Paintings

Hybridity II
by Gan Chin Lee
Oil on linen
152.4 x 213.4cm
2016

Bougainvillea
by Gan Chin Lee
Oil on canvas
120cm (diameter)
2016

Three Generations三代人
by Gan Chin Lee
Oil on linen
Set of 14, dimensions variable
183x122 cm;61x91.5cm; 61x46.5cm
2016


City Tales VIII Bagai aur dengan tebing
by Gan Chin Lee
Oil on linen
122 x 122 cm
2015 - 2016

City Tales VII 霧裏看花
by Gan Chin Lee
Oil on linen
86.4 x 122 cm
2015 - 2016

City Tales VI Ada bukit, ada paya
by Gan Chin Lee
Oil on linen
86.4 x 122 cm
2015 - 2016

City Tales V Laksana apung-apung di tengah laut, 
dipukul ombak hanyut ke tepi
by Gan Chin Lee
Oil on linen
86.4 x 122 cm
2015 - 2016

City Tales IV 雨後春筍
by Gan Chin Lee
Oil on linen
86.4 x 122 cm
2015 - 2016

City Tales III 心驚肉跳
by Gan Chin Lee
Oil on linen
86.4 x 122 cm
2015 - 2016

City Tales II 百無聊賴
by Gan Chin Lee
Oil on linen
86.4 x 122 cm
2015 - 2016

City Tales I 驚弓之鳥
by Gan Chin Lee
Oil on linen
86.4 x 122 cm
2015

Post Colonial Encounter
by Gan Chin Lee
Oil and jute
213.4 x 426.7 cm
2015

No Place for Diaspora
by Gan Chin Lee
Oil and linen
152.4 x 304.8 cm
2015

Islamophobia is a New Form of Racism
by Gan Chin Lee
Oil and linen
152.4 x 304.8 cm
2015

Phantom Existence
by Gan Chin Lee
Oil and linen
152.4 x 304.8 cm
2014 

Breadwinner
by Gan Chin Lee
Oil and linen
152.4 x 304.8 cm
2013 - 2014

Self and The Other
by Gan Chin Lee
Oil and linen
152.4 x 304.8 cm
2013 - 2014



Reunion Island
by Gan Chin Lee
Oil and jute
152.4 x 426.7 cm
2014 - 2015

reunion island是我对外籍性工作者与南洋华人的关系的一次记录。’食色性也’、’饮食男女’、’饱暖思淫欲’这几句华文谚语,是华人用以描述他们对饮食与性欲这两个基本欲望的态度。根据我这几年的观察,在地居民普遍存在着排挤外籍劳工的情绪,认为外来人口带来了竞争压力,以及治安问题,影响了原来的社会结构。不过,他们在餐饮与情色这两个层面上的态度,却持着截然相反的态度。这个发现,使我较深入了解人性在面对基本欲望时的弹性准则,也刺激了我创作这幅绘画的欲望。


Portrait Scape of Contemporary Migration
by Gan Chin Lee
Oil and acrylic on wooden panels
61 x 46 cm
2013 - 2014
Self and other
by Gan Chin Lee
Oil on linen
183 x 244 cm
2014

Between Here and There
by Gan Chin Lee
Oil and acrylic on wooden panels
65.7 x 198.3 cm
2013

Ellie Thinks About Art Through Me 
by Gan Chin Lee
Oil on linen
152 x 213.4 cm each
2013 - 2014

Portrait of Dato P. G. Lim
by Gan Chin Lee
Oil on linen
152.5 x 152.5 cm
2013
Collection of Petronas Gallery


Portrait of Redza Piyadasa(left) and Dr. Sulaiman Esa(Right)
by Gan Chin Lee
Oil on linen
76.5 x 102 cm each
2013
Collection of National Portrait Gallery

Mirror Phase : I'm a painter
by Gan Chin Lee
Oil on linen
83.8 x 119.4 cm
2013


Lebuh Pudu
by Gan Chin Lee
Oil on canvas
183 x 122 cm
2013


Frontal Reclining Nude
by Gan Chin Lee
Oil on plywood
91.5 x 183 cm
2012

Joint Seated Nudes (Diptych)
by Gan Chin Lee
Oil on plywood
60 x 60 cm
2012


Seated Nude Facing Right with Leg Bent
by Gan Chin Lee
Oil on plywood
30 x 45 cm
2012


Seated Nude Facing Left
by Gan Chin Lee
Oil on plywood
30 x 45cm
2012


The Kneeling Female Nude
by Gan Chin Lee
Oil on plywood
30 x 45cm
2012


Seated Nude Facing Right
by Gan Chin Lee
Oil on plywood
30 x 45 cm
2012

What's the time now?
by Gan Chin Lee
Oil on plywood
21 x 29.7cm
2012


Makan-Makan 1 Malaysia
by Gan Chin Lee
Oil on canvas
(Big) 60cm in diameter
(Small) 40cm in diameter
2012


Silent Majority X
by Gan Chin Lee
Oil on canvas
51.5 x 42 cm each
2012



Taipei Stir Fry
by Gan Chin Lee
Oil on linen
48 x 72 inches(left and middle panel)
96 x 72 inches (right panel)
2012



The Road to Wawasan 2020
by Gan Chin Lee
Oil on linen
152.5 x 152.5 cm
2012

Emotional detachment and physical fragmentation repeatedly occur across Gan Chin Lee's work. Subtle disturbances through first person perspective and multi panelled images punctuate his narrative sequences to become a collage of painterly sensibility and social observation. Negotiated by the artist's own personal experiences, his genre paintings reveal the frustrations and hopes of the contemporary Malaysian condition. The Road to Wawasan 2020 references the Malaysian dependence on migrant workers from all over the world to build the country's major development projects. With the artist observing the scene in the background, he comments that the path to Malaysian progress is ironically built by the hard work of others. - Eva McGovern


Self Portrait with Yellow Shirt (After Balthus)
by Gan Chin Lee
Oil on canvas
76.2 x 76.2 cm
2012


Mob
by Gan Chin Lee
Oil on linen
213 x 152.5 cm(left and right panel)
213 x 45.5 cm (middle panel)
2011

Toh Soon Cafe
by Gan Chin Lee
Oil on canvas
45.5 x 152.5 cm
2011

A Lonely Friend
by Gan Chin Lee
Oil on linen
45.5 x 152.5 cm
2011
Barber Shop in Little India
by Gan Chin Lee
Oil on canvas
86 x 102 cm
2003


Silent Majority I, II, III, IV, V, VI, VII, VIII, IX
by Gan Chin Lee
Oil on canvas
51.5 x 42 cm each
2011


Silent Majority I
by Gan Chin Lee
Oil on canvas
51.5 x 42 cm
2011

Silent Majority II
by Gan Chin Lee
Oil on canvas
51.5 x 42 cm
2011

Silent Majority III
by Gan Chin Lee
Oil on canvas
51.5 x 42 cm
2011

Silent Majority IV
by Gan Chin Lee
Oil on canvas
51.5 x 42 cm
2011
Silent Majority V
by Gan Chin Lee
Oil on canvas
51.5 x 42 cm
2011
Silent Majority VI
by Gan Chin Lee
Oil on canvas
51.5 x 42 cm
2011
Silent Majority VII
by Gan Chin Lee
Oil on canvas
51.5 x 42 cm
2011
Silent Majority VIII
by Gan Chin Lee
Oil on canvas
51.5 x 42 cm
2011

Silent Majority IX
by Gan Chin Lee
Oil on canvas
51.5 x 42 cm
2011


Golden Hours
by Gan Chin Lee
Oil on linen
106.8cm x 152.5cm
2011
Kedai Kopi Sungai Jarom
by Gan Chin Lee
Oil on linen
4' x 4' each panel
2011
Collection of National Visual Art Gallery

I was born and grew up in an environment of Kopitiam Culture.

Kedai Kopi Sugai Jarom was my grandfather most favorite shop, when he was young, his business brothers and multiracial friends always gathered here for tea, break fast and chit chatting. That time, television was not popular, they were here to exchange information of same line business, news of society and cultural, and this has made the Kopitiam (Traditional Coffee shop) part of my childhood memory under my grandpa's influence.

My hometown Jenjarom consists of mostly Chinese families and few Indian families. The other side of the next street is Sungai Jarom, a Malay Kampung (Malay village) with mostly Malay. Each race has their living custom and culture; this became my childhood natural background. Later on, I slowly understand that some historical factor cause today all races living individually.

Kedai Kopi Sungai Jarom was a communication platform for these two village people. Here, I can see those families from different races mix with each other naturally. It was a place to meet up with people, and to exchange and understand all kind of feeling from different people.

The history of Kedai Kopi Sungai Jarom may begin from the time when National Independence or even earlier. It is very sure that all uncles who were actively gathered here witnessed the important moment of National Independence, with joys and touch deeply felt from all of them. They were full of passion and positive toward all kind of future impossibilities for our baby born Malaysia.

It is truly Malaysia! We are deeply grateful with our ancestor wisdom for they have made the holy society contract which tolerates different voice and entity, not only under the principle fair to all races, and also to individual freedom and equality.

But today, for those elderly who can still recall the peaceful and prosperous situation when Malaysia just be Independent, they are just silent with disappointment, their hope for the country begins disappear.

Although they are still having meal in the Kopitiam, the doubtful and uncertainty feel exist in the atmosphere.  When doubts begin, we are toward separated from united. It affects the next generation, they become less dare to close to those from different races and be their friend.

Nowadays, new generation like to gather in coffee shop for the reason different with elderly last time. Under the situation as today, we have less freedom of speech, young generation prefer to have a drink at coffee shop at night, with friends of own race. They criticize current affairs; their negative emotion is spreading with no better guidance and release channel, it even affects the social cohesion of new generation.

A saying from Aesop Fables,“ United We Stand, Divided We fall”, specially dedicated this to all Malaysian for Malaysia her 54 years-Independence.

Translated by Grace Ng Hit Wea

My dad and his woman
by Gan Chin Lee
Acrylic, watercolor on catridge paper
101.5cm x 71.5cm
2011
Balik! Atau Membalas Budi
by Gan Chin Lee
Oil, Acrylic on jute
152.5cm x 152.5cm
2011
Status Anxiety VII
- Critical Point
by Gan Chin Lee
Oil on canvas
30x120cm(1st panel); 
44x120cm(2nd panel)
2011

Status Anxiety IV
by Gan Chin Lee
Oil on canvas
180cm x 120cm
2010
Status Anxiety III
by Gan Chin Lee
Oil on canvas
180cm x 120cm
2010
Status Anxiety II
by Gan Chin Lee
Oil on canvas
180cm x 120cm
2010
Status Anxiety I
by Gan Chin Lee
Oil on canvas
180cm x 120cm
2010
Status Anxiety V
by Gan Chin Lee
Oil on canvas
180cm x 120cm
2010
Status Anxiety VI
by Gan Chin Lee
Oil on canvas
106.5cm x 152.5cm
2010
A Crying Soul
by Gan Chin Lee
Oil on canvas
153cm x 107cm
2010
Finalist, Starhill Gallery Visual Art Award (VAA)
Anita
by Gan Chin Lee
Oil on canvas
Year: 2010

I'm On The Way Of Turning Back
by Gan Chin Lee
Oil on linen
46 x 91.5 cm (panel I & II) 
46 x 122 cm (panel III) 
2010
Harmony Street和谐路
by Gan Chin Lee
Oil on canvas
164.6cm x 84.3cm
2008
The 14th Da Dun Fine Arts Exhibition, Taiwan 
(Honorable Mention Award) 
第十四届大墩美展入选奖
位于马六甲的和谐路,各族庙堂和平相处数世纪,在曙光初露的清晨里,愈见最初的独立创国精神。孩子即希望,国家未来的和谐发展,需要更自信、胸襟更广阔大地之子来承担,才能描绘出多元族群相爱的旖旎风景图。


I'm In PappaRich
by Gan Chin Lee
Oil on linen
163cm x 84.5cm
2010


 I’m in Mamak Stall 我在嘛嘛档
by Gan Chin Lee
Oil on canvas
270cm x 160cm
2008
中央美院毕业创作三等奖;MEA Award 2009

This painting focus on depiction a common phenomenon that happens within Malaysian Chinese teenagers. Throughout the representational  scene of “Yam Cha” (drink tea) culture, we may notice teenagers mystification towards their livelihood and prospect when living under a conservative environment which mainly dominated by partial policies.

The worst part is, this policy of containment is limiting teenagers’ growth in Malaysia today.

此画中内容主要想透过马来西亚普遍流行的“喝茶文化”1,折射当代华裔青年在此封闭环境与保守国情下的迷失与困惑,反映他们对自己未来发展路线的生存困惑。

此组画面形式乃采取作者眼球视角而使画中主要事物均成透视短缩之状,以期表现作者对青年精神面貌的主观感受,暗喻眼下现象所引起的内在情绪,并企图唤起观者的情绪,以作呼应。同时凭借视觉优于语言的优势来传达更精确的情感波动,用拆解、重整、转化、组合等造型手段来再现画面构成元素,再以统一的视角来统驭一组三张反映不同场合空间的组画,从而表现青年们一致的集体情感特征。

注释:
1】马来西亚年轻人普遍喜欢晚上出外享用夜宵,尤其热衷到嘛嘛档mamak stall/咖啡店kopitiam喝茶聊天,往往一坐一两个小时,更甚者三四个小时,谈话内容多为谈论八卦、诉苦、调侃、埋怨政策不公等民生问题,少有人对脚下土地持有归属感,对未来不抱有憧憬之情。大家白天学习或上班,夜晚则变成找娱乐活动,以打发无聊时间,却鲜少有人主动投入学术思想活动及创造文化价值,由此造成整体国民青春与创造力被大量浪费。其中原因也许来自于华族文化与教育受马来主权政府的刻意漠视。


古早年代,喜欢到咖啡店“开讲”、“摆龙门阵”而口沫横飞的族群多为年纪较长的退休人士,因为休闲时间较多,而且累计一定的社会工作经验,接触层面广,故话题随拈随有。如今次风气竟蔓延至对学术文化活动感觉麻木的年轻一代,课余时间极少多花时间自我进修,由于知识与经验有限,且谈吐内容较多涉及负面情绪,因而促使青年逐渐形成一种眼神迷茫、得过且过只求安居乐业过生活的时代精神面貌。




Me and Myself 我和我自己
by Gan Chin Lee
Oil
40cm x 60cm
2008
MEA Award


The conception of this self-portrait represents my sense of a nostalgic past and through this unique first perspective, I again sense doubt towards my own life.
After many years of getting along with my own, I still do not fully recognize myself. Most of the time, I can only see a clear picture of myself through reflections and photos… But which is the true me? Now I maybe understand that everybody is an isolated island, the state of my existence is lonely and it is not transferable no matter if it is verbally or handwritten.
So how do I proof my existence?
I think, therefore I am?
Maybe.
这幅自画像的构思在于妄想能以己视角,表达我对自己生命的臆想,和对青春的缅怀之状态。

我虽和我自己独处多年,却不曾也永远无法像你们般清楚看见我的外在表象,而多数的情况下我只能透过镜面,看到反面的我 这一直被我认识并认为的我自己。

我如今真实体会,每个人都是孤独存在的个体这一事实。很多事物的价值,也只为自己而独立存在着,它们为了即将失去被我拥有过,为了消失而存在过,而我却无法以言语`文字`画面将之完整表达,并沿传出去,到另一个孤独的个体。为何我只能住在自己的身体堡垒里,而无法确定你们看到的视角`颜色;感受到的情绪`内容;听到闻到的是否和我一样?

哈柏特。斯宾塞说:“生命是内在关系对于外在关系所产生的继续适应。”如果时间是由很多的瞬间组合而成,那我则由每个不断适应外在关系的当下时刻拼凑而成,而记忆和思想才能印证我存在的事实。我思故我在,三十而立之年,我面对我筛思想`思想筛我后的我自己,对照二十年前的童年,不紧概叹岁月这唯一公平的永恒之物,如何悄悄然引领我的精神与生命走到今天。而我也逐渐了解不断增加`充实的同时,有些东西正在逐渐褪减`消失,如记忆,如生命。新生即走向死亡,开始正走向结束。



2 a.m.,Wordless 
凌晨两点,无语
by Gan Chin Lee
Oil on Canvas
106cm x 60cm
2007
Care for Humanity Competition, 
Federal Territory Hainan Association, 
Malaysia (Merit Award) 
海南会馆全国人文关怀绘画比赛优秀奖