(1978)
(1978)
(1978)
李正子活出中华文化的自信 作者：李健省 2004/10/10
美国诗人哲学家艾略特说得正确：“ 我们不可停止探索，而一切探索的尽头，就是重回起点，并首次对起点有真正的了解。”
1972年是李正子 (Shoko LEE) 新生起点。从零开始。
1972年，李正子决心向出生地的日本告别，脱胎换骨，新生的信念代替了记忆的包袱，潇洒地结束了日本情义结，同时也找到了人类的灵魂--自尊。这项心理上的突破，令她真实体验到个人自主的意义，也领悟了人生最重要的是拥有选择的自由 。
典范移转（Paradigm Shift）(注1)促成了心智改善并提升了心灵素质，她以崭新的心态，全心以赴地投入马来西亚，转眼把生疏多元的文化习俗环境化为己有。在这自我创造的有利环境下，把过去近乎窒息的刻板转化为积极，活出了生命的朝气与潜在空间。自信孕育着梦想，李正子开始逐步投入艺术世界。她是马来西亚艺坛的一朵奇葩，像一粒种子正如歌德所说：“撒布在泥土里时，它决不怀疑它能否发芽；它不忧虑怎样穿出泥土，不埋怨罩在它上面的石块；它只用坚毅不屈的精神，慢慢地从泥土钻出来，然后生叶、开花、结实。” (注2)
《 “SUNNY BOY” 系列 1972－1981 》
(1972)
科技还不能制造可作梦的Robot，我也不知道动物是否能作梦呢？
至少，在人道上，我们不能阻止人类作梦。作“白日梦”也是人类的基本权力。
以前威尔逊也说过：“我们因有梦想而伟大，所有伟人都是梦想家”
1972年，李正子开始作梦。
朴实的Kampong，大马的星星、月亮、太阳等不受污染的原始大自然，深深扣住了她的心弦。此时所孕育的梦想伴随探测宇宙奥秘的兴趣，她努力进行创作“Sunny Boy”系列。科学美国人杂志（Scientific American）宇宙间的研究报告也是她这时期所沉迷的。她籍《Sunny Boy》主角，兼容并畜发挥了人类特有的天赋，自我意识，想象力，良知及独立意志。
从“Sunny Boy”系列里，我们可见证到李正子艺术世界初期的播种，耕耘及修炼流程。似儿童般看生命的态度，她把心灵寄托，梦想和生活，形象化地发挥在她的创作里。主角的造型也是她心灵的化身，象征她艺术人生奋斗的开始，同时显现了自我超越的心智模式。
李正子把70年代里8年的青春与精力，交换了“Sunny Boy”系列。这系列的第一册在1980年成功出版，顿时震撼了我国艺坛, 并于1981年代表马来西亚出版物之一，在法兰克福的世界书籍展展出，获得国际佳评。在人生的意义上，初步成功落实对自己的承诺与梦想。她借创作与大家分享她幻想的宇宙旅游。（注3）
《 我的日记（第１部）1981-1983－－生命的奥妙》
(1983)
美国文学及哲学家梭罗说：“最令人鼓舞的事实，莫过于人类确实能主动努力以提升生命”
如果人类不能主动提升生命，那跟Robot动物没有两样（注4）。
80年代初，李正子的人生进入了另一个阶段。初为人母心理与生理上的激荡驱使她开拓了另一组作品－《我的日记》系列。“孩子未出世前，我整个脑子充满了幻想与想象；在幻觉里，太阳、月亮都是一样漂浮在宇宙里，像没有地心引力。红椅能够腾空飞起来，杯子与油灯都能起舞在半空中，接着是红辣椒…等等。”
画面交融了那种像遨游太空的感觉，展现她所体验到的一种没有边界的神秘，同时也流露了孕育新生命的兴奋与期待。生活经验揉合了美丽的梦幻与憧憬，借着水果、海底生物、孩子的摇篮、玩具等等，把当时心境，通过彩笔，淋漓尽致地发挥在画面上，逐渐构成了她的独特。
激情与沉思是艺术性格的主干，艺术里崇高的意境是源自伦理上的枝茎。传统美学通常是从哲学里分支出来，或从哲学系统里所演绎出一些美学原理来意释心理上对“美”的感受与理念；而李正子的《日记》是发自原始的直觉喜悦 －－对新生命的憧憬。她的作品冲击了人类的共通心灵，给人一种奇特的惊喜。
“我的作品，也是我的日子”，李正子道出了心灵的渴望，也显现了她由内而外的新能量。
《 我的日记（第２部）1983-1985 －生活的情趣》
辣椒、玩具、鱼、猫、狗、鸡等家畜都是人类生活环境里日常所接触的平凡事物或经历。但经过艺术家的知觉与创意提炼，变得充满精彩的惊叹。正子这时期的作品，带领我们突破现实物质的局限与视野。
刚上幼教的三岁慧玲，每天把幼教中心的新奇带回家里复习。她对猫狗的谈话，动植物的爱护随伴着欢乐愉悦的天真活泼，很自然地弥漫了正子生活里的各个角落与画面。生活的情趣生产了极大的创意能量。李慧玲像是家庭里的小探险家，把昆虫、蜻蜓、花鸟、鱼类、玩具等ABC潜移默化地溶入正子的艺术世界，像充电池般富裕了正子的创作泉源。
辣椒是正子怀孕期间的最爱。慧玲第一次尝试辣椒时的滑稽经验深刻了李正子对辣椒的印象，巴刹里一箩箩的辣椒也成了李正子日后的主要创作题材。
正子把生命片断化为不朽的创作。（注5）。
《 我的日记（第３部）1985-1988-－-祥瑞的动物 》
“Beauty unaccompanied by virtue is like a flower without
scent.” (French Proverb)
1985年李慧玲上学幼教，李慧莲１岁。
伴随着孩子们的创意心智成长与环境认知活动，李正子这期间的生活有如鱼得水，像游荡在儿童乐园的小天使；对动物群的爱戴及自然生态的兴趣，遂使她跟孩子们进入了动物乐园。此番她以生活周围与和睦的动物群为主题。她随着人生旅程与凭着艺术知觉，把动物的形象提炼后，通过具象表达心里对自然界生态的感受与关怀，歌颂大自然界的灿烂美妙。
但，李正子并不是传统的动物画家。
她以刚柔兼备的笔触，缤纷鲜艳的色彩渲染那些Kampong里纯朴的家畜，堂皇的火鸡等。< 猫头鹰家族 > 洋溢着无穷的趣味与默幽；美艳的彩虹，像布匹般披在动物群的身上，潇洒脱俗，展现高贵文雅的气质；斑马的纹样在瞬间激荡，骆驼伴随着旋律；那舰队般的蜻蜓，令人忆起人们愉快的童年。
丰富的想像激起兴奋，李正子已把水彩媒介提炼到炉火纯青独特意境。
《 我的日记（第4部）1989-1993 － 心虚异众草，节劲喻凡木 》
(1993)
(1993)
在第四部《我的日记1989-1993》创作期间，有几项生活空间里的活动节奏架构了李正子的［日记］思维。
刚进华小的李慧玲把新奇的电脑引进了李正子的艺术世界－随续生产了多幅电脑游戏作品；妹妹李慧莲也进入幼教中心，自然地又引诱李正子掀起了描画家畜与动物群的兴趣。
特别是腾空的狮群构图，造型轩昂雄浑的气势交接温情的世界，使人直觉生命的活力与潇洒。
举家户外活动的日子里，随意以竹代笔，墨代色作为写生的主要工具，借竹劲构画自然界的规律。
这期间的李正子热衷钻研中华古文明的情怀，也不亚於二十年前对Scientific America的热忱，并孕育了《十二生肖》，潜伏着 “龙” “马”系列构图。
《 我的日记（第5部）－灵 1989-2004—活出中华文化的自信》
艺术家的其中一项社会性功能是把生活里的真实精神层面表达出来，进一步丰润人类的心灵活动。
当大家正期待李正子《我的日记》续集时，转眼，李慧玲与李慧莲已长大，同时各奔前程。慧玲赴纽约，慧莲往新加坡，升学。李正子可运动的心灵空间自然扩大，像野马脱缰在原野起舞。她把起舞的马儿，在画布上的空间里，欲擒故纵，展开了一种力感与旋律合营的含蓄。
《舞马》大部分在近3年完成。
交融了中华文化的心灵与自信，李正子进一步游戏庄严和神气的--龙。< 龙 >所展示的形态，表达了中华民族特殊的审美观和创造性。“龙”是中华民族营构的理想化动物形象，也是世界华人心目中的共同情感维系和象征。《龙》的系列大部分作品于2000年在马来西亚国家艺术馆发表。
舞龙，舞马，崇尚创造自由，她以刚柔并蓄豪放深刻的运动力与多元角度，揉合灿烂缤纷的彩色，擒拿激荡的瞬间，心灵随 <马> 驰骋，画面上洋溢着自然界的朝气与旺盛。
从她的作品回顾过去36年。
李正子的艺术世界中心思想内涵与生活哲学，是在马来西亚本土里逐渐丰富起来的。多元文化像甘露润滋了她的心灵。她在新生实践里活出了生命的意义，提升了心灵素质并提炼了具有鸟瞰的超然位置，且具备了内省的视野与空间。她诚实地活出中华文化的自信，同时也暗示再攀另一艺术高峰所蕴藏的能量。
我想
真实世界是由许多因果环组成。
近代生态学家的新观念是把人类置于与自然不能分割的一体。所有创造行动是自然环境运作下的产物, 是一种动态性的复杂行为。结构影响思维的变化。我重视艺术家作品的原创性，创作上的连贯性和各个阶段潜伏着的因素。
新世纪全球正在经历一种价值观的空前分歧与挑战，看来世界艺术潮流已走到一个不得不反思传统及寻找新未来的关键性时刻。在这历史机缘，中华文明文化艺术的丰厚资源与博大包容特质加上世界视野的人力，肯定前瞻亚洲艺术思潮，这是历史的必然，不是沙文。
（注１) *典范移转（Paradigm Shift）－美国历史学家Thomas Kuhn于1962年的文献”The Structure of Scientific Revolution”最初使用“Paradigm” or Theoretical Framework 这名词。
(Thomas Kuhn, a US historian first used the term ‘paradigm’, in 1962 in his article “The Structure of Scientific Revolution.” He argued that all knowledge is dependent on the ‘paradigm’ or ‘ theoretical framework’ that dominates a person’s mind.)
李正子充分发挥操之在我（Proactive）的准则及创造了自己的新天地。自1978年至今已31年不访问日本。多年的努力，她超越也摆脱了“基因决定论”(Genetic determination) “心理决定论” (Psychic determination) “环境决定论”(Environment determination) 决定论 等理论所能含盖的范围。但，当她决定朝向新生及攀上艺术高峰的同时，不是一帆风顺，她无法避免命运暗黑面的侵袭。它们利用她的盲点与无知抓住她，将她困在浅水滩上，再掀住她的脖子。
(注 2) 人为的苦难，正是考验我们的道念与毅力 。李正子 Shoko LEE 于1972年开始志愿申请入马来西亚国籍，不幸中途失败。于1977第二度重新申请。自1978年至今也不曾访问日本，宣誓不效忠日本，同时志愿舍弃日本国籍并了结日本情义结。 於１９９８年５月１４日（May 14 1998）获得马来西亚永久居留权（P.R）.2000 年6月14日根据马来西亚当局的法律程序，宣誓改名为Shoko Lee 李正子 （Bil.(2) dlm. JPN.KP: 163/683/PD IP 0359(6)2000 Jabatan Pendaftaran Negara, Malaysia）. ２００１年７月２３日，获得马来西亚公民权及马来西亚身份证，并享有一切马来西亚公民权益。李正子於２００１年８月１６日获得马来西亚国际护照 。根据马来西亚移民局的法律程序，李正子已把无用作废的日本护照 (No. M20113939) 在２００１年８月１日呈交给马来西亚移民局退回给日本政府 (to Japanese Embassy in Kuala Lumpur Malaysia) ，一切已根据马来西亚法律程序处理。
基于人权课题，李健省(LEE
Kian Seng)和李正子(Shoko
LEE)以信件向马来西亚日本大使館（Embassy
of Japan in Malaysia）投诉吉隆坡日本大使館内的官员不合法行事。注：至目前还没有回应。
基于人权课题，李健省(LEE
KIan Seng)和李正子(Shoko
LEE)以信件向马来西亚外交部(
Ministry of Foreign Affairs of Malaysia)投诉吉隆坡日本大使館内的官员不合法行事。注：至目前还没有解决。
（注 3）但，独特的作品，在那民族主义溶合‘向东学习’（ 1981--2003)的霸道时代，注定不能一帆风顺，那一种蚕食鲸吞的操弄，超越李正子当时所能理解的。这系列的出版计划，胎死腹中，等了10年后才成功取回版权。8年的耕耘加上10年冷冻，一共18年的青春年华转眼被人消磨得无影无踪。有人说，那是一种有系统的边缘化工程。这些都是在马哈迪 的"向东 (日本) 学习"时代里（ 1981--2003)发生。
".....夠了，馬哈迪，人民已經被愚弄幾十年了。老是說英國人分而治之，您老才是高手。馬哈迪的22年( The Look East policy 1981-2003)，把大馬社會搞成族群對立，猜忌；而他利用這種矛盾，優遊其中，享受專政的便利..." (馬來西亞星洲日報2009-07-21/馬哈迪是分化高手／作者：鄭丁賢. ).
（注 4） 电视访谈1997/ 08/19/ To an interview with T.V.3 “Suasana”。 《李正子：动物写生教育人生，母亲也要学到老》1998/05/10 中国报杨舒彦报导。《艺术路上双人行》1996/10/13—星洲日报星期刊／吴爱丽专访李家："“我们的家策是以马来西亚意识为基础，在文化上认同‘双脚不踏两船’是我家的左右铭。" <Di Sana Saya Menjadi Robot >oleh Khatijah Buyong / Wanita May 1984 Wanita Utusan Melayu.”
（注 5） 于1985年发表的第二部《我的日记》个展纪念册里，前国家艺术馆馆长Datuk Syed Ahmad Jamal归纳了： “…对于人生的珍贵时刻，多数人以回忆代替日记；正子把生命片断化为不朽的创作奉献给后辈与艺术爱好者，进而丰富了他／她们的人生。…李正子，谢谢妳提醒了我们生活里的奇观”。（ Everybody goes through life with an unwritten diary; full of moments of cherished memory. Shoko immortalised fragments of life for posterity, for viewers to enjoy and thus enriching his/her life. Shoko, the dedicated artist, religiously notes observations in her diary. This is her gift for us to savour. To Shoko thank you for reminding us of the wonder of life.）
（特注）李健省
在
中国出生，那些种族主义极端者王八蛋不说他是中国画家，但
他的作品在
马来西亚主流著述里往往被有心人弄得支离破碎，华裔艺术/教育领域里的乡愿再以讹传讹，误导华社。李正子虽在日本出生是马来西亚公民,至今 37年不曾访问
日本，有心人喜欢
把她列为日本画家，企图把她排挤在马国艺术界外。也因为在马国艺术界里剽窃/抄袭她作品的思维与路线的画家不少。马来西亚艺术不能进步，就是因为这小批艺术文化界里的马前走族，包括部份华社里的乡愿利用公器在操弄 “市场”，为私利献眉当权。喜欢颠倒过来讲话也是马来西亚部份 “文化人”
的特徵之一。
附录(1)
(Note: excerpted from The Souvenir Programme of The Exhibition ‘MYDIARY1985-1988)
Shoko LEE
Although born in Japan, Shoko is in reality a Malaysian artist. She has lived twenty-four years of her life in Malaysian, more than her life in Japan, a country she last visited nineteen years ago. Married to Lee Kian Seng, a renown Malaysian artist, Shoko has two children through whom she draws a lot of inspiration.
My first introduction to Lee Kian Seng was by the late Frank Sullivan, as the young artist, clad in batik from top to toes ( his canvas shoes were in batik) was preparing his exhibition at the Samat Art Gallery in 1968. I have been in touch with the artist and his wife Shoko, since the couple set their home in Malaysia in 1972.
Shoko is overwhelmed by the wonder of the simple things in a new life in Malaysia. Like a child she is still in awe of the natural world, especially that of the fauna – the animals, the birds, children, and life that evolves around them.
The artist keeps a diary of the world that she observes. Unlike a writer who writes down his experience and observation, Shoko draws and paints which she does with form and content.
In her Diary 1985-1988, Shoko depicts her observation with the eye of the child wondering in her little world in which even the simple things have a sense of grandeur. The artist bestows playfulness as well as the dignity of grandeur.
The artist proposes ironic humour as the regal tiger is given new stripes of multi coloured silken drapes; so is the armour-plated rhinoceros. She portrays the lowly cockerel, hen and turkey with affection, reminding us of the natural flamboyance which they possess and which we let pass by in our daily pursuit of material gains.
Shoko shows love among the so-called wild animals, portrayed by a tigress cuddling her young cub. She reminds us of the joyous days of childhood as in the squadrons of dragonfly hovering over some goats.
The medium of watercolour on paper is expertly handled to result in some brilliant, transparent treatment that seems to glow as if it lit from within. One of the roles that the artist plays is in making visible the inner dimensions of life. That Shoko does with harmony, love and her special vision of the world, which we once knew.
by Datuk Syed Ahmad Jamal, K.M.N. Seniman Negara, Gombak, Malaysia .January 1996.
附录(2)
(Excerpted from The Souvenir Programme of The Exhibition ‘MY DIARY 1983 -1985’)
The child, chili, toys, - these are ordinary things, universally experienced by many human beings, yet the ordinary becomes extraordinary through the artist’s perception, sensibility and mediation via the art form. One of the primary roles of the artist is to make us aware of an aspect of reality - in visual art to make his/her awareness visible for all to experience.
Shoko, is not just an (ordinary) artist, but an extraordinary one. Through the artist’s highly intensified perception of objects and environment, the viewer is made aware of his/her childhood days, of moments long forgotten, of simple things, which are there all the time everyday. We take these things, the simple joys of life, for granted, yet each of them is a miracle which makes life so wonderfully full of wonders. The objects or events are rearranged in juxtapositions of human-made dreams. Some of these dreams are experienced by ordinary mortals, yet through the artist’s imagination and skill ,they become real, positing inner reality.
Everybody goes through life with an unwritten diary; full of moments of cherished memory. Shoko immortalised fragments of life for posterity, for viewers to enjoy and thus enriching his/her life.
Shoko, the dedicated artist, religiously notes observations in her diary. This is her gift for us to savour.
To Shoko thank you for reminding us of the wonder of life. --by Syed Ahmad Jamal , Director, National Art Gallery, Malaysia,1985.
附录(3)
(Excerpted from The Souvenir Program of The Exhibition "MY DIARY 1981 – 1983")
Shoko LEE first made an indelible impression of the Malaysian Art scene through her illustrations of ‘Sunny Boy’. These were wondrous ventures into the realm of phantasy, of personal legend, reminding one of ‘The Little Princes’.
With the present series of watercolour paintings, the artist of Sunny Boy has come of age, entering the ‘legitimate art’ circle. Art makes it possible to realise the dreams of our will. The age of rational has produced parallels in irrationality, creating the balance, lest we become too intense with seriousness. In the spirit of ‘Sunny Boy’ it is important that we retain the child’s sense of wonder of the ‘simple’ world , such as the sky, where one’s imagination is free to wonder from the everyday demands and chores to the limitless bounds of the thinkable space. Shoko let her mind wonder and her imagination wander among the boundless universal space. Being an artist she is able to translate her responses into visual forms which are then transmitted to us in a new differentiated reality. We, as observers, are on turn enriched by the dimension of her experience… In her present collection of works aptly titled ‘My Diary’ stretching from 1981 to 1983, all those wondrous ecstatic moments of sheer serendipity, of the playful joy, are set in pictorial space - form and space being the main elements in visual/pictorial art.
The artist is inspired by space, rearranging objects in an irrational configuration in space. The elements of ‘irrationality’ are essential in a highly rationalised order of the condition of society.
In these works, the artist relates the ordinary everyday objects with which she is so familiar, especially during serving and washing up, cups and saucers, to objects in the outer space where there is no gravity. Where rockets, space ships, and space shuttles, hurtle in the ‘scientific space’ these common objects float freely in the space of the imagination. Like a good-homoured poltergeist, the artist tosses the objects in a surrealistic space.
Before the birth of her first child, the artist was closely attached to her cats, which were regarded as members of the family. These are potrayed in human guises.
During a certain stage of expecting her first child, Shoko was symbolically interested in round objects, the sense of completeness of terrestrial objects, symbol of the self, totality of the psyche.
As pregnancy progressed, the craving for chili is expressed in glowing reds as if lit from within. The biomorphic form which represent embryonic stage later developed towards the birth of the first baby. The artist conjures a new phantasy as toys float weightlessly in space.
Using mainly watercolour on thick cartridge paper the paintings glow in layers of brilliant colours as Shoko skilfully wields her brush, turning out the real magic of the imagination, bridging the naïve world of the universal child and the sophisticated world of the contemporary adult. We are fortunate to feast on this creative offering, reminding ourselves of personal values which are dearest to us ,which can be shared but never taken away. The essential qualities in art are emotive and contemplative. Let us wonder passionately and ponder religiously at these serious exteriorizations of the spirit of the eternal child, to grasp its message, for the best of art stems from a moral act. --Syed Ahmad Jamal , Director, National Art Gallery, Malaysia,1983.
附录(4)
T.V.3 “Suasana电视访谈1997/ 08/19
(Note: The following is an English
translation of the original text in Bahasa Malaysia
1.For every beautiful incident, surely it will leave a
everlasting memory for those who love art. News reports on their
story witness their achievements in the world of art.
2.Shoko Lee, although born in Japan ,has settled in Malaysia. She
is happy that her art works captivate the attention of the
society in this country.
"My creative career started and developed from New Life in
Malaysia from 1972 It was a sort of Paradigm Shift after the break
from the past in Japan."
3.The zest to produce art work is not affected by age. Shoko Lee
proves this herself that age is not a barrier. For her, sheer
will is needed to be able to produce quality art works.
4.According to her, one must be dedicated while working to get
the right message across.
5.Interest and dedication reflect upon her countenance. The
delicateness of her fingers suggests her infinite love for art.
She is absorbed in the joy of creating, and the satisfaction she
gains from it is an important agenda for those who love art as
she does.
"I work according to my conscience. My works are the
equivalent of my days.
They are the reflection of my personal journey in the new life in
Malaysia. The Malaysian ambience, including the natural setting
and the multicultural and multiethnic society, provides the
context for my experience. The birth and upbringing of my two
children also strongly influence my perception of living."
6.The beauty of the Mother Nature in Malaysia attracts her keen
interests to make such images upon the canvas. For her, the
beauty of nature provides the inspiration in her work. Shoko's
intuitive love for art is evident. It is manifested in many of
her art works.
7.She combines the elements of nature with the subject of animals
which forms the theme for many of her art works. Shoko is
captivated with the uniqueness of shape, colour and form of
animals. For her, such uniqueness is so very wonderful.
8.The subject she chooses for her art exudes a difference from
the other artists. Shoko bestows an extremely unique image and
style. It is evident from the art works she produces captivate
the hearts of art lover. The content is easy to relate with
because it is something that we meet up with in our daily lives.
Her art works depicts harmonious composition, the family life and
also her unique perception.
"The simple lifestyle and undisturbed natural surroundings
strongly captivated my heart.
My creative career can be basically divided into two stages.
In the early stage 1972-1981, the clear Malaysian starlit night
skies, the green environment and the hot sun inspired me to paint
and write about the formation of the Universe, the earth and such
educational facts of life, thus the "Sunny Boy " series."
9.The subject of animals forms the theme for part of her works.
It is seen through the choice of colours and forms that is
produced.
10.Her artistic talent excel through her art works. It is
definite that this lady possesses an talent that is extremely
unique. She succeeds in giving a difference to every piece of her
art work with a blend of bright colours. The subject is in
harmony with the message. From her point of view, art work is not
solely based on imagination.
11.Looking at her works, one's heart feels the beauty bestowed.
It is obvious that not all are able to produce such wonderful
works of art. According to her, drawing demands technique and
infinite effort. That is why patience is important, because
creating those works take a long time.
"I never calculate the time, mostly it takes a few weeks,
while some pieces take months. I produce about 10 pieces per year."
12.Mother of two children, she definitely appreciates her gift of
art. Therefore, it is not surprising that her art works bestow a
difference in the view of subject and choice of colours. Most of
her works are worth thousands of ringgit. This proves that her
works have a place in the hearts of Malaysian art lovers. Despite
her achievements, she will continue to work hard and to strive
for a higher level of success.
"I hope to share my experiences and my works to a broader
audience because art is an integral dimension of education and a
substance of life."
Shoko is lucky to have such a supportive family who understands
her dedication. For her, her family is the source of continual
support towards her success. She hopes to continue to create art
works and contribute to the Malaysian art scene even though
Malaysia is not her birthplace.
(Note: Below is the original text in Bahasa Malaysia )
1.Setiap peristiwa yang indah berlaku, pastinya meninggalkan
kenangan manis bagi insan seni. Paparan akhbar yang menyiarkan
cerita mereka adalah lipatan kenangan yang membuktikan pencapaian
mereka dalam bidang seni.
2.Shoko Lee, anak kelahiran Jepun yang kini menetap Malaysia,
berasa bangga kerana hasil seninya mendapat perhatian masyarakat
negara ini.
"Karier seni saya bermula di Malaysia dalam tahun 1972.
Semasa saya datang, kehidupan saya berubah. Berlaku peralihan
paradigma ke bidang seni. Sejak kecil lagi saya telah meminati
seni tetapi ia sebenarnya bermula di Malaysia."
3.Keghairahan menghasilkan karya tidak mengira usia. Shoko Lee
membuktikan bahawa usia bukan penghalang. Baginya, kegigihan
dalam berkarya perlu ada untuk menghasilkan karya bermutu
4.Menurutnya, tumpuan semasa berkarya perlu agar mesej yang ingin
disampaikan tidak lari daripada maksud sebenar.
5.Minat dan kesungguhan, jelas terpancar di wajahnya. Kelembutan
jari-jemari jelaka, membayangkan cinta yang mendalam terhadap
seni ini. Beliau amat teliti semasa berkarya, kerana padanya
kepuasaan dalam berkarya adalah agenda penting bagi insan seni
sepertinya.
"Saya berkarya berdasarkan gerak hati. Hasil karya saya
adalah kehidupan seharian saya. Ia mencerminkan pengalaman saya
dalam kehidupan baru di Malaysia. Alam sekitar di Malaysia
termasuk alam semula jadi, pelbagai budaya dan kaum membantu
memperkaya lagi pengalaman saya. Kelahiran dan pendidikan yang
dilalui anak-anak saya juga mempengaruhi tanggapan saya terhadap
kehidupan."
6.Keindahan alam semulajadi negara ini menarik minatnya untuk
diabaikan di atas kerubas. Baginya, keindahan alam memberi ilham
kepadanya alam berkarya. Kecintaan Shoko terhadap alam begitu
ketara. Ia dapat dilihat pada kebanyakan karya yang dihasilkan.
7.Beliau turut menggabungkan elemen alam semulajadi dengan subjek
haiwan yang menjadi tema dalam kebanyakan karyanya. Shoko amat
mengkaguni keunikan bentuk dan warna yang terdapat pada haiwan.
Baginya, keunikan ini sungguh menakjubkan.
8.Subjek yang dipilih menampilkan kelainan daripada pelukis-pelukis
lain. Shoko ingin tampil dengan imej dan gaya seni tersendiri.
Temyata hasil karyanya mampu memikat hati pencinta seni. Tema
yang dibawa mudah difahami kerana ia berlaku dalam kehidupan
seharian kita. Hasil karyanya banyak berkisar kepada perasaan
persamaan, kehidupan berkeluarga dan juga perasaan dipunyai.
"Kehidupan dan persekitaran yang belum dicerobohi memikat
saya. karier kreatif saya terbahagi kepada dua peringkat.
Peringkat permulaan 1972-1981, pemandangan waktu malam,
persekitaran hijau dan cuaca panas memberi ilham kepada saya
melukis dan menulis mengenai pembentukan alam semesta, bumi dan
juga fakta-fakta pendidikan kehidupan, begiru juga dengan siri 'Sunny
Boy'."
9.Subjek haiwan yang menjadi tema sebahagian daripada karyanya
tanpa seakan-akan hidup. Ia dapat dilihat melalui pemilihan warna
dan bentuk yang dihasilkan.
10.Seni artistik terserlah pada karyanya. Sememangnya, wanita ini
mempunyai bakat seni yang cukup istimewa. Beliau berjaya memberi
kelainan pada setiap karyanya dengan pemilihan warna-warna terang.
Subjek yang ditonjolkan bersesuaian dengan mesej yang ingin
disampaikan. Beliau menganggap berkarya tidak seharusnya
berdasarkan imaginasi semata-mata. Malah beliau tidak menjadikan
subjek yang dipaparkan hanya rekaan daripada imaginasinya.
11.Melihat hasil karyanya, hati rasa terpaut dengan keindahan
yang ditampilkan. Sudah tentu bukan sebarangan orang boleh
menghasilkan lukisan ssedemikian indah. Menurutnya, melukis
memerlukan kemahiran dan ketelitian. Oleh itu kesabaran harus ada,
kerana menghasilkannya mengambilmasa yang lama.
" Saya tidak pernah mengira masa mencipta karya.
Kebanyakannya mengambil masa beberapa minggu, ada juga satu bulan.
Saya cipta kira-kira 10 karya setahun."
12.Ibu kepada dua orang anak ini, ternyata menghargai bakat yang
dianugerahi. Oleh itu, tidak hairanlah jika karyanya sentiasa
menampilkan kelainan daripada segi subjek dan pemilihan warna.
Kebanyakan karyanya mencecah harga ribuan ringgit. Ini
membuktikan nahawa karyanya mendapat tempat di hati pencinta seni
tanahair. Sudah tentu, beliau berbangga dengan apa yang
dikecapinya kini. Namun, beliau perlu lebih berusaha untuk
mencapai kejayaan yang lebih tinggi.
" Saya harap dapat berkingsi pengalaman dan karya saya
dengan lebih ramai peminat seni kerana seni adalah dimensi
pendidikan yang juga penting dalam kehidupan."
13.Shoko bertuah kerana mendapat keluarga yang memahami minatnya.
Baginya, keluarga adalah pendorong kepada kejayaan yang kini.
Beliau berharap akan dapat terus berkarya dan menyumbang kepada
dunia seni tanahair walaupun Malaysia bukan kampung halamannya.