Zelin Seah ‘Too Much, Too Empty’ at Richard Koh Fine Art

Spiritual reflection in the age of ennui
By Sara Lau

Zelin Seah, ‘巫 Cumulonimbus’, 2019, mixed media with etching on copper, 116 x 146cm. Image courtesy of Richard Koh Fine Art.

Deliberately enigmatic, Zelin Seah’s abstract works belie an awareness of his positionality in Malaysia’s socio-political landscape, often drawing from his experiences and struggles with identity. In 2016, his solo exhibition ‘Swimmer’ featured distortions of Peranakan motifs in what he describes as “liquid times”, referring to the precarious nature of cultural heritage in an ever-changing world. For Art Expo Malaysia 2018, he presented ‘In Awe of Things’ , a collection of vertical works that drew inspiration from Shan Shui (山水), a style of traditional Chinese ink painting that emphasises the use of negative space that connote specific philosophical tenets.

His latest series ‘Too Much, Too Empty’, slated to open at Richard Koh Fine Art in Kuala Lumpur on 5 December, follows in a similar vein. Taking religion as a departure point, Seah studies the clouds that often fill the negative space in different forms of religious art, which are ever present while never being the core focus. Seah draws a parallel between this phenomenon and his personal life, where faith and spirituality become lost in the constant and unending rhythms of routine. By centralising these cloud-like figures in his works, the artist prompts the audience to recognise the voids present in their own lives, invoking a sense of transcendence through the abstraction of his subject matters. The choice of copper as the foundation for the works is also intentional, recalling its use in religious sculptures and icons.

Zelin Seah, ‘騰 Flammagenitus’, 2019, mixed media with etching on copper, 116 x 86 cm. Image courtesy of Richard Koh Fine Art.

Conceptualisation aside, Seah’s formalistic strengths are also showcased through intricate compositions. The artist employs a mix of oil, acrylic, bitumen, vinegar, latex, liquen and fire through a meticulous process of tarnishing, sanding, carving, masking, etching and painting. The result is a mesmerising textured landscape, melding together such that it is hard to tell where each technique begins and ends. Some images flow like streams of water that diverge and converge, while others display more frenetic movements through tight curves and swirls. While the titles in English attaches the form of the image to individual nephological cloud types, the ones in Mandarin titles provide some clarity by alluding to an expression or a state of mind that matches the aesthetic of the works.

Zelin Seah, ‘Cloud: Please Update The System’, 2019, mixed media with etching on copper, 232 x 292cm (4 panels). Image courtesy of Richard Koh Fine Art.

The largest two-dimensional work of the exhibition, the four-panelled ‘Cloud: Please Update The System’ stands out in both its composition and conceptual foundation. Unlike the single-panelled work, this artist uses black paint to create an inky background, contrasted against the brass and brighter colours to form distinct three-dimensional forms. These shapes appear as puzzle pieces that cannot quite fit together, surrounded by a riotous haze of coloured clouds. The “cloud” in this instance is a clever allegory of virtual data storage, the second half of the title acting as the artist’s call to update the system. In its entirety, the work suggests a need for change or progress in the spiritual realm in order to keep up with the increasing complexity of the physical world.

Zelin Seah, ‘Capsule’, 2019, wood and copper sculpture installation, 210 x 120 x 60cm (Set of 2 pieces). Image courtesy of Richard Koh Fine Art.

Accompanying the copper works are two site-specific installation works. ‘Capsule’ is modelled after the standard size of a capsule hotel. The external structure matching the motif of the gallery’s wooden flooring, while the internal structure consists of Seah’s clouds painted and etched onto copper sheets. Seah thus reimagines the confined space from one of loneliness towards one of for solitary spiritual reflection. ‘... And we meet again’ utilises the same motif of the gallery’s wooden flooring, a kinetic sculpture that reflects the artist’s contemplation of the future and the cycles of time. Both works recentre the audience within the physical space of the gallery, calling for their presence away from the metaphysical imaginings of the clouds.

Zelin Seah, ‘...And We Meet Again’, 2019, wood and copper kinetic sculpture, 8 x 30 x 30cm. Image courtesy of Richard Koh Fine Art.

‘Too Much, Too Empty’ is perhaps the most melancholic in the artist’s oeuvre, yet it is appropriately reflective of his journey as an artist. It is an amalgamation of Seah’s contemplations on spirituality, faith, and contemporary urban ennui, parsed through a distinctive artistic vocabulary developed over the last few years. This upcoming exhibition promises to be a showcase of Seah’s delicate sensibilities as an artist in an elegant integration of form and concept.

'Too Much, Too Empty’ is on view from 5 December to 21 December 2019 at RKFA, Kuala Lumpur.