EARLIER this year I paid a visit to Ikea in Batu Kawan in Penang. I paused to watch a young man painting a huge mural on one of the outside walls of the building. It was roughly three-quarters completed, with outlines drawn that had yet to be filled in. Two other artists were working on the top left corner of the massive painting, perched on a cherry picker, high off the ground.
The entire wall would take about a month to paint from start to finish, explained the artist, who introduced himself as Leonard Siaw. The Sarawakian had travelled to Penang at the behest of Can Can Public Art to paint this and other work. Not wanting to distract him, our conversation was brief, but Leonard kindly agreed to an interview, which we conducted online a little later.
Meanwhile, I discovered that Leonard, who studied graphic design and multimedia, was one of the artists responsible for ‘The Joy of Harvest’ paintings made as part of the Penang International Container Art Festival (Picaf). Comprised of three upended shipping containers the work of art stands like a monolith among Balik Pulau’s padi fields and has become something of a local landmark and a draw for tourists.
LS: Picaf was organised and curated by Tan Chor Whye. He is basically the boss of murals in Penang and also the one behind Can Can Public Art. The containers were already installed at the designated locations, approved by the local government and the property owners. Every artist involved in the festival was expected to paint on site. ‘The Joy of Harvest’ is a collaboration piece by myself and another artist named ‘Jagung’.
MDF: What challenges or difficulties are there in painting on different surfaces?
LS: It’s pretty much the same regardless of whether I am painting on a wall in an abandoned building, or shipping containers, or uneven surfaces like wavy zinc sheets. The only challenges I face when it comes to outdoor mural painting is dealing with the weather, height, and other unpredicted problem in the streets.
MDF: Painting on metal outdoors must get very hot?
LS: Definitely, followed up with sun-tan and sunburn.
MDF: Does the heat expansion of a metal container affect the type of paint you use?
LS: No, it doesn't. For long-lasting results, I typically use weather bond or weather shield-type paint.
MDF: Do you have preferred surfaces to paint on?
LS: Not really. I will basically try to paint on any provided wall or surfaces. Working with special conditions like the surroundings, the texture or the structure may generate certain effects.
MDF: Is it scary working on a cherry picker so high above the ground?
LS: It is at first, but the fear subsides once you get used to it.
MDF: Given the public nature of your murals do you get more feedback and reactions from people than if your work was exposed in a gallery?
LS: Yes. In a gallery, viewers are often guests, or someone with a keen interest in art, collectors, or close friends. With public murals, you get many kinds of reactions. It opens a space for dialogue, for people to talk or argue about, debate, and so on.
MDF: Do you just paint murals or do you paint smaller pieces too?
LS: I just recently started to do some oil painting on canvas.
MDF: The last decade has seen a veritable explosion of mural art in Malaysia. Has it raised Malaysians’ interest in or appreciation of art in general?
LS: Yes, it has created awareness across Malaysia. But people generally see it as a decoration, which is not a bad thing, because at least artists can make a living out of it. But good mural art, with an in-depth meaning, is far more than just a decoration. As for me being an artist, I endlessly try my best to educate and influence the locals, especially the youngsters, sharing everything I know about art to raise interest and appreciation.
MDF: Do you re-touch some of the older murals from time to time or do you just let the weather work on them?
LS: No. Street mural art is a reflection of the society it sits in, and that means that years later new artists will paint over what has been there before. And disappearance is what makes the work so interesting and unique.
Attempting to preserve it just gets in the way of the meaning of the artwork. Street artists and the curator choose the location for the artwork, and that comes with an understanding that their work will be fleeting.
It isn’t up to us to slap a piece of plastic on it and mimic the separation that a museum holds. It is instead our job to experience it in our everyday lives and watch it age and disappear in the city. And if someone feels that is a pity, they can grab their smartphone or camera to capture it, and in that way, the work can be shared and preserved.
MDF: Do you have a favourite mural among those you have painted?
LS: There are some I am happy with, maybe, but I am never satisfied. Instead of picking a favourite, I would say that every mural I paint is practice for my next mural.
Meanwhile, still in Penang, Leonard Siaw has recently completed a new mural titled ‘The Taste of Nostalgia’ as part of the ‘Mapping Air Itam Project’, another initiative of Can Can Public Art. It depicts veteran noodle sellers and sisters Lim Kooi Lye, 87, and Lim Kooi Heang, 89, famed far and wide for their flavourful Curry Mee.
These days the business is run by their grandniece and grandnephew and now thanks to Leonard provides a double draw for visitors and locals alike by uniting Penang’s vibrant public art scene with its rich culinary heritage. – The Vibes, April 9, 2021
