AS twilight descends, the sultry grip of George Town's afternoon heat retreats, giving way to a balmy evening that breathes new life into the air. The sky, an expanse of serene, slate gray, stretches above without a cloud to mar its tranquility. A gentle breeze whispers through the trees, setting their leaves into a soft, rhythmic dance, and the atmosphere is one of perfect, soothing respite.
At the Hin Bus Depot on Jalan Gurdwara, a haven of creativity and culture, the transformation from its post-World War 2 bus depot origins to a vibrant arts and events hub is palpable. Streams of people, animated and eager, amble through the entrance, whilst nearby, another cluster of visitors lingers, absorbed in spirited conversation.
I quicken my pace, glancing furtively at my watch, as I hasten through the entrance, acutely aware that Negaraku, a collector's show by Bingley Sim and wife, Ima Norbinsha, is now underway. My ears catch fragments of the emcee's words, lacing through the hum of the gathering.
In the main hall, a throng has assembled. I spot some familiar faces from Penang's vibrant creative scene among the audience. Holding court, poised against the dramatic backdrop of Stephen Menon's screenprint installation, The Journey: From Malaya to 1 Malaysia, stands the beaming figure of Sim, a prominent investment banker and art collector, a pivotal member of the Malaysian Art Friends group and one of three Malaysian patrons of Art Jakarta since 2019.
Hoping to slip in unnoticed, I weave my way through the crowd, making a discreet path towards the front for a clearer view. It's impossible not to be drawn to the impressive canvas behind Sim, a series of 50 images of Malaysia's first prime minister, Tunku Abdul Rahman Putra Al-Haj and the foundation that he'd laid for the nation.
The exhibition, aptly titled Negaraku at the suggestion of Sim's daughter Iza, unfolds in a thoughtfully structured narrative divided into seven evocative chapters: How It All Began, Stephen Menon, Birth of a Nation, Crime and Punishment, Nation Building, Power and Greed, and A New Beginning.
Each chapter presents a vibrant tapestry of Malaysia's history, seamlessly interwoven through the contemporary works by distinguished artists, offering a compelling exploration of the nation's evolution.
SOLID NARRATIVE
"Curating a collector's show is very different from putting together a sales exhibition," begins the affable Sim, whom I meet over coffee, hours later. The former, he adds, demands a meticulously crafted art journey that's imbued with a strong narrative — something that he personally considers is important.
Adding, Sim, in his first big solo as a collector after a few group shows with the Art Friends Collective, elaborates: "Artworks can't simply be selected on a whim; there must be a deliberate effort to create a cohesive and resonant experience for the audience."
The bubbly 61-year-old continues to explain the importance of what's called "cornerstone" pieces. "I refer to them as such because, at heart, I'm a boring banker. It's essential to anchor the exhibition with two or three standout works to provide a solid foundation for the entire display. A collection of uniformly excellent pieces can be boring. I've always wanted to showcase one of the best pieces in my collection, done by Menon, during Malaysia's 50th independence year."
One of the exhibition's standout pieces holds a special place in Sim's journey as an art collector. "I stumbled upon this painting during a visit to the HOM Art Trans gallery, where I was finalising a purchase. The curator, Bayu Utomo Radjikin, took me to his studio in the building next door where he unveiled an 8-foot high by 6-foot-wide painting titled Kau Sekutu atau Seteru. I was floored."
The canvas, a deep, unbroken expanse of black, was punctuated by a subtle, enigmatic image of a fighter pilot helmet with a red dot, a cross and the year 2008. Surrounding this focal point were poignant words like duka (sorrow), seksa (torture) and cinta (love), each contributing to an aura of intense emotional depth.
This encounter occurred on March 8, 2008, the day of the historic "tsunami" election, as the final results were being revealed. As Sim absorbed the painting's striking presence and intricate symbolism, he felt an undeniable connection.
It was philosophical, soulful and resonated deeply with him. That pivotal moment solidified his decision to delve into art collecting, and this piece naturally found its place as a cornerstone of Negaraku.
The doting father-of-three admits that he predominantly collects contemporary art, driven by the belief that the "history at one point in time" genre requires relentless engagement to remain attuned to the ever-evolving art world and its shifting social commentaries.
To pause in this pursuit, he explains, risks creating gaps in the collection's ongoing narrative. Sim, who's also co-founder of One Piece Club, an informal collective with a mission to introduce more people to art and make it accessible and less intimidating for the uninitiated, candidly acknowledges his penchant for amassing a multitude of pieces, recognising that his collection has grown to a substantial size.
DEEP CONNECTION
The Penang-ite's journey into the world of art began long before he officially became a collector in 2008. As a banker, his initial foray into buying art was driven more by investment than by passion. "Instead of putting money into other types of assets, I chose to invest in artworks," shares Sim, before adding that had he continued down that path, many of his early acquisitions would have appreciated significantly.
However, once he embraced the role of a collector, his focus shifted. Confides Sim: "When I officially became a collector in 2008, I started selecting pieces that fit my collection's narrative, rather than purely for their investment potential."
Now, at 61 and still actively working, he finds himself continually investing in the art world. "I've run out of money," he jokes, chuckling wryly, before adding: "No surprise la because I spend all my time paying galleries and supporting artists. While my finances might be depleted, I like to think my soul is rich!"
On the debate between buying art for investment versus passion, the genial Scorpio offers a nuanced perspective. "It depends on what the person wants from the artwork," he says, simply. Reflecting on his past decisions, he muses: "If I'd continued buying and selling art purely as an investment between 2004 and 2006, I'd have made a fair bit of money."
His first significant art purchase was a blue abstract painting by a Malaysian artist, acquired during China's period of rapid growth. Recalls Sim with a smile: "It was a large piece. I bought it because China was on the rise at the time. I thought maybe one day it could be coveted piece!"
In those early years, he used to gravitate towards smaller works by emerging artists like Yusof Ghani, the Malaysian artist and sculptor whose works have since seen their value appreciate considerably over the years.
"Art is my biggest indulgence in life," confesses Sim, adding cheekily: "I don't have anything else. But don't tell my family! Actually, my wife and I manage the collection jointly. She's the sensible one who often reins me in, but I still pursue pieces that captivate me."
Asked about the size of his collection, Sim, a culinary enthusiast who'd co-authored How to Run Your Own Restaurant in 1994, smiles. "I don't count," he says, bemusedly, adding: "I keep the artworks I've amassed at my old house. I used to live in a 2½-storey home, which I now use as storage for my collection."
Curious about his family's stance on his passion, I probe further. "Do they approve of your enthusiasm for art?" "No!" he replies, adding wryly: "They bear with me! Otherwise, I'm actually a very compliant father and husband… except when it comes to art!"
RELENTLESS PURSUIT
Over the past few years, Sim confides that he's parted with some of his smaller pieces to create more space. "It pains me to give them away," he admits. Last year, he managed to raise about RM25,000 for the Make-A-Wish Foundation, and another RM20,000 for his Rotary Club event — from parting with his pieces.
"You have to choose pieces that can sell. But sometimes, the pieces you can sell are those you have an emotional attachment to," he explains, adding solemnly: "It's not easy to let go, but I try to do so thoughtfully. I have some pieces I won't part with — those that my wife really likes, and others that I simply can't bear to part with."
I ask him what drives his relentless pursuit of art. Is it an addiction? Shaking his head, Sim replies emphatically: "Noooo. The thing is, I collect contemporary art. If I were focused on modernists like the Awangs or Latiffs, it might be different — I could stop anytime. But contemporary art reflects the moment. I can slow down, but I can't stop entirely. If I do, there'd be a gap in my collection. I'm sure it's not an addiction. When I'm seriously short of money, I don't buy!"
Continuing, he says: "You don't always need to spend a lot. In the past two or three years, I've purchased works by young artists for as little as RM300 to RM500. The art I choose must evoke a feeling. Given 30 works, I can easily pick the two that truly speak to me."
Sim cites his admiration for Khairudin Zainudin, whose works about choices captivate him. "I don't usually buy abstract or landscape works," he notes, "but there are exceptions. For example, Jailani Abu Hassan's Mat Jenin and the Angel of Mercy is a landscape that intrigues me. It depicts a guy squatting down dreaming of all the wealth he's amassed, the women and cars, amid a backdrop of fields burning".
Sim, who's also a board member with the National Art Gallery, also mentions a particularly evocative piece by Ismail Hashim titled Where's the Mangrove? which features the Penang Bridge and reflects on the loss of mangroves due to its construction. "This piece speaks to me. It highlights the environmental impact and loss," he confides, expression thoughtful.
For this passionate collector, art collecting is more than acquiring pieces; it's about a deep connection with the artists. "I buy artworks in depth," he explains, adding: "I follow the artists I like, engage with them, and immerse myself in their work at galleries." Each piece in his collection isn't just an acquisition but a significant part of his ongoing artistic journey.
As the minutes tick and it's almost time to conclude our chat, Sim reaches into his bag and retrieves the exhibition catalogue. My eyes are drawn to a passage penned by Ivan Gabriel, the curator and gallery manager at Hin Bus Depot. Under the evocative title "Redefining Patriotism", Gabriel's words resonate deeply, capturing the essence of what Sim's exhibition embodies.
He writes: "Through Negaraku, Sim illuminates art's capacity for transformation and underscores collectors' agency in shaping nuanced cultural dialogues. This exhibition provides a dynamic platform for introspection, challenging viewers to engage critically with their national and political identities, thus reshaping its role as a mere exhibition to an agitator for profound discussions on profound contemporary Malaysian identity, prompting reflections on the question: What does it mean to be Malaysian in today's world?"
As I reflect on these words, I'm reminded of the profound impact that art can have, not only in shaping personal perspectives, but also in fostering meaningful cultural conversations. This exhibition, and indeed Sim's journey, stands as a testament to the powerful intersection of art, identity and collective consciousness.
Negaraku
A collector's show by Bingley Sim and Ima Norbinsha
WHEN: Until Aug 11
WHERE: Hin Bus Depot, 31A, Jalan Gurdwara, George Town.
INFO: Go to www.hinbusdepot.com