Soul under midnight 1997
Oil on canvas
3 panels: 207 x 152.5cm (each)
207 x 458cm (overall)
Collection: National Art Gallery, Malaysia

Tan Chin Kuan describes his outlook and his inner self as two different qualities. The artist reflects: ‘The conflict between these two qualities, rational and expressive, evokes confusion and struggle. Under such circumstances, I can only search for quality between the two.’ He works to express this quality through a range of mixed media, painting, sculpture, relief and installation. Critical of the commodification of art in Malaysia, Tan Chin Kuan has described his work as ‘experimental and conceptual’. The works are highly emotive, reflecting personal dilemmas of identity and place, and relating to the socio-political reality of the country’s multi-cultural, multi-religious society. His recent work contains social commentary – heightened statements about racial inequality, censorship and economic management. Soul under Midnight reinforces the artists sombre and cynical commentary on Malaysian society.

Artist's statement:

My outlook and my inner self are of two different qualities. The conflict between these two qualities, rational and expressive, evokes confusion and struggle. Under such circumstances, I can only search for quality between the two.

My art works always express anxiety resulting from confusion and struggle. I am always creeping in silence, searching for justification, for life is a reality that each of us endure and change as we grow. In art works, I found my inner truth as well as the outer reality. And it is this part deep inside me, the part so newly formed, which has yet to be fully understood, that I would put on my canvas to be judged in the future.

I wish I can make some art works which will shock the viewers' spirit, soul and body profoundly.

The shocking of 'body' means mainly the effects on the sensory and perception organs. I used a large space with varied patterns; there are different textures due to the use of different materials, subjective forms, and strokes; and special designs require participation by the viewers to achieve the shock of the sensory organs. In the respect of 'soul,' I used the materials and patterns of life's tragedies to arouse the sympathy of the viewers who had experienced some tragedy of life. In the respect of 'spirit,' I used the law of a 'metaphysical pictures' (Pitura Metafizica) to create an artistic conception of 'internal mystery,' hoping that this would shock the 'spirit' of the viewers.