A Word With - Mark Tan
Nostalgic. Monochromatic. Introvert. These are the three words that best describe 25 year old MARK TAN, an artist specialising in the sheltered art of printmaking in Malaysia. The pattern of three’s continue with the elements of nostalgia that his artwork possesses. Focusing on place, memory, and identity, Tan invites us to see where we have been, what we remember, who we are, and perhaps even where we are heading towards.
Having been given the opportunity to meet with Tan, I was intrigued by the sense of creativeness in his every movement before I had even driven out to see where it was his inspirations took shape. Quite quickly, it became clear to see why he’d chosen to base himself in a simple art studio in Ampang, Kuala Lumpur, as it is an inspirational hub where other simultaneous forms of art thrives. The humble institution is a deceptive creative hub bursting with lessons in everything from piano to classical ballet, and even art lessons taught by Tan himself. If there has ever been a building devoted to artists for the love and appreciation of all arts and talents, it’s this.
Tan’s venture into the art world stems back to when he was a student in Bristol; the place he credits for giving him the necessary foundation in the complex field of art. Years of learning and practical discovery has led this young man in understanding the culture of art, even beyond the common canvas. Having been back in Malaysia for two and a half years, Tan has actively pursued the art of printmaking in his little studio where he has spent hours creating fine prints to feed his creative imagination. But to the uninitiated (note: previously myself included), what is printmaking?
Printmaking is an artform where a pattern on a matrix is traced on a canvas. Particularly, printmaking largely relies on the artist’s own impression of the outlook they wish to portray. Many of Tan’s prints show a distinct story behind every simple yet unique detail. And as previously mentioned, his inspiration derives from the three elements of place, memory, and identity. It was, and continues to be, incredibly awing to see how he conforms his art to such a distinctive idea. To Tan, such elements not only relate to his own life, but shared aspects he has observed in the lives of others. It is as though these creative elements are brought to life through his hands.
“There’s a great misconception with art. Everyone think it’s just painting on canvas and that’s it.”
Having had a taste of living on both sides of the world, Tan’s artwork is a melange of the various cultures he has experienced. Though it might be easiest to settle and simply draw upon his roots, Tan pushes the envelope even more by recognising the impact of living in two such distinct cultures of East and West. It isn't only about relating to one place and that only, but also about how these places have shaped him. For Tan, he relates to the printmaking scene in Bristol, as it was where he had his formal education and where practicalities of his work were mixed with more academic rituals.
“You get to learn and then you have the opportunity to go out and explore, but in the end, you had to come back [to class] and explain why you chose for it to be painted this way. The techniques behind it… the usage of colours and all,” said Tan, explaining how there always had to be an underlying meaning to every skillful stroke of a budding art student.
Here in Malaysia, however, he questions and answers to his own reasons. “You're basically on your own now,” he said, when asked to describe what it was like to be an artist in Malaysia. Tan is no longer a student, for his solo experience has given him the first few steps into the light in exploring his original artwork. Tan relates to the places here, in Malaysia, and that is how the base of his work had been created. The three elements have given him a solid foundation to strengthen and inspire his pieces.
But for the most part, it seems to be a solo journey for Tan. The printmaking scene here in Malaysia is small, and not everyone translates printmaking with art. Rather, the common assumption is that printmaking has to do with publications: specifically, newspapers and the like. For Tan, this comes as quite a challenge. He feels that the printmaking art is particularly more sheltered in comparison to other traditional artforms. It is difficult to be as passionate as he is about his craft, only to find a disheartening lack of understanding and appreciation around him. Perhaps other artists might have long given up, seeing it as a dying artform. Yet, Tan is extraordinarily optimistic in his unwavering belief of hidden silver linings and forging a path for himself beyond the dead end.
Luckily, he is not completely alone. Though local printmaking scene is a small one, Tan finds inspiration from other global printmakers. Sam Francis, an American artist and printmaker known for his colourful abstract work, is an artist who Tan continues to glean inspiration from, especially in regards to commercial printmaking. It is shocking to learn that for centuries, the famous, established printmakers were largely of European descent. There has been scarcely few Asian printmakers that have topped the list for their own unique artwork and this issue itself helped piece the puzzle a little on why the printmaking scene in Malaysia is relatively unknown. But Tan is not discouraged. He believes that the market for Asian printmakers is wide and that there is opportunity for everyone, both locally and abroad. Singapore, he pointed out, is a budding country where local art has thrived for quite some time now. And, rest assured, Tan has big plans to learn more about the printmaking scene in Singapore, perhaps even contributing to the ongoing discussion there.
From a very alien view, I got the chance to view Mark Tan’s artwork and had decoded that his artwork could be seen as more modernistic. After all, Tan’s main inspiration comes from the concrete jungle where he thrives in. The surrounding of his art studio and even the man- made structures around him had influenced him into immortalising the civilised sceneries he lives through on a daily basis. ‘I Still Remember’ is a 2014 artwork piece which greatly intrigued me because I felt that this artwork screams the three elements best. To me, the piece is the epitome of Mark Tan’s art elements as there seems to be a sense of connection and originality surrounding it. The place behind the inspiration is a childhood place Mark had frequently visited. “The piece was done for a reason: it is part of my memory and I wanted to preserve it,” says Mark. It is clear to me how greatly the place has been immortalised thanks to Mark’s printmaking abilities.
“There's a great misconception with art. Everyone thinks it's just painting on canvas and that's it,” says Tan, as he explains that many of those in Malaysia are relatively alien to the aspects of art. Art is known only as art and nothing more; not many of us know that there are different forms, techniques and usage to art. In light of this issue, Tan has created a number of art pieces that aren't too complex for the majority to discern. In my opinion, it is smooth and easy to the eyes and gives a melodramatic feeling when it is being appreciated. This is how Tan prefers for his artwork to be looked at: he seeks the viewers’ own interpretation of it. This idea, to me, is unique and yet queer for the mind as it adds in some psychological element to it; In such a way, one’s memory has the ability to relate art with time. For someone with an eye for the finer aspects in life, Tan’s idea to choose for the right artwork is no short of exciting. For many of us, we lack the general knowledge in art and the unique designs that goes into it; as such, Mark Tan suggests that for one to choose the best art, there needs to be “a magical process.” It relies on one’s senses and connection with the art; it takes time and it's the work of the mind and the heart.
With printmaking still considered a relatively niche form of art, Tan has generally received positive reviews for his artwork from the small community of up and coming artists in Malaysia. Tan believes in his artwork as not having to confine his or even the viewer’s imagination. He believes that there is more room to grow as Malaysia, especially the urban areas, are striving for a more content form of living. Everyone is trying to find a source where they can best express themselves and where they can view things of their interests, and Tan is the one to cater in this aspect. It is unheard of, and it is a sure thing for it to be celebrated greatly.
But he’s not slowing down just yet. This coming March 23rd, Tan is set to showcase his artwork at the newly opened space by Our Arts Project with many of his new and current pieces to be displayed to the public (click here for the event page). Proving that printmaking has the potential to be the new ‘it’ thing, Tan is also set for a collaboration with an up and coming designer for his debut in KLFW 2017. Featured previously as one of the ‘creatives’ of Around the Block, Mark Tan and the KL- based designer will be showcasing a special ‘print’ collection. So, stay tuned as Around the Block will give an exclusive access to Mark Tan’s debut for KLFW 2017.
The stage is set for Tan. Perhaps one day, we’ll even get to view Mark Tan immortalized in fine print.
Take a look at our video interview of Mark Tan back in 2016 in Around The Block with Mark Tan: Printing Memories. Click on the image on the right and it'll take you to the video!
