Critics

 
 
   

Seak Ling, in the early 1970s and 80s opened eyes when he produced minimalist abstracts that proved his ability to imbibe the textural within the subliminal. In the 90s many cannot forget his forays  into heritage buildings of Penang with his excellent depictions of the Acheen Street Mosque, St. George's Church and Kapitan Kling Mosque. Indeed today even institutions like Bank Negara cannot resist his rustic panoramas of the Malay melancholic entitled the Kampung Life series. The paintings of Seak Ling are highly sought after. This artist's love for learning, and perfecting, his discipline and sense of resolve must surely stand as an example to others.

Zanita Anuar
National Art Gallery, Malaysia.
Excerpt from "NORTHERN VANTAGE - 11 Malaysian Artists"
Published by ArtGrup Penang, 2004
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    Yeong Seak Ling, on the other hand, captures the magic and charm of old, historical buildings. He feels that it is his duty to record them before they give away to high-rise buildings.

Sharifah Zuriah Aljeffri
Guest Curator
Excerpt from "Contemporary MALAYSIAN ART"
Published by National Art Gallery, Kuala Lumpur, Malaysia. 1995.
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Is there a river unpolluted with garbage and toxic wastes anywhere? Yeong Seak Ling's floating coke can is an ugly symbol of American capitalism. Seak Ling criticism is also directed at our own attitude toward our environment and how we fail to keep it clean. Eventually these can together with other sampah sarap ends up clogging the drains, the streams rivers, causing instant floods and other miseries.

Dr. ZAKARIA ALI
Art Historian / Writer
Excerpts from "The Malaysianess of Malaysian Art - The Question Of Identity".
Published by National Art Gallery, Kuala Lumpur, Malaysia. 1991.
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Yeong Chee Chong's (Seak Ling) works this year are consistent with those of last year's. Spartan with details, he is stringent in using only two or three colours and forms in abstract compositions in lines, dots, broad strokes against a solid back-ground colour. His white lines are lines left white when he applies the colour surrounding works in the series 'Sequence and illusion'. Described as acrylics, which attempt to evoke "visual stimuli through the use of a sequence of colour and images'. The works are consistent, carefully worked out and almost succeed in creating a tinge of mystic. On the whole, however, the works remain earthbound, with little religious undertones.

Mdm. ONG CHOO SUAT Art Critic
Excerpt from "Utara Points To The South"
The National Echo. August 1, 1978
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Yeong Chee Chong (Seak Ling), the youngest of the Utara 77 Group, is also its maverick. Not only does the refuse to confine himself to the exploration of a single idea or theme, like the other artists, but he also refuses to restrict himself to any one media and is all over the place with Lino, Oil, Water Colour and Acrylic.
In an exhibition that is often in danger of taking itself too seriously, I found this vagabond spirit extremely refreshing.
Further, Chee Chong (Seak Ling) is as accomplished an artist as any of his more sober partners and his "Red Rose" - shimmering and rising as if from the hot desert sands - is one of the outstanding exhibits on display.

Mr. CECIL RAJENDRA Poet / Art Critic
Excerpt from "The Art Group That Seeks Vitally"
The Star. April 10, 1977
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In the entitled achromatic paintings of Yeong Chee Chong (Seak Ling) the black evokes melancholy solemnity. The dichotomy of black and white spatial relationships creates tension and drama and the dynamic black lines on the white background speak of motions swift and slow, purposeful and hesitant. His two entitled paintings are handsome.

Dr. CHEW TENG BENG
Art Professor / Art Critic
Excerpt from "Foreword Of Penang Musium Annual Show"
October 4, 1975


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An Oriental limpidity prevails in the two water colours, 'Twilight' and 'Dusk' by Yeong Chee Chong (Seak Ling). Like the ancient chinese Chee Chong is a low keyed painter who is in awe of mist and air and atmosphere. Colour which is mainly black is a matter of indifference to him: it is the blurry richness of darkness that really count. The minimum of means for definition gives these two pieces a maximum of poetry.

Mr. TAN TIN KOK

Pioneer Artist / Art Educator / Art Critic
Excerpt from "Teachers Art Exhibition - A Spirited Affair"
Straits Echo. May 22, 1972
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