‘Without a shift in values and a true appreciation for nature, Malaysia risks losing its cultural uniqueness,’ says artist Anas. Photo: The Star/Kamarul Ariffin
Artist Anas Afandi grew up in Taiping, Perak, known as the “wettest town” in Peninsular Malaysia, and fondly recalls the cool, pristine beauty of his hometown.
“Taiping’s abundant rainfall once nurtured lush flora and fauna, but recent visits show changes – less mist, higher temperatures, and a shifting landscape,” says Anas, 33, whose debut solo exhibition I Love God, Gold, & Glory is on display at Wei-Ling Gallery, Brickfields in Kuala Lumpur until Oct 19.
“You could say global warming inspired my work,” he adds.
Anas’ artwork Climate Crisis – a leaky, hole-riddled bucket labelled "Rain Catchment Taiping" – greets visitors at the gallery entrance. In this show, he examines the colonial legacy’s lasting impact on Malaysia’s environment and cultural identity.
The exhibition title I Love God, Gold, & Glory also nods to the three main motives behind European colonisation during the Age of Discovery: gold, gospel, and glory.
An artwork by Anas titled 'Climate Crisis' (coloured pencil on paper, 2024). Photo: Wei-Ling Gallery
“Throughout this series, I viewed the natural world as its own institution, profoundly influencing our culture – our idioms, motifs in handicrafts and architecture, and dances, all inspired by nature,” says Anas, a Kuala Lumpur-based artist whose practice spans drawings, paintings, sculptures, and installations.
“I consider what might happen if we keep damaging the environment. Without a shift in values and a true appreciation for nature, Malaysia risks losing its cultural uniqueness,” he adds.
Remnants left behind
Anas points out that Malaysians are often shown Western images of melting glaciers and polar bears as symbols of climate change.
“But these are images that I cannot relate to. So this led me to wonder if I could attempt to portray environmental degradation from the perspective of a South-East Asian.
“As Malaysians, we tend to romanticise our connection with nature, but do we really walk the talk or is it a mere superficial ‘branding’ effort? That was one of the things I wanted to explore,” he says.
The exhibition features 44 pieces created with acrylic, watercolor, and coloured pencil, along with two installations. Much of it resembles museum displays or textbook diagrams, using a primary colour palette of red, blue, and yellow to reflect the Malaysian flag, as Anas notes.
'Effects Of Colonialism' (Indian ink, collage, acrylic, and coloured pencil on paper, 2024). Photo: Wei-Ling Gallery
He reveals that he read many scientific papers during the two years he spent researching this series.
“I’m particularly fascinated by archaeology and scientific methodology, so I think I subconsciously adopted that look and feel into my work,” he shares.
A dose of satire
Although many pieces address environmental issues, the series explores more than just that.
“That’s just one part of it. The more I looked into our relationship with the environment, the more I realised that it goes beyond that. As a result, a new question emerged: what is the role of the environment and how does it intersect and affect the construction of culture, identity, and nation?” he says.
Anas adopts a satirical perspective on colonial history and its influence on contemporary Malaysian society.
“Our colonial past is marked with a legacy of economic exploitation, environmental harm, and social disruption. So I used humour as a critical tool to highlight the nonsensical, absurd nature of the situation where destruction and conservation always seem to go hand in hand,” says Anas.
A visitor examines the installation 'Future Archaeological Dig,' which features fictional artefacts up close. Photo: Photo: The Star/Kamarul Ariffin
In one of his installations, a random collection of objects are laid out on a table as if they had been unearthed in an archaeological excavation taking place in the future.
The make-believe “artefacts” consist of tools used in oil palm cultivation, spare parts of a chainsaw, fragments of an axe and hunting knives, and that all-too-familiar touristy heart sign that you’ll find in many towns and cities, to name a few.
“In this work, I am offering the audience an understanding of our actions and a glimpse of what our culture and nation will be known for in the future,” concludes Anas.
I Love God, Gold, & Glory is showing at Wei-Ling Gallery in Kuala Lumpur until Oct 19. The exhibition is by appointment only.
