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郭斯高把所熟悉的南洋呈现的蜡染艺术技艺引进个人的纯艺术创作好几十年了！从早期的装饰性蜡染风貌人物画、南洋乡景至老而将至近八十岁所呈现的流动性点线面富娘惹和马来文化纹饰元素流畅充满鲜明色彩斑斓热情的感性图案作品似乎在诠释艺术长河畅想曲。很有韵律。那是画与景和内心感动的相应。

For decades, Koay Soo Kau has been incorporating the wax-resist technique, which is familiar in the Nanyang region, into his personal artistic creations. From his early decorative wax-resist portraits of figures and Nanyang rural scenery, to his recent works depicting fluid lines, surfaces, and patterns inspired by the Nonya and Malay cultures, Guo seems to be interpreting a symphony of artistic imagination. The works are very rhythmic and demonstrate a correspondence between the painting, the subject matter, and the artist's inner emotions.

——庄梦轩 Becky Choong

艺术和宗教是神圣，充满真、善、美光辉的殿堂。我的创作都在实践把内心祥和轻安的喜悦透过自创的彩笔在山水里穿梭云游。那是结合多元文化南洋的开放丰富多彩的西画表现及固有的民族文化水墨的基础融汇而来。别于传统的综合媒介作品，富东方韵味空灵飘渺高远的新意山水梦。山高水长，物象千万。抑或高山仰止，皆是文人画家人生寄托浮云四海高山流水宽敞明亮能通透思考呼吸的清净地。综合媒介里有东西方南洋多元文化艺术元素的组合底蕴，丰硕的旅游映像的山山水水竟成心中所感最宁静致远的醉美境景创作泉源。自创的石皴法等肌理技巧蔚成个人艺术表现鲜明风格。

Art and religion are sacred halls full of the radiance of truth, goodness, and beauty. My creations are a practice of expressing the inner peace and joy through the use of my self-created color brushes that traverse the mountains and rivers in my paintings. They combine the rich and colorful Western painting techniques with the traditional Chinese ink painting style of the Nanyang region. Different from traditional mixed media works, they are new, imaginative, and ethereal landscapes with an Eastern aesthetic. The mountain peaks are lofty, the waters run long, and there are countless objects and phenomena. Whether looking up at towering mountains or looking down at flowing water, they are all a reflection of the artist's life and a tranquil place for contemplation and reflection. The combination of Eastern and Western Nanyang multicultural artistic elements in the mixed media works are a source of inspiration for my tranquil and sublime landscape paintings. The unique texture techniques I have created, such as the stone texture method, contribute to my distinct artistic style.

——庄梦轩 Becky Choong

杨六南早期曾经是吉隆坡美术学院高级水彩画讲师，擅长的水彩画包括写生引进的创作。从南洋多元文化的水港渔村致国外的山山水水古城遗址、古旧的石板路、长长的回廊，石板砖上的人们、风雨浸蚀过的残遗建筑农舍、曾经辉煌的古建筑古道历史遗迹，那景物遗迹承托的树木丛林远山与水的相连或倒影，必让他心中有感而用钢笔速写作画，再回画室酝酿经营去芜存菁的纯艺术表现创作的风景名胜。丰厚的写生经验，他明了如何抓住眼前美景的光影、气氛、景色赋予主观创作构思，从而以水彩颜色挥洒构建成新颖灵巧、色彩明亮、格调清新、用笔流畅漂逸水彩画作品。

Yong Look Lam was once a senior watercolor lecturer at the Kuala Lumpur College of Art, specializing in both on-site painting and creative watercolor techniques. From the multi-cultural harbors and fishing villages of Nanyang to the ancient city ruins and long corridors overseas, from people on stone tiles and buildings weathered by wind and rain to the once magnificent ancient buildings, historic trails and relics, the landscape features with trees, forests, distant mountains and connected water surfaces or reflections, Yang is always moved to sketch with pen and then to work in the studio on a pure art form of creation that preserves only the essence. With rich experience in on-site painting, he knows how to capture the light and shadow, atmosphere, and scenery of the beautiful scenery in front of him and incorporate it into his subjective creative ideas. As a result, he produces fresh, nimble, brightly colored, and elegantly styled watercolor paintings with fluid brushstrokes.

——庄梦轩 Becky Choong

钟耀才曾经拜过几个名师学画，如著名的水彩资深画家陈昌孔老师、已故崔耀成老师等。他禀赋很高且勤力钻研探讨艺术创作。他领悟得到只有画自己心中感觉与所思才能感动人心。他细腻惯用黑水印笔流利的描绘风景形成他水彩风格的特色。对渔村错落绳索各舢板线条之描绘，且并用干画法水彩笔叙述表现坚实艺术结构的一面。古意盎然壮美的古迹等老街境景，他把“过去、现在、未来”感触注入于画作，画面的景物自然以深棕色，忧郁深蓝色调和成与质感都逼真到极致真实又带点虚幻的视觉造境。借鉴现代艺术的丰富表现经验，写实的或大写意的半抽象画，有时候他的花卉作品都充满流利伸缩性的表达方式。色彩斑斓跃动尽放他心愫波动的情境。

Cheng Yeow Chye has studied under several renowned teachers in painting, such as the distinguished watercolorist Chen Changkong and the late teacher Cui Yaocheng. He is highly gifted and devoted to exploring artistic creation. He understands that only by painting what he feels and thinks can he move people. He is skilled at using black watercolor pens to depict landscapes, which forms the distinctive style of his watercolor paintings. His portrayal of the lines of fishing boats and ropes in a fishing village, combined with his use of dry brush technique and watercolor pens, creates a solid artistic structure. For ancient streets and scenic spots that are rich in antiquity and grandeur, he injects his perception of the past, present, and future into his paintings. The scenery in his paintings is rendered in deep brown and melancholic shades of blue, with a realistic yet somewhat surreal visual representation. Drawing from the rich experience of modern art, his realistic or semi-abstract paintings are sometimes full of the expressive quality of flexibility and extension. The colorful and vibrant scenes fully express the emotional fluctuations of his heart.

——庄梦轩 Becky Choong

黄贞成【国际艺象IMPSART】宣传&资讯主任，他是一位勤奋的自学青年画家。曾多次入选各国际重要展览和得奖。敢于多种尝试表现。近年把五、六十年代南洋一带华裔生活节日习俗里文化元素如铁杯、碗碟、茶壶和石榴等好预兆的水果等带进静物系列去描绘一种传承和古韵的流逝的记忆。艺术创作是用心造景造境某种思维的气质风格特色。其作品都散发一种宁静感，叫人不知不觉赞叹沉思流逝的岁月静好梦幻美。

Ng Chen Seng is the promotion and information director of the International Arts Association IMPSART. He is a hardworking self-taught young artist who has been selected for various important international exhibitions and has won awards many times. He is willing to experiment with different modes of expression. In recent years, he has brought elements of Chinese culture from the 1950s and 1960s, such as iron cups, bowls, teapots, and auspicious fruits like pomegranates, into his still-life series, depicting a sense of heritage and the passing of ancient times. Art creation is the embodiment of a certain type of thinking and style, characterized by a carefully crafted scene and mood. His works emit a sense of tranquility, making people unconsciously admire the passing of time and the beautiful dreamlike atmosphere.

——庄梦轩 Becky Choong