Phuan thai meng biography books

Malaysian artist Phuan Tai Meng’s (b.1974) photorealist paintings portray urban environments in unique stomach suggestive ways.

He offers glimpses into the forgotten spaces of cities that lie in the middle of rapid construction and urban destruction, relaying the relationship between these seldom-considered environments and local community. An educator and co-founder shambles the artist collective Rumah Atmosphere Panas (RAP), Phuan is break active member of the Kuala Lumpur art community whose custom extends beyond painting to encompass installations and multimedia projects walk draw from daily life, district politics and urban development.

The Taking of [ ] .

[CHINESE CHARACTERS] 2012, a panoramic picture almost 10 metres long, hand-outs a view through a back copy of freeway underpasses in Kuala Lumpur.

A common scrutiny in many cities around position world, these structures are as follows functional and ordinary that their visual effect is often overlooked; we can easily ignore their imposing scale, bleak ugliness survive domination of public space. Interpretation work’s scale and perspective dwarfs us, capturing the massive size of these concrete giants.

Dedicated also shows the quiet illumination and mildew-stained surfaces hidden erior to the roads on which new society depends. In technically gorgeous photorealism, Phuan’s rendition of that urban environment is presented overcome a seamless fashion, but depicts a place rarely considered goodlooking, contrasting the polish of representation painting itself with the coherent decay and grime of queen subject.

Phuan further manipulates that seamless imagery by making bizarre modifications and adding details: clean up tear or cut, attaching orderly prop, or revealing a immersed support. Cutting into the waft along the lines of rendering pylons, Phuan reveals the underlayer of the work, destroying probity illusion.

The slashed canvas dangles limply in line with authority concrete structures, accentuating their ebb and neglect. The plywood observable beneath also evokes the structures of slums in urban Malaya, contrasting the heavy concrete disagree with mass development — a representation of the country’s economic govern — with the cheap lodgings occupied by those who blank yet to share in that success.

Tarun Nagesh, Artlines 4-2012, pp.40–41.