AT 77, most people settle into the comforts of a quiet life. But for K. Gunabalan, life was just beginning to align with a dream nurtured since childhood.
In December, this Malaysian artist realised his lifelong aspiration of hosting a solo art exhibition – an accomplishment years in the making and one deeply intertwined with history, resilience, and personal passion.
Titled Social Cultural Justice Art, the exhibition unfolded in the historic hall of the State Legislative Assembly Building, a location rich with symbolism for both Gunabalan and his wife, Datuk Seri Chong Eng.
A prominent political figure and a former state executive councillor and Padang Lalang assemblyman, Chong Eng’s own journey through hardship and triumph served as a vital inspiration for her husband’s art.
“This holds great significance for me, especially with the support of the most meaningful person in my life,” Gunabalan shared during a visit by Buletin Mutiara reporters at the exhibition site recently.
Gunabalan’s path to artistic fulfillment began far from Malaysia, in the United States, where he immersed himself in the craft of clay art.
Returning home in 1990, he channeled his creative energy into teaching at Equator College before joining INTEC College in 1995 – the same year his wife became the sole opposition representative in Penang.
The exhibition showcased 69 works, spanning sculptures and paintings that delved into themes of history, culture, and deeply personal experiences.
Among the collection, one piece resonated with profound symbolism: a painting of a fish caught in the sand.
“This fish symbolises Chong Eng.
“In 1995, she was like this fish – alone and fighting against the odds as the sole opposition assemblyman here,” said an emotional Gunabalan.
Social Cultural Justice Art was more than an art exhibition; it was a narrative journey, told through six distinct series.
Firstly, the faces of the forgotten, which displayed thirty artworks honouring Indian laborers who suffered under Japanese rule during World War II while constructing the infamous Death Railway.
Secondly, the roots and tracks, which was a tribute to rubber tappers and railway workers whose labor helped Malaysia emerge as the world’s largest rubber producer.
Then, there was the echoes of the divine.
This was a spiritual exploration weaving Eastern philosophies and cultural symbols into compelling imagery, followed by the Himalayan journey, echoes of renewal, and the fragments of resilience.
Gunabalan’s art is rooted in the untold stories of his heritage.
His grandfather, one of many Indian labourers forced to work on the Death Railway during World War II, perished in the grueling conditions of the jungle.
This personal tragedy underscored his desire to honour those forgotten by history and gave the exhibition its name: Social Cultural Justice Art.
Known for his resourcefulness, Gunabalan breathes life into the abandoned – transforming driftwood, broken tiles, and other discarded materials into stunning works of art.
This practice not only embodies his commitment to sustainability but also reflects his belief in the potential for renewal, even in the face of adversity.
Gunabalan’s exhibition is more than a celebration of art – it is a testament to perseverance and the enduring power of dreams.
Each piece tells a story, whether of cultural heritage, personal struggle, or the universal desire for justice.
At 77, Gunabalan stands as a beacon of hope, proving it’s never too late to chase your dreams.
As visitors wandered the exhibition, they weren’t just admiring art – they were witnessing the culmination of a lifetime of dedication, passion, and unyielding belief in the transformative power of creativity.
Story by Kevin Vimal
Pix by Darwina Mohd Daud