與許多年輕畫家一樣，李健省也希望能到國外深造藝術，但由於家境太過貧困，他始終無法圓夢。加拿大當時極富盛名的壁畫家R.York Wilson 看了李健省的繪畫，大為讚賞，毫不猶豫地說「如果他不曾受過任何大學藝專的特別訓練，而能創出這樣的作品，那我代上帝替他求情，千萬不要把他送入任何大學藝專，因為他是天生的畫家」。當時大馬國家藝術館建館第一功臣﹑義務秘書蘇禮文（Frank Sullivan）也認為他需要廣闊遊歷，以使天賦得到更充分發揚。李健省兩度遊學日本，令他在藝術上攀登高峰。
《红色的视窗》 From the Windows of Red >by Lee Kian Seng / 1972>( picture #1)
( Installed at National Art Gallery Malaysia in November 1972)
<From> is a mixed media installation consisting of two adjoined paintings and a hemp rope. This installation won one of the 2 major awards for the "Landscape Malaysia" open art competition organised by the National Art Gallery Malaysia in 1972. The hemp rope measures 150cm in length and 2cm in diameter.( picture #1) The two paintings measure 130cm x 130cm x 4.5cm respectively.
An illusion of continuity is created with the actual rope extending from two paintings attached back to back. The two attached paintings hang freely from the ceiling.
This effect of continuation is achieved by the continued painted images of the rope on the adjoining sides of both canvases, which extends with the actual hemp rope; thus synthesizing illusion and reality where painting meets sculpture. The scenic composition of a mystical reality is created in space.
A view of a "Kampong" (village) sky is depicted on the background of the "Birdcage¨ while the other painting shows a view from the window of a fisherman's house on the East Coast of the Peninsular Malaya. This 2-D c/w 3-D composition speaks of the pure, classic Malaysian landscape.-- LEE Kian Seng .
'Peace, Harmony and One' by Lee Kian Seng /1984/ 510 x 310 x 310 cm/ Mild Steel / National representative work of Malaysia at the Asean Sculpture Symposium in Jakarta, Indonesia/1984 . Collection of the Government of Jakarta, Indonesia.
Symbols of Harmony By Ho Kay Tat
Six huge beautiful sculptures stand imposingly in the heart of a quiet residential area in Jakarta symbolising Asean solidarity and harmony. These were constructed by six sculptors from each of the Asean nations during the 3rd Asean Sculpture Symposium held recently in the Indonesian capital. Malaysia was represented by Lee Kian Seng whose work is entitled Peace, Harmony and One.
Visitors taking a stroll through Taman Suropati in Jakarta, Indonesia, will be able to see six imposing sculptures which have been put up at various points of this famous park.
The sculptures were presented to the city of Jakarta by sculptors from the six Asean countries who took part in the 3rd Asean Sculpture Symposium held there from Nov 6 to Dec 21 last year.
Taman Suropati is located in a quiet and posh residential part of the city where embassies and residences of other prominent dignitaries are housed.
It hence makes an ideal choice to put up the six sculptures as a symbol of the harmony and unity of Asean.
Malaysia’s Lee Kian Seng is proud that his work, Peace, Harmony and One, stands tall alongside the works of his counterparts from the other Asean countries.
Lee, 36, was selected to take part by the National Art Gallery in recognition for his talents and contribution to the development of art in Malaysia.
“As an artist, I was honoured to be given the chance to help foster better understanding in the field of art between the member Asean countries which is the main objective of the symposium,” he says.
The objectives of the symposium as laid down by the organisers were:
• To promote a sense of community among Asean artists;
• To create works as the visible symbols of the Asean solidarity and as examples of the richness of Asean cultural traditions;
• To give employment to cultural workers and aspiring young artists who are asked to serve as assistants to the participants.
On the theme of his sculpture, Lee says Peace is not defined as a counter to the concept of war. It is to denote the harmony between man and man-made nature.
“It is in fact a theme I constantly stress upon,” he said.
“My emphasis on harmony forms the fundamental spirit of most of my works.”
His near obsession with it stems from his personal experience of growing up in our multi-racial society.
“The importance of maintaining harmony among the various races is so important for us to carry on with our lives undisturbed,” he says.
Furthermore, the need for harmony is universal and vital in everything man does.
With respect to the symposium, the theme Peace, Harmony and One symbolises the spirit of Asean where six independent nations are able to co-exist peacefully and harmoniously in one organization.
Why does he also stress on harmony between man and his creations?
He says man-made nature always emphasises on the functional aspects and little consideration is given to creative space.
“For instance, the construction of a building is seen mainly from the viewpoint of utility.
“There should be a balance between this and the environment,” he says.
Lee’s sculpture is cut out from a single 9 mm thick steel plate. It measures 4.2 metres high and weighs 1,200 kg.
The use of metal also does not conform with the conventional definition of sculpture.
He says it is the result of “the development of my creative effort through a three dimensional form”.
The creation of his sculpture required the use of industrial machines which was why he had to do his work at the Manggarai Railway workshop instead of with the other sculptors.
He used machines to help in his creative endeavour simply because it was necessary.
“As I have to bend and weld the steel place into form, the use of machines was necessary to ensure it is done properly,” he says.
The sculpture is cut up into six separate parts from a single piece of metal sheet. The six parts, representing the six Asean countries are, however, linked to each other.
It was a very technical sculpture and he had to check out with engineers on how much bending can be done and also the type of welding to use.
Lee says artists should not fear machines as they are also results of human creation.
Nevertheless, he admits the two assistants and 12 production workers from the railway workshop who worked with him were initially confused.
“They did not understand my work at all and were really shocked that machines had to be used,” he says.
“But they were very helpful and in fact became more interested as work progress till completion in about 45 days.”
The production workers especially took the task as a challenge on their ability to apply their technical knowledge to help build a sculpture.
The symposium also marked the first participation of the organization’s newest member, Brunei Darussalam.
The sculptors representing the other countries were Nonthivathn Chandhanaphln (Thailand), Luis E. Yee Jr (Philippines), Wee Beng Chong (Singapore), Sunaryo (Indonesia) and Haji Awang Latief Aspar (Brunei).
Together with their 15 assistants, the sculptors were housed at Wisma Seni during the symposium. The aim was to keep them in close contact to enable them to share experiences and learn from each other.
“I have made at least 30 friends and learned a lot during my stay there,” says Lee.
From his talks and discussions with the other participants he noted two common problems faced by artists in Asean countries.
They are the lack of professionalism in art criticism and the difficulties of full-time artists to make ends meet.
“This is not surprising as a tradition in art criticism takes years to evolve and we are only just embarking on this road,” says Lee.
“And with constant dialogue and discussions with each other we can slowly help develop this to a more professional level.”
Lee will be presenting a series of lectures on the symposium later this year through the National Art Gallery.
Source: The Malay Mail (Malaysia), Thursday, January 10, 1985
遺憾的是90年代華社裡也有人挑釁設法去埋沒我80年代兩項在巴生破天荒裝置藝術活動的歷史。當我與官場論爭時，這些藝術小偷也與官僚互動發放篡改 的故事去蒙蔽華社。例如2002年馬來西亞國家畫廊出版的“馬來西亞國家畫廊傑出作品＂（Masterpieces of the National Art Gallery Malaysia）一書第186頁裡錯誤百出。正確的資訊可在我網站http://www.leekianseng.com獲得。
文中所提及馬來西亞國家畫廊2002年出版的書籍，正確書名是《Masterpieces from the National Art Gallery of Malaysia》，而不是“Masterpieces ofthe National Art Gallery Malaysia＂。2003年10月13日我曾致函馬來西亞國家畫廊投訴該書第186頁裡的內容不公，詳情可查閱信件副本：http://www.leekianseng.com/LeeStoryNag20031013.pdf。