GEORGE TOWN - After more than two decades as a dedicated homemaker, Gunabalan Krishnasamy has finally achieved his lifelong dream of holding a solo art exhibition at the age of 77.
During this period, he supported his wife, Datuk Seri Chong Eng, in her political career, which began as a State Assemblywoman and later as the Member of Parliament for Bukit Mertajam in 1999. It was also during this time that Gunabalan assumed the role of primary caregiver for their two sons, especially their youngest, Omprekash, who was just five years old at the time.
Despite the demands of managing his family, Gunabalan, who holds an art degree from Universiti Sains Malaysia and later from Arizona State University in the United States, consistently made time to pursue his passion for painting.
A stroke in 2017 that restricted his mobility did not diminish Gunabalan’s passion for art. To date, he has created over 100 artworks, drawing inspiration from his personal journey. He also breathes new life into discarded materials, transforming them into sculptures with compelling narratives.
Last year, Chong Eng decided to retire from politics. In recognition of Gunabalan’s sacrifices for their family, she, along with their two sons, fulfilled his long-held dream of hosting a solo art exhibition.
For Gunabalan, although his dream only materialised at the age of 77, the exhibition held profound meaning, especially as it was made possible by the most important people in his life.
"Why did I delay having an exhibition? Because I married a remarkable political figure.
"When she (Chong Eng) was active in politics, I became a ‘house husband,’ but at the same time, I began building my collection of paintings, though I had no time for exhibitions. Now that she’s retired, she took the initiative to organise this exhibition for me,” he told Bernama in a recent interview.
Titled Social Cultural Justice Art, the exhibition, held at the Penang State Assembly building from Dec 7 to 15, featured 69 pieces from Gunabalan’s collection, divided into six series.
One of the series, The Faces of the Forgotten, comprises 30 artworks that honour Indian labourers who were forced to build railroads during the Japanese occupation.
The Roots and Tracks series highlights the contributions of rubber tappers and railway workers, who played a crucial role in Malaysia’s success as the world’s largest rubber producer.
The fourth series, The Himalayan Journey, was inspired by his spiritual journey with mentors to the Himalayan Mountains, where they encountered lush green valleys and flowing rivers.
Gunabalan revealed his deep connection to railways and rubber, as his grandfather was forced to work on railroad construction in Thailand during World War II.
Meanwhile, the Echoes of the Divine series explores the intersection of spirituality and culture that shapes Gunabalan’s vision, blending Eastern philosophy, spiritual motifs, and cross-cultural symbolism.
"Thousands of lives were lost, including my grandfather, who never returned. This personal story inspired me to name my debut exhibition Social Cultural Justice Art,” he shared.
Gunabalan is also renowned for his ability to give new "life” to discarded materials like driftwood and broken tiles, transforming them into artworks in line with his commitment to environmental sustainability.
This concept is showcased in the fifth series, Echoes of Renewal, through several works created using old newspapers damaged by floods.
Two notable pieces in this series depict a lone fish swimming in the ocean, inspired by Chong Eng’s political journey as the sole opposition representative in the Penang State Assembly from 1995 to 1999.
The final series, Fragments of Resilience, documents Gunabalan’s struggle and perseverance following his stroke. This series employs a style and colour palette vastly different from his earlier works, reflecting his emotional and physical journey.
Meanwhile, Chong Eng said the exhibition was a tribute to her husband, who made significant sacrifices for their family, particularly in raising their two sons, Jothi Jhen Hao and Omprekash, now aged 38 and 29, respectively.
"I was always busy with work and didn’t have much time for him. Over the past two to three years, we had planned to organise an exhibition for him, but it never materialised. Only after I retired could it finally happen.
"Before, I was at the forefront with him supporting me from behind, but this time, let him take centre stage while I support him from behind,” she said.
Chong Eng also expressed her gratitude for the overwhelming response to the exhibition, particularly from friends, despite it being the first event of its kind.
She added that more than 20 of the paintings had already been sold. - BERNAMA