces Between Time, Jiang displays her penchant for exploring the intersection between the figurative and the literal through the depiction of a human body somewhat concealed by diaphanous lines. The steadiness and fine quality of the white lines are testament to Jiang's impeccable craftsmanship. 

Using the visual metaphor of a single inchoate body suspended in the midst of numerous threads that symbolise the linear passage of time, Jiang communicates the idea that our existence is transient and somewhat obscured by the rapid changes that take place around us. 

Jiang's elegant approach to the human physique and the gentle application of shadow gives the print a sense of lightness that is not commonly found in other works of the same medium.

Saturday, 16 March 2013

Call for entries - International Print Center New York

From International Print Center New York  
Apply Online for IPCNY New Print 
Call for Entries – New Prints/New Narratives:  

                                         DEADLINE: April 15, 2013

On view from: 6/13/2013 – 8/2/2013
Exhibition Opening: June 13, 2013

nd educational programs.

For more information :

All the best to those who are submitting their works!
Thanks, Kim Ng for the link :)

Sunday, 6 January 2013

Visit to Juhari Said's Akal di Ulu

We were eager to meet up with Juhari Said, one of Malaysia's dedicated printmaker. So much has he contributed to printmaking in Malaysia during his 2 decades of printmaking, always pushing to further the art. He's life and work is best summarised in Prof. A. Rahman Mohamed's essay.  Recently he has found a new direction as chronicled by Dr Tony Donalson.

Here's a photo essay of our visit :

Entrance to Juhari Said's studio 
Our mode of transport - Art Malaysia's Defender

Vanilla plants (background), lime plants (foreground) 

A passionate artist as he tells of his experiences

The poultry farm enclosure... We heard there was a python nearby..

Such cool ambiance!

 Juhari Said's studio

Juhari's woodcuts (background) with his newer passion for wood carving sculptures (foreground)

One for the album

Bye - bye!

Related Posts Plugin for WordPress, Blogger...