Another artist included into my new book Tan Suz Chiang from Malaysia. I met him more than 10 years ago and followed his art ever since. It is quite spectacular how the style evolves through a decade. I have noticed that Tan turned more to abstract forms and the change seemed very natural to me.
Here is a part of his interview for my new book.
How have you come to the abstract form of art?
For me, abstraction was never a destination but a gradual return to the essence of perception. I began with sketches and figurative studies — the rhythm of cities, the posture of people, the flow of space. But over time, I realized form was only a surface; what truly drew me in was rhythm, breath, and the movement of time. As the concrete dissolved, what remained were lines and colors still alive with motion. Abstraction became a way to listen to what exists beneath sight.
Do you have in mind some representational images when you work on your abstract compositions?
Yes, when I work on abstract pieces, I often still carry some images in my mind — a street corner, a drift of light, the rhythm of walking. But once they enter the canvas, they begin to dissolve, turning into traces and rhythms. I also use photography to capture these concrete moments, as a way to recall past times. For me, abstraction doesn’t erase reality; it refines it, allowing it to exist in a lighter, freer form.
Do you plan the whole painting in detail or is it rather spontaneous?
I rarely make detailed sketches beforehand. Creation is a conversation with the unknown — I need to keep that uncertainty alive. I begin with a direction — rhythm, structure, atmosphere — but the real discoveries happen in the act of painting itself.
