A. Samad Said stands beside his 2006 ink-on-paper artworks, each pairing expressive sketches with lines of poetry. The works are featured in the Palette and Pen exhibition at the Bank Negara Malaysia Museum and Art Gallery in Kuala Lumpur. Photo: The Star/Faihan Ghani
National Laureate Datuk Seri A. Samad Said, with his signature long white beard and quiet presence, seemed to roll back the years as he wandered through the recent launch of Palette And Pen at Bank Negara Malaysia Museum and Art Gallery (BNM MAG) in Kuala Lumpur.
The exhibition, inspired by Asean connections, brings poetry, art, and literature into conversation. It celebrates how words and images shape, reflect, and inspire each other across generations and borders.
At 90, A. Samad – whose vast contributions to Malay literature span novels, poetry, essays, drama, and the performing arts – is showcasing a series of ink-on-paper drawings (from 2006) at Palette And Pen. Each of his works is rich with poetic nuance and lyrical intimacy.
As a young man, A. Samad learned art under one of Indonesia’s most celebrated 20th century painters, an experience that gave him a distinctly regional sensibility and deepened his appreciation for South-East Asia’s cultural dialogues.
A visitor walks past 'Dun Dun Chak' (acrylic on canvas, 1974) by Malaysian artist Abdul Ghafar Ibrahim at the 'Palette And Pen' exhibition. Photo: The Star/Faihan Ghani
“In the beginning I was already an artist. I studied with artists Affendi from Indonesia, and C. Mahat from Malaysia,” he says.
A. Samad also has his literary works featured at the exhibition, which runs through Oct 12.
He sees art and writing as intertwined reflections of the human condition, shaped by time and memory.
“I feel that writing is more from and to the heart. Art is a deformed heart that is sincere and loyal. We hide the inner turmoil we experience,” he adds.
In many ways, Palette And Pen is an exhibition with ambitious reach, arriving at just the right moment – when audiences are craving thoughtful museum offerings. It presents a rare opportunity to explore folklore and histories, local and regional, through the eyes of artists and poets.
Carry on the legacy
This multi-generational show, coinciding with Malaysia’s role as Asean chair this year, offers numerous highlights for art lovers drawn to regional art connections, while providing poets and the literary crowd plenty to explore.
A showcase of classic Malaysian literary works, featuring poetry and anthologies. Photo: The Star/Faihan Ghani
Beyond the regional, BNM MAG curator Siti Melorinda (Melor) Khuzaina Sakdudin, with Amira Salleh and Aishah Wahab, highlights the value of local historical works in preserving Malaysia’s rich cultural heritage.
“This isn’t the first interdisciplinary exhibition of its kind. In 1970 and 1971, Manifestasi Dua Seni I and II were showcased by Dewan Bahasa dan Pustaka.
"Given the success of that exhibition (series) and the recent revival of 1970s culture in other galleries in KL, we felt it was the right time to showcase works from that era,” says Melor in an interview.
“Through the resurgence of (Malay literary forms) sajak, syair, hikayat, and folktales, these artworks and writings can inspire the new generation of artists to carry on the legacy,” she adds.
The exhibition showcases 159 artworks and over 50 books by 38 local artists and 14 regional contributors.
An oil on cardboard painting 'Abstractions (Birds)' from 1951 by Filipino artist Hernando R. Ocampo. Photo: BNM MAG
With homegrown names like Latiff Mohidin, Syed Thajudeen, Jaafar Taib, Jalaini Abu Hassan, Ahmad Fuad Osman, Yee I-Lann, and Samsudin Wahab, alongside regional figures such as Arahmaiani (Indonesia), Aung Myat Htay (Myanmar), and Fyerool Darma (Singapore), the gallery’s entire third floor feels like a space to absorb layered histories, cultural memory, and artistic dialogue across borders.
Plenty to discover
Local works date back to the 1960s, and there’s plenty to engage with. And no regional exhibition feels complete without Latiff’s iconic Pago Pago series woven into the narrative.
For art pieces rooted in Malaysian literature, legendary artists Syed Ahmad Jamal (1929-2011), Ismail Zain (1930-1991), and Ibrahim Hussein (1936-2009) have left behind a rich trove waiting to be revisited in this exhibition.
Meanwhile, Syed Thajudeen’s oil painting The Eternal Love Between Puteri Gunung Ledang And Hang Tuah (2013) reflects the enriched storytelling that unfolds when visual art draws from written myth.
Syed Thajudeen discusses regional storytelling and myths next to his oil painting 'The Eternal Love Between Puteri Gunung Ledang And Hang Tuah' (2013). Photo: The Star/Faihan Ghani
His large-scale work offers a vivid portrayal of these iconic Malaysian folklore figures, adorned with floral motifs and animal imagery.
“It’s no secret that Western folktales and myths are more widely popularised through television and film. However, I believe this artwork allows me to highlight the mystical elements of Malaysian, and by extension, South-East Asian, mythology,” says Syed.
In addition to spotlighting pioneering voices, the exhibition also explores how cultural heritage is reinterpreted in contemporary contexts.
Artist, academic, and writer Jalaini Abu Hassan exemplifies this with his painting Jebat Pulang Bersyarat, accompanied by his debut poetry collection, Catan Sopan.
“I imagined what it would be like if Jebat returned to modern-day Melaka – wearing a Prada suit and shoes, wandering through old alleyways,” says Jalaini.
Indonesian painter S. Sudjojono's 1959 oil on hardboard artwork titled 'Jalan Di Muka Rumah Kami' is one of the Asean highlights. Photo: BNM MAG
“If you look closely, he’s holding a pen behind his back instead of a keris. This emphasises the proverb: the pen is mightier than the sword.”
Datuk Dr Siti Zainon Ismail, Malaysia’s 14th National Laureate, is also a rare figure who excels in both art and literature, making an exhibition like Palette And Pen a perfect showcase of her unique dual talent.
She began painting and writing poetry in her teens, selling her first artwork and publishing books by the age of 16.
Her acrylic paintings, paired with literary works, reflect her belief that language and image belong together.
“Art has always been a way to express what cannot be said in words. Conversely, poetry and rhythm can spark visual imagination. A dedication to both crafts allows an artist to express themselves in ways they might not expect,” says Siti Zainon.
Regional connections
In the Scrolls From Asean section, artworks extend beyond Malaysia, showcasing diverse regional interpretations and shifting influences over time. A standout piece is I Love You – After Joseph Beuys Social Sculpture (2009) by Indonesian artist and poet Arahmaiani, who had her works shown at the Tate Modern in London late last year.
Siti Zainon stands by her 1980 acrylic on canvas artwork 'Seri Trolak' at the 'Palette And Pen' exhibition. Photo: The Star/M Irsyad
The Bandung-born artist, known for her bold, taboo-breaking art, is a striking choice for the exhibition, given her tumultuous relationship with her homeland.
“This artwork exemplifies the blending of modern Western art with local culture, particularly with the use of Jawi script in a soft sculpture medium,” says lead curator Melor.
She also highlights Singaporean artist Abdul Ghani Hamid (1933-2014), a self-taught painter, poet, and art critic, who played a key role in nurturing Malay artists in Singapore through the Angkatan Pelukis Aneka Daya collective.
“For the younger generation, it’s hard to grasp the impact of Singapore’s separation from Malaysia in 1965, but it was a watershed moment for many creatives. Abdul Ghani, who remained in Singapore, helped lay the foundation for future generations of artists, including pioneering modernist Latiff Mohidin,” says Melor.
An oil on wood painting from 1992 tilted 'Lalang Dan Api' by Singaporean artist Abdul Ghani Hamid. Photo: BNM MAG
From these Asean exhibits – ranging from Indonesia’s S. Sudjojono’s 1959 oil painting Jalan Di Muka Rumah Kami to Filipino artists Hernando R. Campo’s 1951 Abstraction (Birds) and Ramon Peralta’s 1905 Courtship In An Azotea – visitors are offered a rare chance to trace the evolution of regional expression. These classics serve as historical anchors, inviting meaningful comparison with more recent works.
“South-East Asia’s art and literary history is relatively young compared to our Western counterparts.
"That’s why it’s vital to support and nurture future collaborations between neighbouring countries – especially when you consider that, long ago, these borders didn’t exist and we shared the region as a collective space,” concludes Melor.
Palette And Pen at Bank Negara Malaysia Museum and Art Gallery, KL, runs until Oct 12 with workshops, artist talks, and sharing sessions throughout. More info here.
