EVENT CALENDER

ARTIST's CORNER - Shia Yih Yiing

What is the central concept that governs your work?
The synonymous in the show-off Generation Me and super ego of super hero.

What inspires you? What do you do to get inspired? What inspires your work?
Playfulness. Interaction with my children. Their material world & thoughts.

What engages you as an artist? What issues engages you? Does it drive your direction of work in any particular area?
My interest and will to express and show independently. A Malaysian Chinese in relation to the mother country and world. It inspires me to look into the world of social, politic, design & entertainment.

In your opinion, do you consider yourself a contemporary artist?
No, still learning and exploring.

What do you think is the role of a contemporary artist in society?
Create work strategically to engage the audience to respond, read, interact and trigger their sense and heart.

Do you think art education plays a big role in shaping our future generation/nation building? If yes, how?
No.

What is the most recent book you’ve read?
David Wand’s essay on Chinese authors from Peking, Shanghai, Taipei and Hong Kong.

Do you have a favourite superhero? Who?
Yes. My son, ‘The Flash’.

What would you be doing if you were not an artist?
Adult and children art instructor.

ARTIST's CORNER - Vincent Leong

What is the central concept that governs your work?
I HOPE THERE ARE NO CENTRAL CONCEPT THAT GOVERNS ME OR MY WORK. EVERYTHING CHANGES. MY WORLD AROUND ME, MY WORK AND ME. NOTHING STAYS THE SAME.

What inspires you? What do you do to get inspired? What inspires your work?
I AM INSPIRED BY EVERY DAY LIFE. BY WATCHING PEOPLE AND OBSERVING SOCIAL CONDITIONS. POPULAR CULTURE CURRENTLY FEEDS MY IMAGINATION BECAUSE FOR ME IT REFLECTS CONTEMPORARY CULTURE.

What engages you as an artist? What issues engages you? Does it drive your direction of work in any particular area?
DIFFERENT ISSUES INTEREST ME AT DIFFERENT POINTS IN MY LIFE. MY WORK IS A REACTION TO THE WORLD AROUND ME, AND IS DIRECTLY EFFECTED BY MY LIFE, AND VICE VERSA.

What do you think is the role of a contemporary artist in society?
AT THE MOMENT, I FEEL THAT CONTEMPORARY ART IS (AND SHOULD BE) A MIRROR TO CONTEMPORARY SOCIETY AND ITS VALUES ON CULTURE.

Do you think art education plays a big role in shaping our future generation/nation building? If yes, how?
DEFINITELY. PENDIDIKAN SENI IS ONE OF THE RARE SUBJECTS IN OUR EDUCATION SYSTEM THAT ALLOW/ENCOURAGE STUDENTS TO CREATE AND FORM THEIR OWN THOUGHTS AND OPINIONS. IT IS IMPORTANT TO THINK FOR ONESELF AND NOT JUST ACCEPT WITHOUT QUESTIONING.

Who’d you like to meet (passed on/alive) if you had the chance to?
MARILYN MANSON AND ZHANG ZIYI.

What is the most recent book you’ve read?
THE LIFE OF PI.

Do you have a favourite superhero? Who?
YES. TERESA KOK.

ARTIST's CORNER - Low Yi Chin

What is the central concept that governs your work?
I observe different life forms in our rapidly developing environment, and study into the biological impact and consequences towards the living environment nowadays (i.e. the Greenhouse Effect).

What inspires you? What do you do to get inspired? What inspires your work?
Six year ago, my eldest son coming to join me in this world. His presence has led me to experience the joyous and wonders of life! In accompanying him to explore the world, I started to pay attention to the surroundings. I hence observed different life forms of many living things include tiny earthworm to primates such as apes, monkeys and, mankind.

What engages you as an artist? What issues engages you? Does it drive your direction of work in any particular area?
During my secondary school days, I was studying science stream and being very much interested in biology. After I step into art field, I found artist and scientist are mainly the same: to observe and to question. I like to pay attention and observe the surrounding environment (nature world). But as an artist, I only bring up the question without providing the solution.
I found artwork is a better means in awaken people to concern about environmental issues than scientific reports.

In your opinion, do you consider yourself a contemporary artist?
Yes. My artwork concept is concern about today’s environmental issues.

What do you think is the role of a contemporary artist in society?
He or she has to concern about the community as well as the environment and social problems. Act as an observer and questioner.

Do you think art education plays a big role in shaping our future generation/nation building? If yes, how?
I agree because Art is about training people on how to observe and use different angles to interpret things and issues.

What is the most recent book you’ve read?
Book title: “die Meere”: A past, present, and future of our sea environment.
Author: Frank SCHÄTZING, Wild Man publisher

What would you be doing if you were not an artist?
Maybe to become a farmer, or an organic farmer.

ARTIST's CORNER - Ooi Kooi Hin

What is the central concept that governs your work?
Human emotions. Humour.

What inspires you? What do you do to get inspired? What inspires your work?
I believe in getting ones feeling released and channeled it properly helps in becoming a better person.

What engages you as an artist? What issues engages you? Does it drive your direction of work in any particular area?
Human is the subject that never bored me. As one humankind myself, I create work in inspiration to learn and understand more of myself, as well as getting to know others.

What do you think is the role of a contemporary artist in society?
Be more involved.

Do you think the role of a contemporary artist has changed from the 20th century to the 21st century within the social structure of society?
Has this effect/influence your practice of art in relation to this shift/change?
I think it has changed gradually. We are being exposed more easily to what is happening around through media, in particular the internet. Yes it has influenced me.

Do you think art education plays a big role in shaping our future generation/nation building? If yes, how?
Yes, arts open up possibilities, intrigue more perspectives. I loath to see mono structure set by social norm.

What is the most recent book you’ve read?
Design Of Design (By Kenya Hara)

What would you be doing if you were not an artist?
… Labourer? Or may be a cook.

Promotional Items Ready!

After much grueling hard work, the CAIS Project banners, buntings, posters and invitation cards are now ready! On Friday (15 August 2008), we decided to personally take the posters and invitation cards to the school and do a class by class distribution. It was the last day of the high school term before the students leave for their 1 week break, thus we thought that it would be a good time to remind them that when they return, their school would be transformed into an alternative art exhibition space for CAIS where contemporary art pieces of work will spring into live in various corners! Yes, it was an exciting morning waking up at 6am once again (nostalgic of our school days) and find ourselves entering Stella Maris High School in time for the first bell to distribute these items to each student. We would also really like to thank Marge, who is the principal of Stella Maris High School for her permission to do so in short notice.

Following that, we took some time to conduct a survey with the students to gauge their perception and understanding of art before the exhibition in order to conduct a follow up session then after. This was purposed that we may obtain a better understanding on the effectiveness of CAIS when the project is completed. It was really a good time having the opportunity to have a much closer interaction with all of the students at the school and yes, we certainly look forward for more of these when the exhibition starts this 25 August 2008 till the 6 September 2008, 11am - 5pm. The number of response was beyond our expectations and worthwhile indeed.

Shoutout to Stella Maris High School students: Do remember to invite all your friends, family and loved ones to come over to your school during the public viewing days (see invitation card) to witness this project yea!

The Poster:

ARTIST's CORNER - Kok Siew Wai

What is the central concept that governs your work?
Subjects that happen to me or around me, some would describe as “the little things in everyday life.” I believe that art is about life. The art that an artist’s create is his/her life experience or insight.

What inspires you? What do you do to get inspired? What inspires your work?
Anything can inspire me … As an artist, I’m attentive and sensitive to things that happen around me. It can be anything. I’ve made work with the sound of water pipes, in the bathtub, cooking in the kitchen, my mother, visiting abandoned factory, cruising on the train, friends’ chatting at a party etc. It really can be anything. And I don’t like to categorize myself that I only make work about this or that. I keep changing, so does my life, and the world at large.

What engages you as an artist? What issues engages you? Does it drive your direction of work in any particular area?
To create art is a way of expression. I respect individual expression. The modern society has created many clones of products, ideologies and lifestyles. We need a space and a medium to think and act critically and express ourselves freely, I feel. For an artist, perhaps this place is art. I have an urge for self-exploration since I was a kid. So I guess this has become a serious life-long pursue manifesting in my artwork. Buddhism, Taoism and modern spiritual practitioners have always been indicating “to understand the world, you have to start from understanding yourself. No scripture, theory and no sage can do this for you, you have to do it by yourself, go for this journey.” I feel the truth of this notion and therefore am investigating my own life as a “case study” to understand humanity.

In your opinion, do you consider yourself a contemporary artist?
Yes.

What do you think is the role of a contemporary artist in society?
To tell some truths in the time period that they live in.

Do you think the role of a contemporary artist has changed from the 20th century to the 21st century within the social structure of society?
Has this effect/influence your practice of art in relation to this shift/change?
The methods and mediums might have changed, but the subject matters of art can pretty much be the same. For example, I can talk about human immortality using a solo voice piece or fusing this idea into a web hypertext project or a video. The medium doesn’t matter that much to me. The issues that we concern are more interesting. Today’s audience is more receptive to multidisciplinary work because of the multimedia and the internet culture. This might be something unique in our time.
Do you think art education plays a big role in shaping our future generation/nation building? If yes, how?
Yes. Art is culture and spirituality. A country without culture and spirit is like an empty building. It is an empty structure without content.

Are there any role models that you’ve had (within/ with out art practice)?
Tony Conrad and Maya Deren.

Who’d you like to meet (passed on/alive) if you had the chance to?
Jiddu Krishnamurti.

What is the most recent book you’ve read?
Shuntaro Tanikawa’s selected poems.

Do you have a favourite superhero? Who?
No.

What would you be doing if you were not an artist?
An art audience.

ARTIST's CORNER - Ahmad Fuad Osman

What is the central concept that governs your work?
Current sociopolitical issues and autobiographical.

What inspires you? What do you do to get inspired? What inspires your work?
Everything… stories, books, news, breaking news, landscapes – cloud, mountains, trees, jungle, rivers, ocean, rain, dried earth, wind, weathers, lines, textures, colors, everyday life, sound and music, etc. etc. Just ‘look and listen’. Art is out there waiting to be captured. The only question being whether we are prepared to recognized it.

What engages you as an artist? What issues engages you? Does it drive your direction of work in any particular area?
I like Buddhist and Sufi’s view of life which stresses the ideas of impermanency and the worldly life as a mirage. This ideas was reflected in most of my works, particularly my two ‘Self (In Quest) Portraits’ 1995 and 96, my earlier installation, ‘Mat Jenin Is (Always and Always Will Be) Dreaming To Death’, 1999, my Vermont series, ‘Imitating The Mountain’ and ‘Imitating The Woods, 2004, and my Korean Series, ‘Fatamorgana…’ 2006, just to name a few. Fatamorgana itself is a Malay words for mirage.

In your opinion, do you consider yourself a contemporary artist?
I think so.

What do you think is the role of a contemporary artist in society?
My friend once told me that in France, they planted roses outside their grapes farm for wineries to attract insects so that their grapes will be good and healthy for wine making, and I like the idea even though I don’t know if it is true or not. To me, in a way, an artists should be ‘that roses’ to his society because they are among others, the one who is really ‘looking and listening’. I used to ideally try to think and be like that during my earlier parts of my career until the day I realized that I can’t be a prophet, so I changed instead on my own self. Whatever I did after that is first of all for myself. Out of curiosity on so many things in life, I created arts as a mean of gaining knowledge, to educate myself, to sharpen my senses and to try to morally change myself, and I believe that if you’re honest and true to yourself, your arts will somehow reach the people (who are willing to share it) out there.

Do you think the role of a contemporary artist has changed from the 20th century to the 21st century within the social structure of society? Has this effect/influence your practice of art in relation to this shift/change?
The role of an artist is still the same but some issues and artistic medium has either evolved, changed, or different. As for me, I just wanna do arts. I will use whatever medium that I feel the closest and the best to represent my issues or ideas, and I don’t really care much about all those other things.

Do you think art education plays a big role in shaping our future generation/nation building? If yes, how?
I always believe this as a roots of it all. During my time, art education in school was just another last and unimportant subject. This hierarchy itself had shaped generations of Malaysian to look at arts as unimportant comparing to the other subjects like science, mathematics and so on. To me, arts and cultures are a soul of a nation while all the others are parts of its body. How can a body live without soul? So, in this case we need to change this perception. How? First of all, art education in school has to be upgraded and given a priority at an equal platform as other important subjects. Future generations will then accept it as equally important in life as science and mathematics.

Are there any role models that you’ve had (within/ with out art practice)?
Prophet Muhammad, Mahatma Gandhi, Leo Tolstoy and Yusof Islam.

Who’d you like to meet (passed on/alive) if you had the chance to?
Sheikh Kadir Al Jailani and Syeikh Siti Jenar.

What is the most recent book you’ve read?
‘Blink’ by Malcolm Gladwell and Shamsiah Fakeh’s memoir.

What would you be doing if you were not an artist?
Music or film (or rubber tapping with my dad?).

Second Phase of the Project : 2nd MEETING in AUGUST

We had the opportunity to meet up with local Malaysian artist – Liew Kung Yu at his truly unique and beautiful art space. It was about 9pm that we reached his place and most of us had yet to have taken our dinner. Resolving to not let us starve, Kung Yu was extremely kind to host us a meal with really tasty instant noodles! And believe you me, it was certainly one of the most tasty instant noodles cooked! 

Speaking of Kung Yu, the CAIS Project team has invited him to be the leading mind behind a workshop that purposes to evaluate the project through the responses of student’s feedback. We had a really fruitful time dialoguing with him as he certainly did brought to light many interesting perspectives of evaluation on various aspects of the project that would help us towards achieving our initial objectives set.

Shout out to Stella Maris Students: Do look out for our recruitment poster on the 25 August 2008 for this workshop with Kung Yu. The details are as below:

Date: 2 Sept (Tuesday)
Time: 1.40pm – 3.00pm
Venue: Lecture Theatre

Please do sign up yea!

Second Phase of the Project : 1st MEETING in AUGUST

On the 3rd of August, instead of meeting at the Old Town Café which was almost becoming our regular meeting grounds, we decided to meet up at the Malay Tea House at Central Market, KL. Its got a really quiet ambience which was just what we needed for our meeting. Quite an interesting place with servings of special Malay Teas.

At this point of our project, extra help was greatly needed and we are fortunate to have 2 additional people to join us to mobilize the project. They are Teh Chen Yee and Chua Chinn Yin, fresh graduates from LUCT. We briefly described to them the background of the project and the potential job task they will be involved in and we are delighted that they were enthusiastic about it! Yes, they are certainly a blessing to us at this point!

One of the primary reasons we had this meeting was to also finalize the poster designs. Seeing that the exhibition is starting in 3 weeks time, we needed to make ready the various publicity items on time, thus, everyone's creativity input was put to the table for a final critique session on the poster designs. No time was wasted as Meng edited the works simultaneously as suggestions were made ;) We also had this idea of coming out with an exhibition handbook that will focus on providing information on the exhibited works of the participating artist in the project. Chang Hwang came up with a sample write up on it and the translation roles were tentatively handed over to our 2 new team mates to work on it. Several other matters that were also brought to attention were discussions on details of the film screening as well as the art tour. That's certainly 2 things not to be missed!

ARTIST's Corner (WORKS) - Shia Yih Yiing

SHIA YIH-YIING, originated from Kuching, Sarawak, was drawn to KL upon winning a scholarship from the Malaysian Institute of Arts. Then after, she subsequently gained a Diploma in Fine Art. Her dedication to be an artist was strengthened through a series of sentimental and symbolic family portraits and won her a fellowship from the Commonwealth Foundation Fellowship in Art & Craft. The journey through Australia initiated a research study in visual art at the School of Contemporary Art, University of Western Sydney. Ever since, her art works is often more metaphorical and playful.

Vessels of Art, What is Your Equipment, 2006 is a work on the artist's stronger sensibility on identity and future as her children grew older. Questions such as "Where are we? What are we?" becomes more vivid. By culling icons from Chinese and Popular culture and multiracial identities, blue patterns were conjured up on vessels or vest on bodies that are breakable. The vessels portray the unity in variety or variety in unity of a multiracial society where racial issue is a very sensitive issue. The vests are both poetic resistance and portrayal of hardworking, endurance and migratory nature of others under the Malay elite hegemony. The blue Chinas conveyed sentiments in the process of building and securing a peaceful and prosperous position in this part of the world. - Shia Yih Yiing


Vest of Wealth, Vest of Prosperity, Vest of Honour
137cm x 101cm
2006


Win Vesture, Sash of Strengyh
Oil and Acrylic on Canvas
137cm X 101cm
2006


Monumental Abundance I & II
Acrylic on Canvas
122cm X 91cm
2006

Anda in Wonderland, 2007: The simplicity in the language of western childhood story, with inventive layering and masking of the truth behind the surface, is a romantic strategy to deconstruct and rewrite a common history. The artist took these ideas and attempted to make them workable for the space and the time we lived in - Shia Yih Yiing


An An in Wonderland, Pool of Tear
Oil on Canvas
137cm X 101cm


An An in Wonderland, Mad Tea Party
Oil on Canvas
137cm X 101cm
2007 2007

If you'd like to find out more about Yih Yiing, do visit Y2s Artspace, a gallery and studio space established by Soh Chee-Khoon and Shia Yih-Yiing that provides a friendly and relaxing venue for people of all ages to explore the world of visual art.


**All images displayed with courtesy of artist**

ARTIST's Corner (WORKS) - Vincent Leong

Introducing our next artist, we have Vincent Leong. Born in 1979 at Malaysia, Vincent is amongst the youngest artist we have at the CAIS Project but not at all the least in anyway. Educated at the Centre of Advanced Design (CENFAD) KL from 1998-2000, he furthered his studies at Goldsmiths College, University of London for another 4 years from 2000-2004. And upon returning to Malaysia, he has not fallen short to be actively involved with our nation's local art scene.


'Tropical Paradise AG32', VWFA


'Tropical Paradise G929', NumThong Gallery - Bangkok


'Tropical Paradise MR20', Sculpture Square - Singapore

With many previous groups and solo exhibitions both in and abroad, Vincent is definitely one artist that has not despised his youth. Amongst his other works are the 'Tropical Paradise' series that was exhibited at Valentine Willie Fine Art-Malaysia, NumThong's Gallery- Bangkok as well as Sculpture Square - Singapore. This work highlights, as mentioned in Vincent's own words, "all the cliches of exotic life in this part of the world. Of dancing women to kampung scenes."

For more information on Vincent's works, do visit his blog at
http://www.somethinginnothing.blogspot.com/


**All images displayed with courtesy of artist**

ARTIST's Corner (WORKS) - Chan Yoong Chia

'Quilt of the Dead'
2002 - Ongoing
Thread on Cloth (224cm x 224cm)

Today, we'd like to introduce you to Chan Yoong Chia, one of the CAIS Project Workshop Artist. His famous work titled 'Quilt of the Dead' will be the very thing that he would be bringing you through if you've signed up for his workshop on the 2-3 September 2008. 'Quilt of the Dead' is a work-in-progress artwork. The task is to stitch obituary photographs taken from newspaper and other sources onto pieces of cotton cloth roughly 19 x 15cm at various locations until the artist have enough to form a quilt measuring 10ft x 10ft.


Chan (left) in performance

Biodata:
Born in 1975 in Kuala Lumpur Malaysia

Education:
1993 - 1996 - Diploma in Fine Art (Major in Painting), Malaysian Institute of Art, KL

Chan is also an avid painter with many group and solo exhibitions under his belt. Do visit his online gallery for more detailed information on each of his work and shows. Meanwhile, do feast your eyes on some amazing work here too!


A Pickup at the Train Station 2006
Oil on Canvas (170cm x 64cm)

Self Portrait Radiating 2006
Oil on Seashell (13cm x 13cm x 2.8cm)

Eggshells Rotate on Clockwork


**All images displayed with courtesy of artist**

COLLABORATIVE PARTNER: Galeri Petronas

Whew! Without a doubt there is much excitement brewing in the air with all of us at the CAIS team. Apart from assisting in the 2 artist workshops that we've just had the past few weeks - that of which we believed was a meaningful experience for the artists and the students present (updates and photos coming soon), we've also been given the opportunity for interviews with the media and been working much towards the launching and opening of the project at the end of this month. Worries aside, these tasks which are time consuming yet they are responsible for keeping our spirits alive amidst the more day to day jobs we have.

Saying so, all these efforts cannot materialize without generous fundings and assistance from three body of art organizations in Malaysia. There are great people behind these bodies with great visions and we feel its only right for us to make them known to you.

Thus, its with much gratitude and thanks that we'd like to introduce you to our main collaborative partner - Galeri Petronas.






Established by the Malaysian multinational petroleum company Petronas, Galeri Petronas runs on the philosophy of providing a platform for expressing views and opinions on social issues through art, hence, also acting as a catalyst for positive reforms while promoting art as a universal language that transcends man-made barriers. Its existence also promotes the development and preservation of art by providing the gallery as a venue for art displays, sponsoring documentations and publications on mainly Malaysian art. Seeing thus, CAIS Project is absolutely priviledge to have Galeri Petronas as a collaborator as they have not just been far reaching with their vision in pioneering many local arts initiatives, but they have also been an avid advocate and initiator in many educational and public arts program that has helped promote art education and appreciation among people from all walks of life. Not only so, Galeri Petronas is also very much interested to take these educational and public arts program to another level with positive expansion possibilities.

With one of our primary objectives to open the door of contemporary art to students at Stella Maris and beyond, by allowing them to experience as well as to understand the creative imagination of contemporary artists at a closer view, Galeri Petronas's collaborative efforts in funding and support has definitely helped us much in seeing to fruition all that we envision the project to be.

We invite you to pay them a visit at Level 3, Suria KLCC whenever you can make the time to, it would certainly be a worthwhile experience!

SUPPORTERS: Annexe Grants For Grabs & Matahati Art Fund

CAIS Project is also supported by the Annexe Grants for Grabs as well as the Matahati Art Fund.



The Annexe's Grants For Grabs is made possible by an inaugural donation of RM 50,000.00 by Fashion Inc's Mana Batik exhibition. The Annexe at Central Market, which came into existence in January 2007, has become a space much loved for its accessibility, artist-audience interactivity and alternative nature. It hosts all manner of art form and expression and has attracted projects that are experimental, multidisciplinary and socially conscious. In an effort to help create an artistically aware and critical public, The Annexe also provides workshops that offer participants an avenue to gain new skills and perspectives, exchange views and express themselves. The Annexe's Grants For Grabs naturally follows this vision.



Do drop by here to witness the Grants Giving Ceremony to all 7 recipients including CAIS. Do see if you can spot one of our representatives there?!



The Matahati Art Fund is set aside and prepared for the support of our local artists and art scene. It is intended to assist in the welfare of those artists in need, which includes incidences involving natural disasters, accidents or health issues. The Art Fund can also be used as a grant for artists initiating art projects and art activities.

CAIS Project is truly blessed to have garnered the support from these two benevolent funds and we're truly honoured and proud to execute this project with these bodies behind us.