ABDUL Ghani Hamid bin Abdul Hamid (Hj)
Visual Arts,
Accession Number 001885
- Oral History Centre
Source
- 22
Total Reels
- Joyce Fan
Interviewer
- 10:49:59
Total Running Time
- English
Language
Copyright Notice
All rights to the recordings and transcripts on this website, including the rights to copy, publish, broadcast and perform, are reserved. Written permission is required for any use. If you have any queries, please contact nas@nlb.gov.sg
Reel/Disc 1 of 22
Metadata
- 14 May 1997
Recording Date
- 00:27:44
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
*His family and educational background. Life in Singapore during the Japanese Occupation. His first job with Keppel Harbour. Back to school after the war. His education in Raffles Institution. Reasons why he had to start working. His working career with the City Municipality which is now known as Public Utilitites Board. His interest in writing, painting and poetry. His interaction with Malay and Chinese artists. How Angkatan Pelukis Aneka Daya (APAD) or Association of Artists of Various Resources started.
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Reel/Disc 2 of 22
Metadata
- 14 May 1997
Recording Date
- 00:26:34
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
*Art in Telok Kurau School. His participation in the National Youth Rally exhibition in 1950. Art lessons in Raffles Institution. Participation in DPMM exhibitions. Writing for newspapers and magazines. Involvement with Angkatan Pelukis Aneka Daya (APAD). Interactions with Georgette Chen. Public reactions to his first abstract painting, 'The Eyes and the Heart'. Comments on overseas training in the arts, art dealers and galleries. Views on art criticism.
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Reel/Disc 3 of 22
Metadata
- 14 May 1997
Recording Date
- 00:27:18
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
*Views on art criticism (continued). Type of art reference materials available and where he obtained them. Involvement in the literary circle during 1970s. Acquaintance with local artists. How Lee Foundation became Angkatan Pelukis Aneka Daya (APAD)'s first sponsor for their exhibitions and art activities. The role of art in the society. Comments on performance art.
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Reel/Disc 4 of 22
Metadata
- 19 May 1997
Recording Date
- 00:27:33
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
*How he started painting on his own. Who collected his paintings. Current interest in leaves as a subject matter for his paintings. Approach to abstract art. The use of colours to imply movement and emotions in his works. Discussion on the formal qualities of his art. Interest in the works of Picasso. Where his articles were published.
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Reel/Disc 5 of 22
Metadata
- 19 May 1997
Recording Date
- 00:30:21
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
*How he started his personal art. Interest in Islamic Architecture. Role of Straits Commercial Art Co. in the local art scene. Why he does not frequent the National Library. Involvement with younger artists and Angkatan Pelukis Aneka Daya (APAD). Ongoing research on Malay art in Singapore. Type of annual events and awards organised by APAD. Aman Ahmad, one of the earliest Malay artists, taught many of today's established Malay artists.
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Reel/Disc 6 of 22
Metadata
- 26 Jun 1997
Recording Date
- 00:30:27
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
*Aman Ahmad (continued). Discussion on the Malay art scene from 1930s. C. Mahat, a pioneer artist used to own "Malay Art Shop" in front of the former Tavern Hotel. Early art classes in Singapore. The formation of DPMM and Angkatan Pelukis Aneka Daya (APAD). Surimoyani who painted in watercolours. C. Mahat and his art shop.
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Reel/Disc 7 of 22
Metadata
- 26 Jun 1997
Recording Date
- 00:30:17
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
*C. Mahat and his watercolour techniques and how they differ from those of Surimoyani's. Sulaiman Suhami who started using watercolours and charcoal eventually turned to batik painting in the early 1970s, and now concentrates on Islamic calligraphy in painting. C. Mahat's aquaintance with Lim Cheng Hoe. Sunday painting sessions with C. Mahat and other non-Malay artists. Impact of Malay art classes in Singapore art scene. Attended art classes with Latiff Mohidin. Fees charged for Malay art classes. Surimoyani and Suhami who were trained teachers.
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Reel/Disc 8 of 22
Metadata
- 26 Jun 1997
Recording Date
- 00:30:57
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
*How he came to know M. Sawoot and became his student. How M. Sawoot's method of teaching differed from that of Aman Ahmad's. S. Mohdir was also a founding member of Angkatan Pelukis Aneka Daya (APAD). Discussion on S. Mohdir's works. Recent group show at Barli Museum in Bandung, Indonesia. Price of S. Mohdir's paintings, and reasons why he often was not selected for participation in overseas exhibitions.
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Reel/Disc 9 of 22
Metadata
- 3 Jul 1997
Recording Date
- 00:29:07
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
*Development of Batik painting in Singapore. Acquaintance with Chuah Thean Teng. Why he did not become a batik painter. Seah Kim Joo is known for his batik paintings. Materials and technique used differ from the traditional batik method. How batik came about. Where the artists obtained materials for batik making. How Malay artists represent the human figure in their works of art.
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Reel/Disc 10 of 22
Metadata
- 3 Jul 1997
Recording Date
- 00:30:17
Running Time
- MP3
Format
- Open Access
Conditions Governing Access
Synopsis
*Representation of the human figure (continued). Opinion on why British did not strongly promote arts in British Malaya. Associating art with literary works. Writer and cartoonist for Hiboran, a Malay entertainment publication. Created the comic strip, Mat Dalang. How the caricature movement started for Malay artists in Singapore. How he came to work for Hiboran.
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