About Us

Meeting Pak Chot

The meeting with Mansoor Ibrahim, fondly known as Pak Chot, offered a glimpse into the past, a simpler life yet full of optimism about the present. It was supposed to be an interview for his upcoming solo exhibition. Interestingly, our conversation revolves around various territories, from his experience as an art student in the 1970s during the student riot, working as an assistant to repair a destroyed Tugu Negara in 1976, to mastering basic art fundamentals. Currently in his early 70s, he still actively engages with the younger generation of artists and continues producing works. "Artist never retires," he claimed—the statement that echoes his sincerity as he recalls his early years. There is a bitter truth in this statement. Learning art is not for a roll of degree. It is a life-changing experience. It changes your view of the world and helps you understand yourself and your surroundings—art, with its transformative power, bestows sensitivity, where we can make sense of things, a testament to the enlightening power of art.

Living on the edge of simpler times and turbulent moments, Pak Chot's early student life was a testament to his resilience. He managed to balance his artistic growth during the 1974-75 student uprising, where all higher education institutions were forced to close. Pak Chot was among the students accepted into the art department at ITM in 1971. The institution was then located at Happy Mansion, Sec 17, Petaling Jaya, before moving to Shah Alam in 1974. The school introduced the printmaking subject as part of three major departments, along with painting and sculpture. Besides the lack of printmaking facilities, the school also needs more teaching staff with printmaking specialities. Kok Yew Puah, who taught printmaking as a part-time tutor at ITM after his studies in Australia in 1975, was among those who left a lasting impression on him. His role as a teacher and mentor provided guidance and valuable connections to the broader art community.

In reflection, Pak Chot recognises himself as exceptionally fortunate to have had the opportunity to be in the presence of the luminaries of Malaysian modern art during his formative years. Despite the fledgling state of the art scene, the dialogue and discussions were not just vibrant but also dynamic. The influential figures of Redza Piyadasa, Sulaiman Esa, Syed Ahmad Jamal, Joseph Tan, Chong Kam Kaw, Kok Yew Puah, Salleh Ben Joned, and others infused the scene with passionate debates on Malaysian art, creating an intellectually stimulating environment. This period marked Pak Chot's induction into the art world, where a fundamental grasp of visual language was desirable and necessary for anyone aspiring to be an artist or meaningfully engaging in these discussions.

Our conversation shifted to the significance of the art community as a foundation for artistic practice. An artist-run space like Chetak 17 provided a safe platform for Pak Chot to express his creative drive. The collaborative and communal nature of art remains deeply rooted in contemporary art practices, particularly printmaking. With limited access to printing tools and facilities, establishing a dedicated platform to support this artistic discipline becomes crucial. This supportive environment not only fosters collaboration among community members but also encourages the development of art events and programs aimed at broadening the participation of other artists. Moreover, it is essential for exchanging diverse perspectives and facilitating engaging discussions and interactions among art practitioners. This sense of community and connection is what makes the art world so vibrant and enriching, and we, as part of this community, should always cherish and nurture it.

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