Cover Sarawak-born textile artist Marcus Kueh
Sarawak-born textile artist Marcus Kueh
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Sarawak-born textile artist Marcos Kueh weaves the Southeast Asian perspective on post-colonial narratives and explores what it means to be Sarawakian
To say that revising the legacy of post-colonialism in Southeast Asia is herculean would be the understatement of the century. From infrastructures and cultures to national identities, colonialism is a global issue with centuries of complexities. “Growing up in Sarawak, our history textbooks only had one chapter that covered both Sabah and Sarawak. I thought it was weird at the time,” says award-winning textile artist Marcos Kueh, whose exhibition, titled Kenyalang Circus (“Kenyalang” meaning “hornbill” in Malay), was held earlier this year in January at The Back Room Gallery. “It made me wonder about what it means to be Sarawakian, and how post-colonial narratives have shaped Southeast Asia’s identities. My latest project was about how I can convey those narratives and start an introspective discourse through textiles.”
Awarded the Ron Mandos Young Blood prize for emerging artists in 2022, Kueh’s textile art has been exhibited across the globe, from the Museum Voorlinden, the Stedelijk Museum, the Galerie Ron Mandos in Amsterdam, to the Osaka International Art Fair. The 28-year-old artist is a rising star in the art scene for his contemplative works, and for good reason.
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Above Marcos Kueh's textile artworks from his Kenyalang Circus exhibition
Marcos Kueh's textile artworks from his Kenyalang Circus exhibition
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Both self-exploratory and a “creative attempt to deconstruct, untangle, and refabricate the many layers” of the dichotomy between contemporary Borneo and its self-perceived third-world society, Kenyalang Circus was a six-year concept that was first conceptualised as a digital collage for the Malaysia Design Archive’s collective blogging project, O for Other. It eventually evolved into Kenyalang Circus, a series of industrially-woven “postcards” for Kueh’s graduation show at the Dasein Academy of Art. The collection includes larger-than-life tapestries measuring up to eight metres and smaller pieces just over a metre long.
Each work is meticulously mapped out before Kueh begins the weaving process. Straddling the line between tradition and modernity, the artist not only incorporates motifs, symbols and characters unique to Sarawakian Marcos Kueh’s textile artworks from his Kenyalang Circus exhibition culture into his textile designs, but also introduces hand-woven techniques to an industrial weaving machine. He even includes phrases that reflect on issues prevalent in modern-day Sarawak, such as the gradual erosion of cultural identity due to the exoticism and mass consumerism associated with new-age capitalism. The artworks also shed light on the lack of understanding about Borneo’s past and present state, even among Malaysians themselves. Additionally, Kueh addresses the realities faced by many Sarawakians as they navigate a world that emphasises autonomy and survival, including those working in the domestic help industry, which is explored in Kueh’s piece, Domesticana Fantastica.
It is not enough that this is a rattan basket; it is an exotic rattan basket that was passed down through generations as a family heirloom... sensational words strung together with the intent to mystify the savages and glorify the explorer
Above Marcus Kueh's artworks displayed at The Backroom Gallery
Marcus Kueh's artworks displayed at The Backroom Gallery
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“Two aspects I [explore] in Kenyalang Circus are the ‘independence’ and ‘self-esteem’ of a decolonised Borneo. The two are intertwined with one another— you cannot [achieve] independence without having confidence in your own existence,” explains Kueh. “One of the biggest issues I found in Borneo today is that we’ve somehow become less invested in our own [narratives]. Instead, we have subconsciously adopted [the descriptions imposed upon us] by the colonisers who came to our shores and documented [our lives].
“But are these colonial [portrayals] of us as ‘passive, non-confrontational’ people truly accurate? Do they [reflect the reality of ] modern Bornean society? No, they don’t. Take woven rattan baskets, for example. It used to be an essential craft born out of need, but now, we can easily buy cheaper baskets from mass marketing platforms. So, what does that mean for the weavers, the craft itself, and us as Malaysians? People do not question this because they don’t have a vested interest in it. But one day, we will find ourselves in a future where we may have to [confront] the loss of our craft and the artisans who make them.”
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Above A closeup of Marcus Kueh's work
A closeup of Marcus Kueh's work
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As a graphic design graduate with experience in advertising, Kueh has always been intrigued by the sociocultural implications of visual design. He utilises textiles as a medium to initiate a multifaceted discourse on challenging topics related to post-colonialism and its impact on Asian societies. Kueh believes that the traditional model of communication employed in advertising is linear, where products or services are sold to the end user as singular solutions to address specific issues or needs. However, he contends that this approach lacks depth and inhibits growth, as it fails to take on a multidimensional approach.
In the context of modern society and its perception of Southeast Asian traditions and cultures, Kueh observes that this linear model of advertising reflects the one- dimensional way in which society tackles its issues. “Today, society seems to have forgotten that certain issues require a more nuanced approach,” he says. “We have prioritised efficiency without considering the consequences, leading to a cycle of instability where systematic issues like present-day infrastructures are only addressed when they present themselves as major problems, particularly in a post-pandemic reality. And even when society does address these problems, it often fails to leave room for alternative perspectives.”
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Above A collage of Marcus Kueh and his art
A collage of Marcus Kueh and his art
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To avoid the risk of alienating other communities, Kueh injects a satirical yet light-hearted humour into his work, infusing “entertainment, colour, and hospitality” into Kenyalang Circus. While he acknowledges the effectiveness of being explosive and radical in shedding light on difficult topics, he believes that gentle persistence can also bring about change, even within a problematic system like capitalism—much like a steady stream of water gradually weathering stone.
According to Kueh, his work and the subjects it explores are not limited to a single project. While he recognises that he is not the first to discuss issues like capitalism and decolonisation, his intention is to address these topics without excluding others and to invite people into the discussion without relying on anger and shock. He believes being “non-confrontional” isn’t a bad thing, but the lack of positive examples showcasing how complex issues can be approached in such a manner has led to a negative perception.
“That’s the biggest shift in my perspective when I did this project,” he says. “As Malaysians, we tend to internalise this negative notion of our own heritage, that we don’t fit the supposed bill of success just because we aren’t ‘white’ enough or good enough in certain aspects. But what it actually is, is that we do things differently. We should create our own examples, in a way that fits our values and showcase what we excel at. That’s what I want my work to convey.”
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Credits
Photography: Daniel Adams
Usually found at home and one with her couch, Koy Yi would either crack open a good book or game in her spare time to wind down after a long day. She also loves to scour art conventions and book fairs alike when she's able, collecting art books of all regions to gain inspiration for her own illustrations. With a keen interest in people and the stories they tell, she enjoys a good talk and a good laugh (preferably over food). Follow her on her Instagram @peiyi57.
