Pop, surrealism and a touch of mischief

IN 1981, I discovered the vibrancy and versatility of acrylic paints. Having explored Cubism and Surrealism, I felt the need to move beyond the seriousness of my earlier work and have some fun. Why not experiment with Pop Art, adding humour, exaggeration and a touch of mischief?

The resulting paintings retained traces of my earlier styles but introduced brighter colours, playful figures and unexpected combinations of forms. Eyes, limbs, geometric shapes and everyday objects acquired lives of their own, sometimes merging into comical characters. There were echoes of Picasso and Miró, but I cared less about following any particular style than about enjoying the freedom to experiment.

*Three Men Waiting* and, *Family at Sunset*, acrylic on canvas, 15.75in H x 12in W, 1981

Looking at these works now, I am struck by their variety. Some are relatively restrained, with sparse lines and large areas of colour. Others are crowded with overlapping shapes and fragmented figures. A few seem to suggest stories, although I had no particular narratives in mind. The compositions developed intuitively, with one form suggesting another, often producing results I had not anticipated.

*Peeping Tom* and, *Cat and Despair*, acrylic on canvas, 15.75in H x 12in W, 1981

Acrylics also suited my circumstances. I was still working at The Malay Mail, where increasing responsibilities left little time for paintings that took days to dry. The medium let me work quickly, make adjustments, and explore different approaches without long interruptions.

*Saluting a March Pass* and, *Acrobat and Horse*, acrylic on canvas, 15.75in H x 12in W, 1981

This creative flourish with acrylics was relatively brief. Work and family commitments soon intervened. I moved to Penang to work with the International Organization of Consumers Unions, later returned to Malaysian Business, and eventually joined ISIS Malaysia, where I found opportunities to resume painting.

*Trishaw Man* and, *Man and Dog by the Lake*, acrylic on canvas, 15.75in H x 12in W, 1981

What interests me most today is how much of this visual vocabulary survived the intervening decades. The playful figures, exaggerated forms, unexpected juxtapositions, and occasional mischief reappeared in my work after 2020, transformed by new experiences but recognisably connected to those early experiments.