Songs for the eye

SABRI Idrus’s recent Keronchong paintings continue to push the boundaries of new mediums within the art-making process – from both physical and intellectual standpoints. 

In a Malaysian artistic climate where painting in its most original form remains the dominant force, both commercially and aesthetically, and where the art institutions (which normally play pioneering roles in supporting new ideas) are currently in some state of transition or other, experimental work remains on the fringe.