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拍品專文
Koh started very young as an artist before holding his first solo exhibition at the tender age of 16. Despite familial expectations for him to become either a doctor or lawyer, he became a scholar in the field of the arts and went on to earn a Doctorate in Education on a Fulbright scholarship. He has authored a book entitled Artistic Imperatives: Selected Writings and Paintings which gives insight to the Malaysian art scene and contains his theoretical writings. This lot was illustrated as the cover of the book. A keen art educator, he has designed art curricula and was active in facilitating a conducive environment for the fine arts in Malaysia - he was involved in setting up the Fine Art Department of then MARA School of Art & Design. On top of his various achievements, Koh remains true to the fundamentals of art. 'We are artists, and our special talent and expertise is to create beauty. So, all young artists, forget about being a pseudo-philiosopher, a pseudo-moraliser, or a pseudo-political activist. Instead, go forth and paint beautiful and exciting pictures' (Jolly Koh, Artistic Imperatives: Selected Writings and Paintings, Maya Press, Malaysia, 2004, p. 46)
Just as he is eloquent on the subject of the fine arts, his paintings are a graceful harmony of colours. In particular The blue gift is an important work done in 1964 by the artist. Having studied overseas and returning with a different perspective, Koh was considered a progressive artist of his time. His unique style was Modern. This work is hence of much significance as it was the first work that the artist created since his return to Malacca and was evidently viewed as different from the prevailing styles then. He became part of the first group of Modern artists in the 60s in Malaysia. 'I returned from London in September 1963 after studying painting at Hornsey College of Art and Art Education at London University. The painting was done either in late '63 or early 64' - it was my very first painting done after my return from London. A modern painting such as The blue gift, in hindsight, must have looked quite incongruous in Malacca in 1963/4.' (Email correspondence, Jolly Koh, 7 September 2005)
The impact of his art training from London is obvious on this first work upon his return. 'I was influenced a lot by my Hornsey teacher Morley Bury, and the Cornwall artist Peter Lanyon with whom I had long conversations...The influence of Peter Lanyon is particularly marked in The blue gift.' (Email correspondence, Jolly Koh, 7 September 2005). Peter Lanyon was a British painter who painted English landscapes and eventually moved towards more abstract encounters with the subject. Like Lanyon, Koh's visual perspective in the abstract painting of The blue gift is more open and spatial. Though considered his early work, Koh's aesthetic and technical mastery is already presented in this painting. Koh has studied and written intensively on the subject of colour, having written a paper A New Study of Colour for Artists and Other Visual Designers (c.f. Jolly Koh, Artistic Imperatives: Selected Writings and Paintings, Maya Press, 2004, p. 61-73) as an alternative reading and use of colour. His early experience and understanding of this topic, he has applied successfully on this painting. The expanse of fluid blue is matched against the details of fanciful rhythmic paint strokes of black, white, green and a tease of yellow, likening the movement to a symphonic piece with its gentle lulls giving rise to the spirited climax. It evokes the viewer to not just take in the sight but to experience it. Koh's style situated him at the forefront of abstract painting during that period in Malaysia.
After completion, this painting was presented as a birthday gift to his uncle who kept it for over 30 years. It was returned to Koh just before his uncle's demise.
Just as he is eloquent on the subject of the fine arts, his paintings are a graceful harmony of colours. In particular The blue gift is an important work done in 1964 by the artist. Having studied overseas and returning with a different perspective, Koh was considered a progressive artist of his time. His unique style was Modern. This work is hence of much significance as it was the first work that the artist created since his return to Malacca and was evidently viewed as different from the prevailing styles then. He became part of the first group of Modern artists in the 60s in Malaysia. 'I returned from London in September 1963 after studying painting at Hornsey College of Art and Art Education at London University. The painting was done either in late '63 or early 64' - it was my very first painting done after my return from London. A modern painting such as The blue gift, in hindsight, must have looked quite incongruous in Malacca in 1963/4.' (Email correspondence, Jolly Koh, 7 September 2005)
The impact of his art training from London is obvious on this first work upon his return. 'I was influenced a lot by my Hornsey teacher Morley Bury, and the Cornwall artist Peter Lanyon with whom I had long conversations...The influence of Peter Lanyon is particularly marked in The blue gift.' (Email correspondence, Jolly Koh, 7 September 2005). Peter Lanyon was a British painter who painted English landscapes and eventually moved towards more abstract encounters with the subject. Like Lanyon, Koh's visual perspective in the abstract painting of The blue gift is more open and spatial. Though considered his early work, Koh's aesthetic and technical mastery is already presented in this painting. Koh has studied and written intensively on the subject of colour, having written a paper A New Study of Colour for Artists and Other Visual Designers (c.f. Jolly Koh, Artistic Imperatives: Selected Writings and Paintings, Maya Press, 2004, p. 61-73) as an alternative reading and use of colour. His early experience and understanding of this topic, he has applied successfully on this painting. The expanse of fluid blue is matched against the details of fanciful rhythmic paint strokes of black, white, green and a tease of yellow, likening the movement to a symphonic piece with its gentle lulls giving rise to the spirited climax. It evokes the viewer to not just take in the sight but to experience it. Koh's style situated him at the forefront of abstract painting during that period in Malaysia.
After completion, this painting was presented as a birthday gift to his uncle who kept it for over 30 years. It was returned to Koh just before his uncle's demise.