Cover The Capitalist in Chainsaw by Malaysian artist Anas Afandi
The Capitalist in Chainsaw by Malaysian artist Anas Afandi
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In this three-part series exploring quiet shifts to radical awakenings, four Malaysian artists at different stages of their careers—emerging talent Anas Afandi, mid-career voices Marcos Kueh and Sean Lean, and established name Ivan Lam—share candid reflections on success and the myths they’ve had to unlearn
They speak of an evolving relationship with their craft, revealing that beneath the public-facing work lies a deeply personal quest. It is a journey toward understanding and self-expression that transcends traditional markers of achievement.
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Anas Afandi is a Kuala Lumpur-based artist whose multidisciplinary practice—spanning drawing, painting, sculpture and installation—is often grounded in personal memory and a deep connection to nature. His works explore the boundaries between art and life, weaving together historical, botanical and archaeological themes to reflect on contemporary society and cultural identity. Anas has exhibited widely in group shows across Kuala Lumpur and recently held his first solo exhibition at Wei-Ling Gallery in 2024.
Above Anas Afandi
Anas Afandi
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What first drew you to your art form, and what keeps you committed to it today?
I’m not committed to a single artform. I always look for the best materials and medium to express myself or reflect a concept. Drawings will always be central to my practice.
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Can you describe a defining moment in your journey so far—whether it was a breakthrough, a setback or something else that shifted your perspective?
Everything changed when I became a father. As a parent, you try to project an idealised world for your family to protect them from harsh realities. My concern has shifted from individualistic interests to more complex topics: environmental issues, environmental politics, social issues, cultural identity, cultural history, etc. In short, becoming a father has made my work much more proactive rather than reactive towards my surroundings and transformed the overall dynamic of my practice.
How do you measure success at this stage in your career, and has that definition changed over time?
Having opportunities to be represented by a gallery impacts any artist’s career. As long as I have the opportunity to produce works, to make an attempt to express what I want and to do so consistently (which is very rare for an artist), I would be happy to call that a success.
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What’s one myth about being an artist you’d like to debunk—something people misunderstand until they’re walking a mile in your shoes?
It’s a myth that we are a bunch of weirdos, starving and shaggy. Most of the artists I have met are just a little nerdy, well-satiated and armed with sophisticated minds.
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What advice would you give to someone just starting out—and what’s a piece of advice you still hold on to yourself?
You have to be disciplined, focused, dedicated, professional and consistent. But the most important thing is to be honest and responsible [about what you create].
Credits
Images: Courtesy of Anas Afandi and Wei-Ling Gallery
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