20/08/2026

THURSDAY | AUG 20, 2026

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ON TELEGRAM Malaysian Paper

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LYFE

LYFE

█ BY AMEEN HAZIZI

M AAMOR Jantan’s paintings often begin with something familiar: Musicians playing keroncong, families celebrating Hari Raya, a village path or dragonflies hovering above plants. The colours may draw viewers in first but the Malaysian artist wants them to look beyond the surface. His scenes carry questions about what the country chooses to remember, how people treat the natural world and whether younger generations will continue inherited traditions. That concern runs through Interaksi Alam , a body of 24 smaller works examining humanity’s place within the environment. “We exist within nature but are we beautifying it, damaging it or helping to balance its ecosystem? Our interaction with nature comes with a responsibility and that relationship must remain balanced,” Maamor told theSun . Learning by looking Born in 1961, Maamor entered the art world after leaving school, initially working around galleries and learning practical jobs such as making and installing frames. Formal lessons were limited, so much of his education came from studying paintings and meeting working artists. “You had to remember every painting by Malaysian artists. It was not enough to memorise their names. You had to recognise the paintings. That was the most basic lesson and I had never received it before,” he recalled. Encounters with senior figures, including Khalil Ibrahim, helped bring him into exhibitions and artist groups. His selection for Bakat Muda Sezaman in 1984 provided an early sign that he belonged in the field. Making art full-time in the 1980s offered little security. Maamor and other young artists spent time around Central Market, entered exhibitions and waited for buyers while their families questioned whether painting could support a household. “Of course my family was worried at first. My wife was at home and income from exhibitions was uncertain. It was very, very tough,” he said. Persistence gradually brought collectors, institutional recognition and opportunities to exhibit overseas. His works have since entered major corporate and public collections, while his output has grown beyond 1,600 pieces. Culture carried forward Maamor works across watercolour, oil and acrylic, although viewers have developed a

Much of Maamor’s daily routine involves time in his home studio.

Colours of Malaysian life o Painter Maamor Jantan on preserving natural world, traditions

Finding an identity For Maamor, longevity means more than producing recognisable pictures. An artist must develop a visual identity and a body of ideas that collectors can study, rather than chase whatever currently sells. “When people see the work, they should know it is Maamor without having to look at the name. Collectors who understand art research the artist, the story, the struggle and what the artist is trying to say,” he said. That belief shapes his uneasy view of artificial intelligence. He recognises its technical power but questions what remains of art when years of practice can be imitated instantly. “Humans have feelings. AI may be able to imitate many things but I hope it never reaches the point where it can duplicate human emotion,” he said. His advice to young artists is simple: Begin, practise and accept that a voice takes time to form. Art education, he argued, should nurture imagination far beyond the gallery. “Learning art is not merely learning how to paint. It teaches a person to become creative. If you become a doctor, then become a creative doctor,” he said. His latest exhibition offers audiences an opportunity to encounter that creative outlook firsthand. Interaksi Alam will be presented at Galeri Karya di Janda Baik, Pahang, from this Saturday to Sept 20, bringing Maamor’s recent watercolours into surroundings closely connected to their environmental concerns. Supported by the Tourism, Arts and Culture Ministry, the National Art Gallery and Tourism Malaysia, the exhibition opens from 2pm to 6pm on Fridays, 11am to 9pm on Saturdays, and 11am to 6pm on Sundays. The works will also be available for purchase. For Maamor, exhibitions are also places where public understanding can grow. “To advance art in a country, appreciation must be advanced first,” he said.

“As an artist, I have to carry parts of our culture. Someone has to shoulder that responsibility,” he said. The Cakcibor series takes its name from the Perak dialect word for dragonfly. Maamor chose the insect for its beauty, fragility and connection to changes in weather and habitat. “The ecosystem is fragile and we must care for and respect these insects. Although they are small, they are colourful and can tell us something about changes taking place around us,” he said.

particular fondness for his watercolours. Rather than confining himself to one subject, he organises ideas into continuing series, among them Hari Raya , Musik , Jogja and Cakcibor . “If there is no series, people can become confused about what an artist is trying to explore. A series gives the viewer a point of focus,” he said. Maamor also plays keroncong and regards the music as another way of keeping a fading tradition alive.

Maamor’s artworks turn an ordinary scene into a spirited spectacle.

Maamor works across watercolour, oil and acrylic, although viewers have developed a particular fondness for his watercolours. – ALL PICS BY AMEEN HAZIZI/THESUN

Maamor fills the frame with activity without losing sight of its individual characters.