The key drivers of the show, Ng (left) and Yong (All photos: Low Yen Yeing/The Edge Malaysia)
In art, black and white paintings carry deep significance by way of serving as a visual exploration of form and contrast. With the absence of colour, these works hinge on masterful composition, nuanced light and intricate form, and have a way of captivating viewers, compelling them to pause and delve into the interplay of elements within each piece. Visitors may experience that at the ongoing Not Just in Black and White: Works from the Steve Wong Art Collection, which features 76 artworks by 71 artists from Malaysia, Thailand, Singapore, Indonesia and the Philippines.
These artworks, all carefully hand-picked by Wong, strip away the superfluous, presenting a raw and unembellished perspective that can evoke vulnerability or boldness. The dichotomy inherent in black and white — positive and negative, substance and absence — challenges viewers to engage with the fundamental aspects of artistic expression.
Wong, a retired plastic surgeon, started collecting art in the early 1990s to decorate his clinic, “but then was bitten by the bug and never recovered. He has since amassed over a thousand works and rarely acquires any piece smaller than 4ft by 4ft,” introduces Rachel Ng, co-founder and exhibition manager of RogueArt.
This is the first time Wong has brought together sizeable works from his collection for display, according to curator Beverly Yong, although he has often lent them out to other expositions and participated in a group initiative in the past. “Actually, the idea of a show in only black and white came about while we were helping him to update and organise his inventory. Rachel, who leads our collection management projects, pointed out that he had over 200 works in black and white, and so he thought this might make for a different and fresh framing of an exhibition.”
The original working title “In Black and White” was tweaked when Wong decided to include works with subtle colours. His approach is profoundly visual, driven by decades of art observation and keen sensitivity to the visual impact and narrative embedded within artworks. “Putting together and writing alongside this show, my approach has been to get to the ideas and stories that go into them, and understanding our response to them,” explains Yong.
Wong’s idea made her think about how we see in black and white — binaries, opposites and grey areas — and the idea of describing something fixed and unchangeable. “With the extraordinary range of imagery, conceptual approaches, subject matters, textures and materials used across the works in this show, it became clear that even in monochrome, art and all it expresses challenges fixity, sameness, simple oppositions …”
And so Not Just in Black and White advocates for the role of artists and their creations in challenging the assumptions and classifications that shape our worldview.
Each artwork in Wong’s collection was acquired and chosen for its exceptional quality. While all hold significance, some are particularly meaningful. “He proudly recalls marching in the Bersih rallies with fellow countrymen, and pieces like Minstrel Kuik’s Selamat Datang ke Bandaraya Kuala Lumpur and Ahmad Shukri Mohamed’s commissioned piece Jalan Ke Putra Jaya vividly capture pivotal moments in Malaysia’s civil society and political history.” They serve as reminders of the resilience and significance of collective action in shaping societal change.
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“There have barely been any clear art acquisition policies from local corporations or GLCs (government-linked companies) for some decades now, and our national and state art institutions have severely limited budgets. Having little competition, and understanding the need to support artists in their practice as well as collect art that speaks of our times, Wong is among a handful of private collectors who have managed to collect some of the most accomplished and significant works of the past 20 to 30 years,” explains Ng.
With the resources spent on his collection in acquiring, documenting and storing, she stresses it is time for this collection to be unpacked, revisited and seen by a younger generation of audiences who have not seen these works before.
Yong concurs, adding that throughout the organisation phase, as well as in assembling the show and its publication, they were keen to work with younger curators and researchers. “In collaborating with the R+ team at GDP Architects, who have helped project manage the show, we’re also working with a generation of young designers and architects, bringing yet another perspective and audience to the show.”
The show is held at the GDP Campus in Bukit Damansara, Kuala Lumpur, and she says they could not have hoped for anything more than the stunning double-volume space. “We worked closely with Chuah Chong Yong from Huak Huak art studio on the exhibition design to effectively showcase the grand scale of most artworks and establish dynamic visual connections between them. The design also maximises the use of concrete surfaces and natural sunlight from the surrounding greenery. They ingeniously crafted butterfly-shaped panels, creating paired displays that enhance the viewing experience.”
The entrance level features artists either born or based in Malaysia, guiding visitors along a meandering path through the exhibition. On the mezzanine level, a smaller selection of works by artists from neighbouring Southeast Asian countries is displayed.
“Since our days with Valentine Willie Fine Art in the late 1990s and 2000s, we have shared a journey with many of them and their works. However, delving deeper into this collection revealed numerous unfamiliar pieces and artistic practices. Researching and compiling artist profiles and exhibition histories have been an enriching experience for everyone involved.” To share their discoveries, a resource corner has been set up where visitors can explore catalogues and artist books that will help them understand the original contexts of the artworks and gain insights into their creative processes.
“We were very surprised to find out from our research team that at least two artists in the exhibition are colour blind, which hasn’t stopped them from becoming artists,” Ng chips in.
Yong says it has been wonderful to see many visitors spending anywhere from one to four hours at the show. “This engagement is exactly what we hoped for — people finding their own ways to interpret the works, feeling inspired and stimulated as they explore different perspectives. On weekends, we host themed walkthroughs led by our team, including RogueArt, Dayang Aina, Simone Tait from Studio Sayang and curators Falil Johari, Kuay Zi Wei, MA art history student Aqilah Zulkhairy, as well as special guests like artist Liew Kwai Fei and educator/writer Carmen Nge.”
'Not Just in Black and White: Works from the Steve Wong Art Collection' is on display at the GDP Campus, Level 4, 79 Jalan Setiabakti, Bukit Damansara, KL, until Aug 11. For more information, visit stevewongartcollection.com.
This article first appeared on Jul 15, 2024 in The Edge Malaysia.
