莊嘉強的素描日記 Sketches Diary of Ch’ng Kiah Kiean

素描老檳城 Sketches of Pulo Pinang

Posted: December 27th, 2009 | Author: | Filed under: Feature | Tags: , , | Comments Off on 素描老檳城 Sketches of Pulo Pinang


Kiah Kiean has a keen eye for the essential details and essence of things, fortified by his architectural training at the Universiti Sains Malaysia, Penang and his flair in graphic design. He is able to distill a chaotic street scene and reduce it to his now distinctive streetscape. Though his subject matter may be rustic buildings, his drawings exude an obvious elegance and stylishness which are most pleasant to the eyes.

Lee Khai

嘉強涉獵的藝術有很多方面,其中最為人津津樂道的即是他的街景速寫。憑著他對建築物的敏感,加上獨特的誇張但不失平衡的構圖,再配以亂中有序的極富情感的線條,筆下的景物都活了起來。尤其是老房子,再怎麼殘破簡陋不起眼的老屋在他筆下總能被注入新生命,然後很驕傲地展示自己。

邱昌仁

Kiah Kiean’s love for the city and its heritage is conspicuous in this book. By representing the nooks and corners often ignored by the passer-by, he accentuates and thus elicits thought-provoking questions from the viewer of his works.

Ambiga Devy

嘉強的素描不是對老街景物寫實的記錄,而是一種有感情的創作。所謂曲則有情,水平垂直的建築物經過誇張的變形,皆成了有情之景。他的素描像是對某一街角或建築物一角撒一團粗粗細細的線索,然後深情地纏抱,以致景物變形得有情有趣,令人感動。

陳耀威

Kiah Kiean experiments with and explores all possibilities of expressing lines with graphite, giving his viewers much thought-provoking experience. As a direct approach to communicating with lines and tones he opts for just black and white sans colours so that his audience
may enjoy his works without other distractions.

Tan Lye Hoe


精髓所在 Essence

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莊嘉強在畫家陳來和的指導下,自年少便孜孜不倦地跋涉藝術之路。如今他結合建筑設計訓練和敏銳的觀察力,以變遷中的喬治市為對象,創作出了一幅幅令人難忘的作品。

嘉強總是念念不忘他父親在喬治市走過的足跡,從父親當年初抵馬來亞時落腳的店屋,到本頭公巷里許多潮州人常去的汕頭客棧,都是他念茲在茲的場景。透過自由且風格化的線條與空間配置,他為父親當年默默行經的喬治市老建筑和街景及其中的生活痕跡,留下了令人回味的記錄。

他的素描筆觸氣勢十足且富含感情,有時佐以淡彩,有時以水墨或濃淡不一的鉛筆線條敷上灰影,賦予筆下的喬治市街道、巷弄、建筑和景物一種典雅的風格。

他也擁有幾分古靈精怪的幽默感。這從他不時意有所指地在街景素描中嵌入書法體或印刷體商店招牌的方式即可見一斑。使用水墨時,他偶爾隨興以削尖的竹枝或筷子求取更細膩的筆觸,在在凸顯其深厚的功力。

這部素描作品集明顯呈現了嘉強對喬治市及其遺產的愛戀。透過那些往往被人忽視的角落,他凸顯了一些值得深思的課題,并引發觀畫者的思考。

這些精彩的素描不僅提醒我們喬治市昔日的風貌,也提示了喬治市可能再現的風采。透過這部以石墨鉛筆寫成的日記,嘉強藉著今日所見的街景,抓回了他童年經驗的精髓。

Ambiga Devy • 檳城

Ch’ng Kiah Kiean has travelled a long way from the young person who honed his artistic skills under the tutelage of Tan Lye Hoe. Today he combines his architectural training and his keen, intuitive eye to produce works that can only be described as haunting in their depiction of a city in the transitions of change.

Taking a journey, very much with his father in mind, he has captured George Town with a stylish freedom in his lines and spaces, remembering the footsteps taken by his father – from the Swatow Lodge in Armenian Street where many of his Teochew clansmen frequented to the shop house where he stayed when he first arrived in the then Malaya – picturing a soul on its quiet journey, remembering and memorizing every tone and shade of that life.

Sentimental sweeping lines, sometimes colour washed, sometimes in shades of grey accentuated with black ink and different thicknesses of graphite, are used to create his expressions of streets, lanes, buildings and cityscapes with elegant style.

Here is an artist who also has a quirky sense of humour – look for his juxtapositional use of shop signage in his street scenes, be it in calligraphy or typography, often telling a story of its own. His depth of skill emerges with his use of improvised equipment like sharpened bamboo and chopsticks to get finer details when using Chinese ink.

Kiah Kiean’s love for the city and its heritage is conspicuous in this book. By representing the nooks and corners often ignored by the passer-by, he accentuates and thus elicits thought-provoking questions from the viewer of his works.

These sketches are also wonderful reminders of what George Town was and sometimes still can be today. A diary in graphite, they have captured the essence of childhood experiences in the streetscapes of his present life.

Ambiga Devy • Penang


讓老房子說話的魔術師 The Magician Who Makes Buildings Come Alive

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1995年我剛從新加坡回檳工作。五月份的一個早晨 ,上班的第一天即見到了嘉強。當時,他是在一間建築師事務所當實習生,而我上班的事務所和他所服務的事務所則同在一個屋簷下,所以每天上班都有碰面的機會。他很文靜,我也不多話,工作上沒有甚麼交流,因此彼此也沒有甚麼互動,大家見了面只是禮貌地打個招呼。

一直到有一天他拿了他的作品集給我看,我才知道原來他也喜歡畫畫,話題聊開以後才發覺彼此都有共同的對畫畫的熱枕,也都曾積極地參與鍾中美術研究會活動,並且也都曾擔任過主席。這一份認同感和親切感馬上拉近了彼此的距離。

自那時起我們生命中美術的部分就不斷的交集,從95年在Syed Alatas Mansion的聯展開始,到後來共同參與南洋民間文化及檳城水彩畫會的活動,以及和一班朋友辦了個清荷人文空間,從一起外出寫生,到後來一起玩數碼相機,這位當年羞澀的少年如今已是一間設計公司的老闆。

嘉強涉獵的藝術有很多方面,其中最為人津津樂道的即是他的街景速寫。憑著他對建築物的敏感,加上獨特的誇張但不失平衡的構圖,再配以亂中有序的極富情感的線條,筆下的景物都活了起來。尤其是老房子,再怎麼殘破簡陋不起眼的老屋在他筆下總能被注入新生命,然後很驕傲地展示自己。

到過嘉強家居或辦公室的朋友應該不難發現他是非常整齊,有條不紊,端端正正的那一型,這點和他的外型頗吻合。相比之下,他筆下略帶野性的線條就顯得和他的外型不甚搭配了,但或許那才是真正的他吧?

值此第三次個展並推出素描精選集之際,祝願嘉強繼續努力,畫藝更上一層樓。

邱昌仁 • 檳城

In 1995 I returned from Singapore to work in Penang. I met Kiah Kiean on my first day at work sometime in May. He was then an attachment student at an architectural firm. Both the firms we worked with were in the same building. He was modest and reticent. I saw him almost on a daily basis but we did not interact much. A polite greeting was all we exchanged when our paths crossed.

I only found out about his love for art when he showed me his portfolio one day. Once acquainted, I realised we both share a passion for art and we were at different times active in the art society of our alma mater Chung Ling High School. Both of us were president of the art society. These common backgrounds brought us close together.

Since then, we interacted much in art. From the joint exhibition at the Syed Alatas Mansion in Armenian Street in 1995, to being involved in the activities of Nanyang Folk Culture and the Penang Water Colour Society. With some friends we set up the Ching Lotus Humanist Space at China Street. From sketching outdoor together to discovering the fun with digital photography together, the shy reticent young man is now the owner of a graphic design firm.

Kiah Kiean’s accomplishments in art are expansive. Among the many are his streetscape sketches. He has a sensitive perception for buildings. With his exaggerated yet balanced form and his seemingly chaotic yet emotive lines, he brings the streetscape, especially old buildings, he sketches to life. Each modest or even dilapidated old building seems to come alive with vigour, proudly showing off.

You would realise Kiah Kiean’s tidiness if you visit his office or his home, everything is spick and span, very much the image he projects of himself. The wild lines produced by his hand seem incongruous with his character. Perhaps that’s the real Kiah Kiean.

I wish him the very best for his third solo exhibition and the publication of this marvelous collection of his works.

Khoo Cheang Jin • Penang


撒一團粗粗細細的線索 A Burst of Powerful Lines

Posted: December 27th, 2009 | Author: | Filed under: Feature | Tags: , , | Comments Off on 撒一團粗粗細細的線索 A Burst of Powerful Lines

單看那歪歪斜斜、充滿噴灑張力又入「紙」三分的畫,我們很難將沉默寡言又身材清瘦的莊嘉強聯繫在一起。 莊嘉強可是一個悶騷型的畫家。

認識嘉強是在1996年「南洋民間文化」舉辦幻燈片欣賞會的時候。建築系在籍學生熱忱於校外的文化藝術活動,是十分難得的。他後來成為這團體的中堅份子,共同策劃多項的活動,同時也展現了多方面的才華與能力。

嘉強的繪畫創造性在中學就已遠遠超出同齡學生,甚至比許多畫家更具職業水準。除了繪畫,才氣橫溢的他也善書法、攝影和平面設計。 老檳城素描是嘉強眾多黑白速寫體裁之一。從小住在喬治市坡底的他,對老檳城有份難以割捨的記憶和關懷。近年市區發展變化頗大,他更加緊速度在街頭巷尾速寫。

不過嘉強的素描不是對老街景物寫實的記錄,而是一種有感情的創作。所謂曲則有情,水平垂直的建築物經過誇張的變形,皆成了有情之景。
他的素描像是對某一街角或建築物一角撒一團粗粗細細的線索,然後深情地纏抱,以致景物變形得有情有趣,令人感動。

另一方面,他的畫除了是線條網的迸發揮灑,也是黑與白的高速對話。虛與實、動與靜或緊與馳,都在不假思索同時著墨又留白出來;其中留白在嘉強的畫中更是具空間的重量。

這幾年,嘉強已累積足夠的檳城素描,是時候讓大家分享,也讓人透過他的眼和手認識老檳城。我衷心祝他這次的個人畫展和作品集的出版圓滿成功。

陳耀威 • 檳城

Those lines in graphite may look askew and awry, yet they are so bold, powerful and penetrating making you wonder if they are really by the hand of the quiet, shy and skinny Ch’ng Kiah Kiean.

When you come to know Kiah Kiean better, you will discover a volcano of artistic passion and creativity right beneath his gentle demeanour.
I first met Kiah Kiean in 1996 in a public slide show organised by Nanyang Folk Culture, a local cultural group of which I was a key player. It was quite a pleasure to see an architecture student coming out of the campus walls to take part in arts and cultural activities. Soon after that, he became a stalwart of the group and together we organised many arts and cultural activities in which his multi-faceted talent and ability were brought into play.

Since high school days, Kiah Kiean’s creativity in painting had already surpassed that of his peers and even many artists who boasted to be professional. Besides painting, he is also adept at calligraphy, photography and graphic design.

The old Penang is one of the major themes of Kiah Kiean’s sketches. Born and bred in George Town, he has fond memories of and a strong love and concern for the heritage of the city. In the recent years, as development has caused much damage to the old cityscape, he walked the streets even more frequently in order to preserve the disappearing street scenes and buildings in his sketch book.

But Kiah Kiean’s sketches are not direct, realist representations of the old buildings and street scenes of George Town. They are always imbued with his passion and affection toward his home city. By representing the buildings and street scenes with a twist, he is in effect expressing his affectionate impressions of his subjects.

In the sketches, Kiah Kiean embraces his subjects, be they buildings or street scenes, with strokes of thick and thin lines in so powerful a manner that the subjects are somehow twisted. Such an affectionate embrace of his subjects is always interesting and very often touching.
Not only being a burst of powerful lines, Kiah Kiean’s sketches are also a lively dialogue in black and white. The abstract and the concrete, the dynamic and the static, and the tense and the lax can always find their dialectic spaces in the visual dialogue, in which the spaces left blank always have a weight.

Now, having captured so many images of George Town with his graphite pencil, it is time for Kiah Kiean to share with the world his love for the heritage city. With all my heart, I wish his solo exhibition and the publication of his sketches collection a great success.

Tan Yeow Wooi • Penang


夢想的力量 The Power of Ch’ng Kiah Kiean’s Dreams

Posted: December 27th, 2009 | Author: | Filed under: Feature | Tags: , , , | Comments Off on 夢想的力量 The Power of Ch’ng Kiah Kiean’s Dreams

對藝術的熱誠和不懈追求造就了今日的莊嘉強。他持有馬來西亞理科大學房屋、建築及策劃系和建築系雙學位,畢業後卻沒朝本科發展,反而成了一位成功的畫家和平面設計師。這一切只因他對夢想的力量深信不疑。

身為人師最為自豪的莫過於擁有一位勇於追求夢想的傑出學生了。嘉強自小就想當畫家。他小時候跟我習畫時就告訴我,藝術是他的最愛。
身為他的繪畫老師,我從未曾對他想當畫家的志願有所懷疑,因為他的藝術天份、潛力和熱情從小就展露無遺。儘管個性文靜且略顯害羞,他卻勇於將自己的情感和想法透過獨特的風格呈現於畫中。在我的繪畫班上,他總是不怕下苦工勤做練習,靜物寫生時尤其仔細和認真。

如今,他已擺脫正規繪畫訓練的種種羈絆走自己的藝術之路,以敏銳的線條和筆觸呈現出一幅幅啟人思考的素描。文靜害羞的他在藝術創作上無疑有著大膽強烈的風格,《素描老檳城》中的作品就是最好的證明。

嘉強以鉛筆線條進行的各種實驗和探索,往往給觀畫者極大的啟發。他選擇只以黑白線條來表現,如此則觀畫者的注意力就不會分散了。

他通過這樣的表現手法展現了極大的才華與功力,題材和手法也呈多樣化的表現,從街景到建築物,從漁船至海上人家,皆能以不同的手法善加處理。他最擅長寫實主義風格,這與他的建築設計出身不無關系。無論如何,這並不妨礙他趨向更自由和更具表現力的手法,以至趨近印象主義甚至半抽象的畫風,從而充分展現出他對此媒介的掌握和運用能力。

就一個年輕藝術家而言,能將自己多年來對藝術熱情追求的成果結集成這本傑出的《素描老檳城》,是一件值得慶賀的事,更是一項值得贊揚的成就。

陳來和 • 檳城

What makes Ch’ng Kiah Kiean he is today is his aspiration and passion for art. This double-degree holder – one in Housing, Building & Planning; the other in Architecture – departs from his professional training to become a successful artist and graphic designer, all because he believes in the power of dreams.

No teacher could be more proud than to have an illustrious student who wants to go where he wants to and be what he wants to be. He wants to be an artist so much so that at one stage when Kiah Kiean was under my tutelage in art did he declare that his first love was art.

As his tutor and mentor, I have never in any way doubted his intention as he has shown his talent, potential and love for this creative subject. Quiet and shy though he may be, he has on the contrary, displayed a sense of individuality and persistence to express his ideas in his own personal style although when he was in my class, he was always prepared to go though the mills, meticulously doing academic exercises, not leaving out any details in his studies of still-life.

Today, he has freed himself from all the academic inhibitions to take his own route to produce thought-provoking sketches with his sensitive line expressions. Though he might be modest in certain ways, I would say that he is definitely bold when it comes to art as is evidenced in his works in this book of his entitled Sketches of Pulo Pinang.

Kiah Kiean experiments with and explores all possibilities of expressing lines with graphite, giving his viewers much thought-provoking experience. As a direct approach to communicating with lines and tones he opts for just black and white sans colours so that his audience may enjoy his works without other distractions.

Through this approach he has displayed his strength and versatility in expressing a wide range of subjects from street scenes to buildings and from boats to houses on the sea-front, employing different treatment in styles where he has shown to be much at ease with constructive realism which is much reminiscent of his training in architectural drawing. However, that does not deter him from going impressionistic, even approaching the semi-abstract with expressive vigour and freedom, thus asserting his competence in this medium.

This fine collection of drawings put together by Ch’ng Kiah Kiean in one book Sketches of Pulo Pinang, is indeed a great accomplishment for a young lad and is so commendable for the high quality of the labour of love.

Tan Lye Hoe • Penang


素描老檳城序 Introduction, Sketches of Pulo Pinang

Posted: December 27th, 2009 | Author: | Filed under: Feature | Tags: , , , | Comments Off on 素描老檳城序 Introduction, Sketches of Pulo Pinang

我於2005在檳城亞化畫廊為嘉強的畫展策劃時認識他。在短短幾年裡,我們因同時在檳州州立畫廊委員會裡服務而培養了深切的友誼。雖然初識至今才五年,卻仿佛已認識他一生了。

嘉強自小就對素描有濃厚的興趣。我看過他五歲畫的素描,還有小中大學時代直到現今的作品,知道他對繪畫有過人的天份。天份加上後天的勤奮,嘉強已是現今檳州畫壇後起之秀。

我第一次看到嘉強的素描就被它們緊湊優美的線條深深地吸引住了。嘉強的本領在於能夠有效的捕捉他素描題材的精髓,再以他獨特的筆法呈現於紙上。雜亂的街景在他的眼光和筆法下一一變成了藝術精品。嘉強堅持不利用照片輔助他作畫,這本書裡的作品都是他在現場完成的。他已有自己強烈的風格,一眼就知道他不完全寫實的畫法是不能抄襲照片的。雖然如此,他有用相機記錄他素描題材的習慣,所以書裡的作品都有實地照片為證。嘉強這習慣非常有遠見。書裡的許多建築物已被拆毀(第18、19、24、25、28、29、88、105、127、133、144、145、156、157、158、159及161頁),這些作品與照片也就成了珍貴的歷史見證。

嘉強的繪畫導師陳來和及三位知交陳耀威、邱昌仁與AMBIGA DEVY為這本書寫了感言,非常感謝他們。耀威是知名的建築修復家,曾修復榮獲聯合國教科文組織文化遺產獎的韓江家廟。身為檳城水彩畫會主席的昌仁是位建築師,也是位擅長畫街景的知名畫家。AMBIGA DEVY是位熱誠藝術工作者。他們為這本書寫感言自然很貼切。在此也感謝陳耀宗協助翻譯和校對。

能為這本書編輯是我的榮幸,也是份優差。嘉強的作品並不需要多加修飾,原汁原味已十分精彩。這本書讓熱愛檳城的人們又多了一份珍藏品。

李凱 • 檳城

I had the privilege of getting to know Kiah Kiean when I curated his art exhibition at Alpha Utara Gallery in 2005. Since then, we developed a friendship which has been greatly augmented by our service as members of the Penang State Art Gallery and our participation in publishing four art books, him as the designer and I as part of the editorial team.

Though I know him only for five short years, I felt as if I have known him all my life, or rather, all his life, since I am the older one. Kiah Kiean had started drawing early in his life. I have seen his drawings from age five, through his primary, secondary and tertiary schooling years, to the present. His drawings show that he possesses a God gifted talent and I am impressed with how he made use of that talent, with hard work and persistence, maturing into the artist he is today.

I admired Kiah Kiean’s works since I first laid eyes on them. Kiah Kiean has a keen eye for the essential details and essence of things, fortified by his architectural training at the Universiti Sains Malaysia, Penang and his flair in graphic design. He is able to distill a chaotic street scene and reduce it to his now distinctive streetscape. Though his subject matter may be rustic buildings, his drawings exude an obvious elegance and stylishness which are most pleasant to the eyes. All his sketches in this book were done plein-air i.e. on the spot, in the open air. None of them is drawn from photographic images. Artistically, Kiah Kiean has developed a visual language of his own, elegantly distorting his subject matter, ruling out the use of a ruler, and demonstrating clearly that he is not reproducing photographic images. However, Kiah Kiean has the habit of taking photographic record of his subject matter. On hindsight, this habit has become an invaluable historic record as a number of the buildings and places found in this book are no more to be found (as at November 2009, the buildings at pages 18, 19, 24, 25, 28, 29, 88, 105, 127, 133, 144, 145, 156, 157, 158, 159, 161 have since been demolished).

I am glad Tan Lye Hoe, Kiah Kiean’s art tutor and three of Kiah Kiean’s comrade in arms lent their support to this book by writing an article each. Tan Yeow Wooi is an acclaimed restorer of historic buildings, whose projects include the UNESCO award winning Han Chiang Temple. Khoo Cheang Jin, the president of the Penang Water Colour Society, is a practicing architect and artist who, like Kiah Kiean, has combined his passion in both disciplines to produce well sought after Penang streetscapes. Ambiga Devy is a fellow State Art Gallery Committee Member and a fervent activist for the arts. I also thank Tan Yau Chong for his editorial contribution.

It has been a great pleasure editing this book. This collection of Kiah Kiean’s sketches lent to itself without much effort on my part. It depicts the Penang we seem so familiar with yet in a very fresh manner. It showcases the Penang we love and preserves the face of Penang which is fast disappearing. This is a book for every Penang lover.

Lee Khai • Penang


「線條的故事」邀請卡 Line-line Cerita Invitation Card

Posted: November 27th, 2009 | Author: | Filed under: Exhibition | Tags: , , , , | Comments Off on 「線條的故事」邀請卡 Line-line Cerita Invitation Card



20091127 Armenian Street II 打銅仔街小公園

Posted: November 27th, 2009 | Author: | Filed under: Graphite, Streetscape | Tags: , , , , , , | Comments Off on 20091127 Armenian Street II 打銅仔街小公園

20091127-armenian-street-ii

Size: 28 x 76 cm
Media: graphite on paper

這是離我家最近的一個綠地,小時後爸爸會帶我和妹妹到那兒散步.


20091127 Armenian Street I 打銅仔街

Posted: November 27th, 2009 | Author: | Filed under: Graphite, Streetscape | Tags: , , , , | Comments Off on 20091127 Armenian Street I 打銅仔街

20091127-armenian-street-i

Size: 28 x 76 cm
Media: graphite on paper


20091018 Beach Street 土庫街

Posted: October 18th, 2009 | Author: | Filed under: Graphite, Streetscape | Tags: , , , | Comments Off on 20091018 Beach Street 土庫街

20091018-beach-street

Size: 28 x 76 cm
Media: graphite on paper