Richard Wong Chin-Kim

RICHARD WONG CHIN-KIM

Born in 1955, June 01, Kuala Lumpur, Malaysia.

ART EDUCATION

1975 – 1978  - Kuala Lumpur College 

                      of Art (KLCA), 

                      Malaysia.

2000 – 2001 – Internationale Cite des 

                      Arts, Paris (ICDA).

ART SOCIETIES

1983 – 2002    - Member of Malaysian Artists’ Association.

1983 – 1991    - Founder Member and Committee Member of

  Malaysian Watercolour Society (MWS).

1986                - Member of International Association of Art,

  (IAA AIAP UNESCO, PARIS).

1990                - Founder of WCK Galleries, Kuala Lumpur.

1992                - Founder Member and Committee member of

  Contemporary Malaysian Watercolourists Association (CMWA).  

1994                - Member of Asian Watercolour Painting Alliance (AWPA).

1998 – 2004    - Vice President of Contemporary Malaysian

  Watercolourists Association (CMWA).

2002                -President,Malaysia Division of World Calligrapher - Painter Organization,

                         Canada.

2003                - Curator of Malaysian International Contemporary Chinese Painting

  and Calligraphy Association.
- Founder and Chairman of Malaysian Modern & Contemporary Art

  Academy (MCAA).

2005                - Member of World Watercolor Painting Federation (WWPF).

2008                - Judge of Japan Modern Fine Arts Association.

AWARDS

1996 – Best Performance Award – The Cornucopia of Malaysian Arts.

1974 – Gold Medal Award – First National Watercolour Creation Competition, Malaysia.

2010 – Gold Medal Award – Beijing International Art Exhibition, China

            (Asia Pacific) 

Richard Wong graduated from the Kuala Lumpur College of Art in 1978. He is the President of Malaysian Modern & Contemporary Art Academy as well as the Deputy President of The Contemporary Malaysian Watercolourist Association.

Wong says, “My inspiration comes from nature, which is my teacher. As such, I travel everywhere to seek my dream’s Shangri-La.”

Wong’s footprints can be found in far-flung places such as the Himalayan mountain range, snow-capped peaks of the Kunlun; Australian farmlands; the picturesque landscape of New Zealand; highland farms in France; the Silk Road of China; Xinjiang; the mountains of Los Angeles and the frozen rivers of North America. Everywhere he travels and paints, he thinks only of “Beauty”.

His artworks created through undergoing such experiences bear a distinctive mark. His semi-abstract oil paintings have a misty, dreamlike and poetic feeling and appearance. His colour scheme on the canvas resembles the silent music of an orchestra.

Wong’s creations have transcended the pursuit of forms.  Landscapes are no longer his subject and object, but his inner feelings are.

画家黄振景，1978年毕业于马来西亚吉隆坡美术学院。曾受邀访问巴黎国际艺术城工作室进修并考察现代艺术，现为专业画家。

现任马来西亚中央当代艺术研究院院长兼马来西亚现代水彩画家协会副会长。

黄振景说：“我的创作灵感是来自于大自然，大自然就是我的老师。因此，我一次又一次，到处去旅行，就是在寻找自己梦中的香格里拉。” 

黄振景的足迹，遍布遥远的喜马拉雅山脉山麓丘陵，冰雪覆盖的昆仑山峰，澳洲丰硕的农田，纽西兰如诗如画的土地，法国山谷的田园，中国丝绸之路，新疆、洛矶山脉、北美洲的冰河等地。他到处去旅行、写生、作画，一心只想留住“美”激情。

他的艺术创作，透过亲身的体验，将优美的景色转化为艺术创作符号，完成了一系列属于自己的创作。他的半抽象油画作品，画中的景物若即若离，像轻烟似的虚无飘渺，宛如梦境般的依稀隐约，富有诗意。画家的刀与色在画布上挥刮，拖带、移转、堆叠，如同一些没有形象的音符，组合着、排列着，谱成了无声的音乐。

黄振景的创作摆脱了形象的追求，景物对画者来说，不再是自然客观的景象，而是画家内心的独白。

ARTWORK

Abstraction - 71 x 71cm, Oil on Canvas 

Ice Falls, Rockies - 41 x 41cm, Oil on Canvas

Snow Passion - 91 x 91cm, Oil on Canvas 

Mountain Paradise, Himalayas - 140 X 153cm, Oil On Canvas (2012)

Rocky Mountain, British Columbia - 153 X 915cm, Oil On Canvas (2011) 

          享誉国际当代抽象画艺术家黄振景，出生于1955年马来西亚吉隆坡，毕业于马来西亚吉隆坡美术学院西洋画科系。曾受邀访问巴黎国际艺术城工作室进修并考察现代艺术，现为专业画家。

        黄振景从事抽象画的探讨与创作至今已有40年，曾先后举办25余次画展。

        黄振景现任马来西亚中央当代艺术研究院院长、世界书画家协会马来西亚分会会长、日本现代美术协会评议员，马来西亚国际现代书画联盟策展人、马来西亚现代水彩画家协会发起人之一，亚细亚水彩画联盟会员、世界水彩画联盟协会及法国国际艺术家协会会员(IAA AIAP UNESCO, PARIS)Since1986。

        黄振景喜欢提着画箱背着相机云游、历险，他的足迹遍布北印度、尼泊尔、中国的西藏、四川、云南、新疆、欧洲、美国、新西兰、澳大利亚、阿拉斯加

、大洋洲、南极，他征服过喜玛拉雅山脉、加拿大的洛矶山脉，为了他的艺术，他挑战自我，挑战极限，独自一人登上，不可想象的艰苦，他就像一位行者，那是真正堪称心路历程，是发自心底的那种对大自然的热爱。那种超然、那种执着、那种不懈的苦苦追求、那种对自我的放逐和挑战，那种虽九死而不悔的精神。无论对谁，那都是对心灵的一次美好而清澈的荡涤。

        这是真正的投身于大自然的怀抱，向大自然学习，吸纳天地正气，领悟大自然的真善美，所谓师承自然，从大自然中吸取养分。大千世界各种形象随时随地，有光有色流过眼前，他尽情地痴醉期间，这是何等的快乐。画中一点一线、一块色块，都是语言。放笔纵情，画刀触之，敏感异常,仿佛指尖碰到恋人手臂，这才是绘画最佳状态，久仰心中的形象便化做有情感、有呼吸、有灵魂的生命。与大自然神韵合一，达到物我交流的境界。每一幅作品富有亲和力，都是感情的结晶。

        他这把平薄富有弹性之刀，代表平等、和谐与智慧，能创造色彩缤纷的美好世界。所以他不惜千金买刀，不论大刀小刀，挥舞自如，或侧或反、忽左忽右、或上或下、自由奔波、出神入化；纹理有序、轻重缓急，犹如庖丁解牛，游刃有余。刀刃一侧，能拉出纤细色线，或坚挺线条，画刀所画出的形体，画笔难于比拟。即使一线的刀痕功力，就要付出三十余年的苦练、探索、研习，常年不缀，才能达到如此熟巧境地。

        1975年起，作品曾代表国家受邀赴韩国、日本、中国、香港、印尼、新加坡、泰国、台湾、荷兰、澳大利亚、加拿大、英国、法国、奥地利、纽约、芝加哥等国家展览及美术馆收藏。

       

1974年          荣获马来西亚水彩画创作 金奖

1991年          亚洲原始艺术大展 策展人

1995年          被甄选编印《世界华人艺术家成就博览大典》

1996年          荣获马来西亚美术作品展 优秀奖

2000年          受邀访问巴黎国际艺术城工作室进修油画并考察现代艺术

2004年          亚细亚水彩画联盟及马来西亚 策展人兼副主席

2006年          被评为百位马来西亚最佳华人艺术家

2006年          由18家画廊推荐为马来西亚最杰出华裔艺术家

2008年          被甄选《心路—走向大马艺术家》专访

2008年          马来西亚当代艺术大展 策展人

2010年          荣获中国·北京国际美术大展 金奖

2010年          马来西亚当代彩墨画大展 策展人

2012年          马来西亚国际当代艺术展 策展人兼主席

         2012年          亚细亚水彩画联盟及马来西亚 策展人兼副主席

         2015年          马来西亚国际当代艺术双年展 策展人兼主席

Abstraction


Richard Wong Chin-Kim is a Malaysian artist who indulges in memories and mindscapes.He is an artist drawing on the artist within and drawing on the right side of the brain. His approach in art is that of the right-mode --- intuitive, spatial, onoverbal, simultaneous and perceptual.

In his abstracted mindscapes based on submerged memories of places seen, noted and processed, the sub-conscious is permitted to roam. The artist is a much-travelled person, roaming Planet Earth in search of art and collectibles, tea and sympathy and Shaolin martial art and health-cum-longevity. As an individual, he is interested and interesting, keen to share his multifanous interests, which ranged from watercolour-painting to Chinese tea-ceremony, with others.

Lingering memos and memories of China, Nepal, India, Australia and so forth provided the impetus to launch his series of dreamy, lyrical mindscapes.

In his classic, The Meaning of Art, the late great Sir Herbert Read posited: "We must not be afraid of this word 'abstract'. All art is primarily abstract."

In his elucidating tone, understanding Abstract Art, Frank Whiford opines: Whether the word abstract or a synonym is used, a definition remains difficult, perhaps impossible to achieve. Just as all art is primarily abstract, all abstract art is, in a sense, representational. Some abstract paintings intentionally allude to aspects of the familiar world; others unintentionally evoke them! It is difficult to invent an image which will not remind viewer of something. The urge to see a face in every circle is irresistible. Even a perfect horizontal line bisecting a rectangle will look like a landscape."

Leonardo da Vinci, in his Notebooks, noted: "It should not be hard for you to stop sometimes and look into the stains of walls, or ashes of a fire or clouds or mud or like places in which you may find really marvellous ideas."

In Richard Wong's abstraction, the landscape is the basis of his theme. The mindscapes are derived from the various components of the lands and forms of the sky, land and sea punctuated with mists, rocks and erosions which served to enrich the textural images. The mindscapes represent his cryptomnesia or concealed recollection burst forth in terms of glows, flows, cracks, stains, veils, dribbles, dots and splashes resulting in positive and negative textural effects that recalled the Abstract Expressionist renditions of Jackson Pollock, Mark Rothko, Morris Louis, Helen Frankenthaler and Sam Francis in variations. In his visual essays, there is the rhythmic beat of the forces of nature that spells poetry.

Employing oil and acrylics on canvas and equipped with brushes, pallete knives for various textural effects, Richard Wong concocted a variety of images that, seen in the light of da Vince's slant, are a notion of poetry in motion. Altogether the marks and stains challenge one of a variety of reading of places evocative and poetic.

Frank Whiford reminds us: "Abstract art approached with an open mind can suggest entirely new ways of seeing. Knowledge, of the painter's ideas and intentions, experience, gained from looking at pictures, and open-mindedness: these represent the viewers' contribution, the key to forming judgments and enjoying abstract art."

Back in 1890, Maurice Denis noted perceptively: "It must be remembered that any painting - before being a war horse, a nude woman, or some anecdote - is essentially a flat surface covered with colours and arranged in a certain order."

In conclusion, kindly allow me to share with you a thought from the poet Percy Bysshe Shelly: 
The mind in creation is as a fading coal which some invisible influence, like an inconstant mind, awakens to transitory brightness; this arises from within....and the conscious portions of our nature are unprophetic either of its approach or of its departure."

Verily, truly. food for meditation.

Teng Chok-Dee

Lecturer-Curator

LaSalle-SIA,

a college of the arts,

Singapore

White Paradise

a sequel to "In Search of Shangri-La".

In his personal sojourn to seek for perfection and nature's pristine and untouched beauty - a journey akin to James Hilton's quest for Shangri-La, the lost paradise on earth, Richard Wong's journey has now taken him to the surreal world of steep mountains and deep valleys with its heart-stopping visage of sheer vertical cliffs and deep plunging valleys and cascading waterfalls found only in this remote southwestern corner of China. In the province of Sichuan - China's largest province bordering the province of Yunnan to the south and Tibet to the west, near the upper reaches of the Yangtze River, the region known as China's Hidden Heart and which is home to many of China's ethnic minorities.

From April to June 1998, Richard Wong had started his sojourn from Chengdu, home of the great Tang poet Du Fu (712-770) and the capital of Sichuan Province. From there, he slowly made his way through the quaint remote villages situated at the foothills of the Qionglai Mount Range on the Alba Plateau. Using the local means of transport, the old and rickety trucks salvaged from old army trucks left behind by the Allied forces during WWII when Kunming was the most important transit stage of the old China - Burma Road, he traversed along the long and winding mountain roads towards Yunnan Province in South West China passing through the old Southern Silk Road, to see for himself the "Lost Paradise" before it is "discovered" and spoilt by the hordes of tourist that would soon swamp this remote corner of the world. 

Broke and feeling a little homesick by now, Richard Wong had to break journey but he vowed to return to continue his personal quest for his Shangri-La.

Captivated and enchanted by what he saw, Richard Wong soon felt restless and was eager to continue his sojourn. So in October 1998, he flew to Chengdu once again, to take the high road - but this time northwards for he had set his eyes on Kunlun Mountain. (Kunlun Range) venerated throughout China as the birthplace of China's two great rivers, the Yellow River to the north and the mighty Yangtze River to the south.

Then from Lhasa in Xizang (Tibet), he traversed westwards towards the Karakorum Shan in South West Xinjian Autonomous Region and hence to his destination of Qogir Shan (Mount Qogir). There, he trekked the land of jagged mountain peaks and spare mountain hamlets nestled in between deep clear lakes which turned into shimmering glaciers of sheer white ice with all shades of white in winter from zinc white to grey white - which provides a sharp contrast to clear blue skies and the changing golden hues of the leaves of autumn. He continued his journey to Nepal where he made his last stop at the base camp of Mount Everest. 

Entranced and captivated by what he saw, Richard Wong has tried to transpose onto canvas, the vivid and austere of what he calls "White Paradise" - a mindscape so alien to the lush tropical colours of his native land of Malaysia. Here, as far as the eyes could see were the far pavilions of sheer gleaming glacial tops glistening in the sun in the distant mountains. All these, the eyes of Richard Wong have seen - these visages of magic that he calls his "White Paradise" - not far from his paradise on earth, his Shangri-La.

C. K. Tan

a collector,

Calgary, Alberta.