In an unassuming corner on the 8th floor of GMBB in Kuala Lumpur is the personal studio, office, and gallery of someone who has to be Malaysia’s most influential contemporary visual artist.

The first time I met Michael Chuah in his modest personal art space was back in June. He was sitting alone at the desk in the middle of the room with a brush in hand and acrylic paints at his side. He was painting a flat piece of wood cut in the silhouette of his latest mascot character, Yuurei Neko Sama. He showcased the character in a solo art show in the same space in May; the promotion was still on one of the glass walls. 

At the desk, Michael was using the semi-transparent nature of acrylic paints to create a novel style of artwork. He would first dot the wood with different colours, and after that layer dries, he would paint the character over it. By using thin paints, the wood and the layers of colours would show in the final piece. It was a beautiful piece. 

For as long as I had known him, and even before that, Michael had never shied away from trying something new. 

For example, in October, Poh Kong (jewellers) launched a range of gold coins and pendants based on Michael’s ghost cat (Yuurei Neko Sama). 

His pioneering ways and friendly attitude have inspired many young artists to create original characters and turn them into marketable ideas.

“It’s a nice space for me to meet clients, too,” Michael said when I asked about his studio. 

I met him again in his studio in November. This time, Michael was manning the merchandise desk and welcoming guests. He had turned his space into an art gallery to showcase the work of a new young artist. 

“She contacted me, and when I saw her work, I knew I had to feature it,” he said with a big smile. 

Michael is one of the country’s most well-known artists, and he is no stranger to the art scene abroad. Yet, his generosity and ability to uplift other artists seem to have no bounds. It is why I call him the “Godfather of Malaysian Art,” much to his protest.

Brushing off compliments and praise, he dutifully pointed out Dominica Claribelle’s work. It was the last day of her nine-day solo exhibition, At Our Peril, at Michael Chuah Gallery. 

Her talent was apparent in her work, which included two comic books that she wrote, drew, lined, and painted with the help of Mike Ranahan, the editor. 

The story of At Our Peril is set on a fictional island in the Indonesian province of Bali. It tells a fantastical drama of a people battling colonials.

Each page was meticulously hand-drawn with pencils and painted using watercolour. “It took about six months to complete,” said Dominica. She explains that all of the costume research for the books, including the names, costumes, designs, food, and even the style, was done online. 

“I never even been to Bali until after the comic was completed,” she said. 

It seemed like an impossible feat, and perhaps she saw my disbelief. She then gave me an abridged version of her presentation, which recounted her art journey.

Then it all clicked. Dominica had been working on her craft diligently since she was in her teens.

I went home with an autographed copy of her two comic books. If I had the budget, I would have also gotten one of the original comic pages.