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Lot 094

CHANG FEE MING
b. Terengganu, 1959

MONSOON HAS GONE, 1990


Signed 'F.M. CHANG' with chinese seal (lower left)
Watercolour on paper
56cm x 76cm


PROVENANCE
Private Collection, Kuala Lumpur.


ESTIMATE  RM 80,000 - 100,000
PRICE REALISED  RM 209,000

Chang Fee Ming has done several works of bedsheets, sarong, pillows and bolsters hung out to dry on the window sill of old wooden houses, of which some were shown in his solo exhibition Second Chapter at GaleriWan in May 1990, including Togetherness I, Togetherness II, Morning In Terengganu, Her School Window and After The Monsoon II.

Here, Fee Ming portray an effortless illustration of a set of three pillows, a bolster and two blankets resting over a kampung window. The act of airing beddings from the window sill every morning is a common scene within the kampung community. Fee Ming depicts this sentimental piece as viewed by a passer-by, capturing the moment in his most observant state evident through detailed rendition of the bedclothes patterning, the wooden exterior of the kampung house, and the shadow that cast against it. As the title suggests, the piece radiates a sense of optimism, signaling the dawn of a new day.

Artist-art critic/historian Wong Hoy Cheong described Fee Ming’s early watercolours in part in an essay: “The inherent ‘wateriness’ of the medium is subsumed by the linearity of focus… Each image is rendered with an obsessive textural clarity. The totality is anything but ephemeral or translucent…”

Chang Fee Ming is an accomplished watercolourist known for his unique renditions and interpretations of peoples, traditional societies and cultures. He goes deep into the interiors, to the heart of isolated, marginalised traditional communities, to the off-the-beaten track areas in Indonesia, Africa, Myanmar, Cambodia, Nepal and tracing the mighty Mekong right up to its source in Tibet – with the zeal of an anthropologist, the insight of a social scientist and above all, the great spirit of an artist. Since his first foray to Bali in 1985, he has etched his place in Indonesian art history, especially in Bali.


REFERENCE
The World of Chang Fee Ming, Ooi Kok Chuen, Edited by Garrett Kam, 1995.
The Visible Trail of Chang Fee Ming,
Christine Rohani Longuet, 2000.