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T.K Sabapathy wrote that “Compared with painting and other art forms allied to it, sculpture occupies a marginal position in the context of modern art in Malaysia”1.  The reason for its peripheral role according to Sabapathy, quoting another, though he himself pointed out is of not an entirely satisfying explanation for this dilemma, was due to restraints imposed by religious beliefs, as well as the cynically dismissive statement by Redza Piyadasa (1939-2007) and Sulaiman Esa that “...our artists have so far been not so much interested in the many dimensions of reality as with the making of pretty pictures that will hang on a wall”2. The focus of Sabapathy’s essay was to introduce one of Malaya’s early and distinctive modern sculptors, Anthony Lau. Though one of his works entitled ‘Cockerel’ was declared a visual arts heritage by the National Visual Arts Gallery (NVAG) and was also printed in a series of stamps celebrating prominent Malaysian visual artists in 2011, Anthony Lau is in danger of being overlook by a new generation of sculptors and art lovers. This essay attempts to present another perspective in reading the works of this esteemed sculptor-art educator.

  
Though his sculptures numbered less than 10*, all produced in the years between 1960s and 1970s, almost all of his works were purchased by the National Visual Arts Gallery (NVAG) and forms an essential part of the national collection. This speaks volumes of the quality and high artistry of his creative outputs. He was also active, routinely participated in exhibitions in both solo and group categories in local (1960-1967) and international art events, including Malaya’s touring exhibition to countries in Europe (1965-1967) and also the first New Delhi Triennial in 1968. 

Like many of our prominent visual artists, Anthony Lau began his career in the civil service. First receiving his Certificate of Education from the Malayan Teacher’s Training College, Kirby (1953), followed by a Malayan government scholarship to study at the Brighton College of Arts and Crafts, Sussex (1957), Anthony Lau later pursued his M.A in art education at Indiana University, U.S.A under a Fulbright scholarship (1968). He taught for more than 10 years at the Specialists Teacher’s Training Institute (STTI) in Cheras, Kuala Lumpur. In addition to teaching and his art activities, Anthony Lau was also a member of the avant-garde GRUP, a loose gathering of Malaysia’s now art giants and prominent abstractionists/abstract expressionists, namely Datuk Syed Ahmad Jamal (1929-2011), Datuk Ibrahim Hussein (1936-2009), Abdul Latiff Mohidin, Yeoh Jin Leng, Dr. Jolly Koh, and Cheong Lai Tong. Incidentally, considering the artists in GRUP (who were mostly painters), Anthony Lau’s approach towards his works is rather controlled and considered.  In analyzing his sculptures in the collection of the NVAG, one is struck by their unostentatious forms and sheer simplicity of structures as well by his clever and economic use of materials. These stylized depictions of his subjects demonstrate a clearheaded approach towards solving design aesthetic challenges, revealing an intimate understanding and firm grasps of art and design principles as well as an innate feel for materials.  If we were to position him in the country’s post-colonial context, his works produced during those years could be read as part of our Malayan artists’ collective efforts to construct artistic forms rooted in this side of the region.

His sculptures, ‘The Bull’ (1962) and ‘Cockerel’ (1963) are familiar and potent symbols that embodies both positive and masculine traits in traditional Asian cultures while his appreciation for the lush greenery and fertile abundance of his motherland are manifested in his ‘Rimba’ (1967), ‘Sea harvest’ (1968) and ‘Sea Echo’ (1969) pieces.

Though he eschews the socio-political in his works, subscribing rather to the ‘truth to materials’ principle as advocated by Konstantin Brancusi (1876-1957), Isamu Noguchi (1904-1988) and Henry Moore (1898-1986)3 and was influenced by the works of Barbara Hepworth (1903-1975), Alberto Giacometti (1901-1966) and Marino Marini (1901-1980)4, it is undeniable that Anthony Lau is a product of his surroundings and the period from which he operated. In his biographical notes, Anthony bluntly states his opinion that “Art in Malaysia took its first step with Peter Harris…. Previously art was dull and boring”5 His admiration for Peter Harris (1923-2009) tellingly reveals his partiality**. As the first Superintendent of Art in the then Malayan civil service who oversaw art education in the country before and after Merdeka, Peter Harris was also the founder of Wednesday Art Group (WAG) which organizes drawing classes every Wednesday at the former National Art Gallery’s premise (now the Malaysian Tourism Center or Matic) at Jalan Ampang, Kuala Lumpur. Besides offering a more academic approach to drawing and painting to the mostly English educated teachers and those with non-art background, Peter Harris also encouraged the exploration of materials and subject matters to developments of personal styles. Prominent names who emerged from the group includes Patrick Ng Kah Onn (1932-1989), Nik Zainal Abidin Nik Salleh (1936-1993), Cheong Lai Tong, Ismail Mustam, Hajeedar Majid, Ho Kai Peng, Dzulkili Buyong (1948- 2004) and Long Thien Shih, just to name a few. The elements of culture or aspects of local realities discernable from their works are not coincidental. I believe this had much to do with the influence of Peter Harris who was also in the committee for the setting up of the NVAG as well as other related initiatives to preserve, encourage and develop local arts and culture prior to and after Merdeka. 

However, there is another discernable feature of Anthony Lau’s sculptures which I believe had hitherto not highlighted, namely the celebration of the masculine and feminine aspects. For example, ‘Djinn Api’ (1959), a woodcarving of a human head shaped like a single flame, together with the ‘Cockerel’ and ‘The Bull’ proudly displays the qualities of masculinity exp solemn or aggressive displays of power, pride and virility.  The cockerel and bull seem ready to ‘engage’ its adversaries as shown by its almost phallic-like thrusting shapes while the Djinn, eyes closed and grim face reveals a powerful being ready to grant one’s wishes or to exact what was promised in return for fulfilling one’s desires. The other three sculptures namely ‘Rimba’, ‘Sea Harvest’ and ‘Sea Echo’, as manifestations of the feminine through its forms and shape which exemplifies the passive and static, shaped by nature as givers of life and containers of myriads of mysteries of the earth, counterpoints well the masculine aspects of Anthony’s works. 

Interestingly, what underscore these works are Anthony Lau’s own personal values, though deceptively simple, is arduously hard to gratify, that is, the seeking and finding of satisfaction in a work well made/done. Excluding external factors and circumstances, namely recognition/endorsements by officialdom or monetary incentives, Anthony Lau believes that an artist should be celebrated for his ‘ego’ alone, meaning, for his ingenuity, talent and sweat, that his accomplishments are not due to the dictates of policies or the agency of others but ‘by personal industry and the enterprise of a self-made man’6. In short, one’s work must stand or fall based on its merits alone.  

This attitude is in stark contrast to those adopted by many artists young and old working in the field today. Many have no qualms of pandering to the nostalgic, popular or stereotypical so as long as their works gets noticed or sold. Furthermore, when prodded, many are not able to elucidate the ideas behind their works convincingly, nor are they able to defend the shoddiness of their labor, thereby implicating themselves for their lack of knowledge, skill and integrity. Such are the circumstances of today, men lacking faith in personal truths and ability, exposing the dire need for the likes of old school artists such as Anthony Lau, that slow burning spirit of fire. 

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