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A graduate of the Malaysian Insitute of Art, Yeok Khang is an emerging figurative painter. Yeok Khang’s fine art philosophy includes the exploration of phenomenon through the Malaysian context, current affairs, urban lifestyle, human desire and social evolution.

Numerous galleries have been graced with Yeok Khang’s work not only in Malaysia but also South Korea, Thailand, Hungary, the Philipines, Vietnam, Taiwan and China. His latest exhibitions include ‘100 Days in Art Village’ in conjunction with the Sasaran International Arts Festival (2011), ‘Figure in Paint’ at Galeri Petronas (2011), ‘Top of the World: Asian Art Link’ at the 101 Observatory Tower in Taiwan (2009) and ‘Urban Interpretations’ at Pelita Hati Gallery of Art (2008). Yeok Khang had his first solo show ‘Urban Stroller’ at Art Accent Gallery in 2012.

Yeok Khang’s works have accorded him awards such as the Platinum Award for the 2nd UOB Painting of the Year Competition in 2012, Honourable Award in the Castelli Design Award in 2008, and a Major Award for the Staedler Malaysia Wildlife Art Award in 1994 to name a few. His works are held in prestigious collections including National Art Gallery Malaysia, Malayan Banking Berhad, Penang, Dr. Nortier’s Rooibos Museum, and Akitiara Corp. Sdn. Bhd..

The painting’s background is based on a commercial zone in a Chinese based residential area in Malaysia. Before 2008, the space was occupied by non permanent food stalls with some shophouses. After 2008, these food courts were torn down resulting in a mess of building waste. While a few owners managed to gain permission to reuse the site, most were left with the waste and debris. This land remained unused and barricaded by DBKL (Kuala Lumpur City Hall) with a signboard saying ‘Tanah Rezab Kerajaan. Dilarang Penceroboh’ (Government Reserved Land. Intruders are forbidden). Yeok Khang saw that the place was full of rubbish, weeds, wild plants, rats and crows after years. This is the destiny for much of the land in Malaysia. He asked himself whether it is better to have a children’s playground or a dirty chaotic zone guarded by crows and these thoughts resulted in this painting, The Land Guardian.

Ravens are symbolic as harbingers of doom, death or bad fortune. This piece and the title suggest that these crows are guardians for the environment and are a warning for what is to come if humans continue to encroach on wildlife and their habitats. The Land Guardian clearly shows Yeok Khang’s gift for narrative and technique as the story comes alive in colour, form and expressive brushstrokes.