Loo Foh Sang Artist Introduction 卢伙生艺术版画家介绍
Loo Foh Sang Artist Introduction
When I was young, painting was like a rainbow to me. This
was because painting has made my life extraordinarily beautiful.
There was no paintbrush, drawing paper or instructor in
the place where I lived, which was remote and poor, and painting material was
scarce. Yet I was able to enjoy myself in the word of painting in my own way.
When I was six, I loved to do graffiti. The walls and
wooden boards were my favourite places to spend my time drawing. The painting
tools I used were wood or charcoal which were my best buddies in my world of
painting. Also, materials used for cooking in the kitchen has become my “early
teachers” enabling me to walk the journey of art.
Sometimes my beloved mother would bring me pencils, and I
would draw freely. It made me very happy and contented when given a pencil or
proper drawing paper.
There was no art teacher in the primary school where I
attended in Gambang. The art teacher in my secondary school was also not
professionally trained in art. The teacher would give us a topic and had us
draw freely- the hot topics were usually scenery of the kampongs, sea sides,
kampong houses and plantations.
Loo Foh Sang hard at work at the dormitory of the Nanyang Academy of Fine Arts (1964)
在新加坡南洋美专的宿舍内勤奋习画的卢伙生。（1964）
In those days, the school did not promote drawing or any
art – related activities, hence art competitions were not conducted in the
school. During my school days, I always thought: “How nice it would be if my school
has held these competitions.”
Graduation Nanyang Academy Fine Arts 1965
南洋美专毕业展1965年
Looking back, I would like to thank a nurse whom I met
when I was young for my achievement in the world of art.
I vividly recall her coming to our house regularly to
give injections to my uncle who suffered from eye disease. She happened to see
my painting on the wooden board and told my mother that I would become an
artist in the future. What she said encouraged me greatly and inspired me to
continue my path in art.
To me, the greatest inspiration in my life came from my
mentor in art, the renowned late Stanley William Hayter, a Briton who founded
Atelier 17 in Paris.
S.W. Hayter, father of contemporary printmaking (1974)
恩师坦雷·威廉·海特，法国著名版画大师 （1974）
I was fortunate to learn the latest printmaking
techniques from him and this gave me the chance to open up a new leaf in the
art of printmaking in Malaysia. Hayter is widely recognised as the father of
contemporary printmaking. In 1957, he invented a new intaglio printing
technique which enables multiple printing from a single plate. His innovation
has brought new dimension to the printmaking art form.
At Chateau de Versailles 1966
在法国凡尔赛皇宫前留影 1966年
As I touched 70 years old, I would like to offer my heartfelt
thanks to my friends and mentors who have encouraged and supported me. I would
like to specially mention late Mr. See Hiang Tuo. He was a renowned pioneer
artist in seal-carving, calligraphy and painting. He came from a family of
artists and was profoundly learned in these fields. He contributed greatly to
art throughout his life. And his ink paintings have certainly inspired me.
I would also like to take this opportunity to express my
gratitude to late Mr. Chen Chong Swee. My style is more modelled towards his.
He is a master in ink painting, and also one of the founding members of Nanyang
style of painting. He has deeply influenced me in my Nanyang style ink
painting. To date, I still miss him very much and I vow to help the Nanyang
style flourish.
When I was in the third year at Nanyang Academy of Fine
Arts, I was taught sketching by late Mr. Tay Kok Wee, an excellent art teacher
particularly good in human portraits.
In fact, numerous mentors have offered me selfless
guidance. I cannot thank all of them here, but will forever keep them in my
heart with great gratitude.
At a lacquer workshop in Paris 1971
在巴黎漆画工作室1971
For the exhibition “The Untiring Engraver – 48 Years of
Orignial Prints by Loo Foh Sang”, I have selected nearly 100 original prints,
showcasing my print-making artworks from 1966 to 2013.
The period from 2002 to 2005 was my most productive years
in printmaking, producing the best representation of my original prints. They
included the Malaysian Cultural series and Indian Dance series.
Last but not least, my heartfelt appreciation to Soka
Gakkai Malaysia for supporting the exhibition and publishing an album of a
collection of my original prints in conjunction with my 70th
birthday. I sincerely wish that this exhibition will allow more people to know
and appreciate original prints and continue to make the art of printmaking
shine in the world of art.
卢伙生艺术版画家介绍
小时候，画画是我唯一的彩虹，因为有它，我的人生才有了“色彩”。
虽然居住在画笔 、画纸都十分贫乏的穷乡僻壤，我依然能自得其乐地沉醉在绘画的世界。
六岁时，我特别爱涂鸦。墙壁、木板都是我挥洒的地方。木头、木炭，就是我的画笔。今天，我能够奔驰在艺术创作的大道上，厨房里的这些起火烧饭的工具，可说是我的“启蒙老师”。
偶尔妈妈会为我找来比较像样的铅笔，让我自由发挥。如果能够用上铅笔和一些较为像样的纸张画画，已经是最美好的事了。
家乡甘孟的小学，没有美术老师。初中的老师亦没有绘画的专业知识。每逢美术课，老师仅只出题后，就任由学生自由发挥。乡村景色、海边、木屋或胶林风景等都是“热门题目”。
以前，学校都不重视美术教育，从不举办绘画比赛，我内心是多么渴望学校举办相关的活动。
今天，我能够走上艺术创作之道，还真要感谢一位护士小姐。这位护士小姐定期到我家为患眼疾的大伯打针。有一次，她看见我在木板上的画作，就对妈妈说：“你的孩子以后一定是个画家”。 这句话，给给予年幼的我莫大的鼓励，也鼓舞了我毅然走向艺术之道。
而给予我人生最大启发的则是法国巴黎十七工作室的著名版画家斯坦雷·威廉·海特（Stanley William
Hayter, 1901 – 1988）先生。有幸能够师从这位大师，向他学习最新的版画技法，我才能为马来西亚的版画开创新页。被誉为现代版画艺术之父的已故斯坦雷·威廉·海特先生原是一名英国人，他在法国创办了名为“十七工作室”的版画室。1957年，他发明了凹版的一版多色印制技法，为版画界带来一项革新面貌。
回溯70载的人生，我由衷感谢许多良师益友在我艺术创作之道上给予的无限鼓励与支持。其中包括已故施香沱老师。施香沱老师的水墨画对我启发良多，他是新马著名的金石书画先驱，出生书画门第，学问渊博，精通书、画、篆刻， 一生为艺术贡献极大。许多书画家都出其门下。
此外，我也要感谢已故陈宗瑞老师。我受他影响至深，目前的画风也倾向陈老师。陈老师渗、、堪称水墨大师，是“南洋画派”创始人之一。直到今天，我还是很怀念他。我传承陈宗瑞老师的南洋水墨画风，我也立志将之发扬光大，以兹回报其恩惠。
还有，我在南洋美专的速写导师已故郑国伟老师。郑老师是一位很优秀的导师，他的人物造诣非同凡响。
还有许多在艺术道路上引领我的导师，无法一一言谢，但必将铭刻于心，永存感谢。
此次，马来西亚创价学会（SGM）为我举办的“不倦的刻刀—卢伙生版画艺术48回顾展”，将展出我精挑的近百幅版画作品，涵盖我最初（1966年）的作品及我生产期（2002年至2005年）最具代表性的马来西亚文化系列和印度舞蹈系列作品。
最后，我要衷心感谢SGM的工作团队积极为我筹备迎接七十大寿的版画展，并为我出版画集《不倦的刻刀—卢伙生版画艺术》。
我热切希望此次的版画展，能让大众对版画艺术有更进一步的认识，让版画艺术创作继续发扬光大。
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