在网络上偶遇老顏的画作，被他笔下斑斓饱满的市井场景所吸引。老顏全名为颜振利，英文名是Gan Chin Lee，是一名具有华人血统的马来西亚艺术家，曾在北京中央美院研习并获得硕士学位。如今活跃在南亚的颜振利先生是吉隆坡重要的艺术领军人物。他的作品与他的成长，经历，情感，思考以及社会现实紧密关联。创作上其用色饱满，人们表情刻画纯熟，整个画面自带一种让人为之动容的忧郁美感。
来自艺术家颜振利Gan Chin Lee对gooood的分享。更多请至：颜振利Gan Chin Lee on gooood
Me and Myself 我和我自己
by Gan Chin Lee
Oil
40cm x 60cm
2008
MEA Award
The conception of this self-portrait represents my sense of a nostalgic past and through this unique first perspective, I again sense doubt towards my own life.
After many years of getting along with my own, I still do not fully recognize myself. Most of the time, I can only see a clear picture of myself through reflections and photos… But which is the true me? Now I maybe understand that everybody is an isolated island, the state of my existence is lonely and it is not transferable no matter if it is verbally or handwritten.
So how do I proof my existence?
I think, therefore I am?
Maybe.
这幅自画像的构思在于妄想能以己视角，表达我对自己生命的臆想，和对青春的缅怀之状态。
我虽和我自己独处多年，却不曾也永远无法像你们般清楚看见我的外在表象，而多数的情况下我只能透过镜面，看到反面的我 – 这一直被我认识并认为的我自己。
我如今真实体会，每个人都是孤独存在的个体这一事实。很多事物的价值，也只为自己而独立存在着，它们为了即将失去被我拥有过，为了消失而存在过，而我却无法以言语`文字`画面将之完整表达，并沿传出去，到另一个孤独的个体。为何我只能住在自己的身体堡垒里，而无法确定你们看到的视角`颜色；感受到的情绪`内容；听到闻到的是否和我一样？
哈柏特。斯宾塞说：“生命是内在关系对于外在关系所产生的继续适应。”如果时间是由很多的瞬间组合而成，那我则由每个不断适应外在关系的当下时刻拼凑而成，而记忆和思想才能印证我存在的事实。我思故我在，三十而立之年，我面对我筛思想`思想筛我后的我自己，对照二十年前的童年，不紧概叹岁月这唯一公平的永恒之物，如何悄悄然引领我的精神与生命走到今天。而我也逐渐了解不断增加`充实的同时，有些东西正在逐渐褪减`消失，如记忆，如生命。新生即走向死亡，开始正走向结束。
I’m in Mamak Stall 我在嘛嘛档
by Gan Chin Lee
Oil on canvas
270cm x 160cm
2008
中央美院毕业创作三等奖；MEA Award 2009
This painting focus on depiction a common phenomenon that happens within Malaysian Chinese teenagers. Throughout the representational scene of “Yam Cha” (drink tea) culture, we may notice teenagers mystification towards their livelihood and prospect when living under a conservative environment which mainly dominated by partial policies.
The worst part is, this policy of containment is limiting teenagers’ growth in Malaysia today.
此画中内容主要想透过马来西亚普遍流行的“喝茶文化”【1】，折射当代华裔青年在此封闭环境与保守国情下的迷失与困惑，反映他们对自己未来发展路线的生存困惑。
此组画面形式乃采取作者眼球视角而使画中主要事物均成透视短缩之状，以期表现作者对青年精神面貌的主观感受，暗喻眼下现象所引起的内在情绪，并企图唤起观者的情绪，以作呼应。同时凭借视觉优于语言的优势来传达更精确的情感波动，用拆解、重整、转化、组合等造型手段来再现画面构成元素，再以统一的视角来统驭一组三张反映不同场合空间的组画，从而表现青年们一致的集体情感特征。
注释：
【1】马来西亚年轻人普遍喜欢晚上出外享用夜宵，尤其热衷到嘛嘛档（mamak stall）/咖啡店（kopitiam）喝茶聊天，往往一坐一两个小时，更甚者三四个小时，谈话内容多为谈论八卦、诉苦、调侃、埋怨政策不公等民生问题，少有人对脚下土地持有归属感，对未来不抱有憧憬之情。大家白天学习或上班，夜晚则变成找娱乐活动，以打发无聊时间，却鲜少有人主动投入学术思想活动及创造文化价值，由此造成整体国民青春与创造力被大量浪费。其中原因也许来自于华族文化与教育受马来主权政府的刻意漠视。
古早年代，喜欢到咖啡店“开讲”、“摆龙门阵”而口沫横飞的族群多为年纪较长的退休人士，因为休闲时间较多，而且累计一定的社会工作经验，接触层面广，故话题随拈随有。如今次风气竟蔓延至对学术文化活动感觉麻木的年轻一代，课余时间极少多花时间自我进修，由于知识与经验有限，且谈吐内容较多涉及负面情绪，因而促使青年逐渐形成一种眼神迷茫、得过且过只求安居乐业过生活的时代精神面貌。
Reunion Island
by Gan Chin Lee
Oil and jute
152 x 213 cm each
2014 – 2015
reunion island是我对外籍性工作者与南洋华人的关系的一次记录。’食色性也’、’饮食男女’、’饱暖思淫欲’这几句华文谚语，是华人用以描述他们对饮食与性欲这两个基本欲望的态度。根据我这几年的观察，在地居民普遍存在着排挤外籍劳工的情绪，认为外来人口带来了竞争压力，以及治安问题，影响了原来的社会结构。不过，他们在餐饮与情色这两个层面上的态度，却持着截然相反的态度。这个发现，使我较深入了解人性在面对基本欲望时的弹性准则，也刺激了我创作这幅绘画的欲望。
The Road to Wawasan 2020
by Gan Chin Lee
Oil on linen
152.5 x 152.5 cm
2012
Emotional detachment and physical fragmentation repeatedly occur across Gan Chin Lee’s work. Subtle disturbances through first person perspective and multi panelled images punctuate his narrative sequences to become a collage of painterly sensibility and social observation. Negotiated by the artist’s own personal experiences, his genre paintings reveal the frustrations and hopes of the contemporary Malaysian condition. The Road to Wawasan 2020 references the Malaysian dependence on migrant workers from all over the world to build the country’s major development projects. With the artist observing the scene in the background, he comments that the path to Malaysian progress is ironically built by the hard work of others. – Eva McGovern
. . .
About Gan Chin Lee
Gan Chin Lee (b. 1977, Selangor, Malaysia) completed a Diploma of Illustration at The One Academy in Malaysia (1998), before enrolling in the Advanced Studies in Mural Painting (2005) at the Beijing Central Academy of Fine Arts where he completed a Masters degree in Fine Art (2008). Upon graduation, he returned home, won the Malaysian Emerging Art award (2009) and with consecutive solo exhibitions ‘Fragment·Defragmentation’ (2010) at Galeri Chandan, Kuala Lumpur; ‘Soliloquy’ (2011) at Valentine Willie Fine Art, Kuala Lumpur steadily built a portfolio that recognised him as one of the leading figurative painters with leaning towards social realism. Currently helming the newly established Fine Art department at the aforementioned The One Academy, his highly skilled painterly style of desaturated colours and disciplined technique capture ethos and pathos. His personal take and observations within local settings are sublimations, “at best I feel that they carry in them a kind of beauty of the melancholic”.
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