30 Watercolor artist | APRIL 2020
friends, including his stone collection
from the mountains and lakes he has
visited around the world.
Back in the studio from his plein air
sketching excursion, Chow will review
all of the photos and sketches, recall-
ing the mood at the scene to determine
the direction he’s going to take. “When
the picture I want to depict has been
reorganized in my mind, I’ll begin
painting immediately,” he says.
Chow listens to music while work-
ing as a reminder that paintings, like
a good song, must have a climax as
well as rhythms that keep the viewer
engaged. He’ll leave a painting
for a few hours or half a day before
fi nishing the initial process. As henears the completion, he’ll leave the work for at least
a few days so he can refl ect on the fi nal touches and
get feedback from a colleague or friend.Positivity Under Pressure
Despite the positive energy that exudes both from
Chow and his work, his life as an artist isn’t without its
challenges. “In Malaysia and even around the world,” he
says, “many people don’t understand or pay attention
to the value of art. In the era of consumerism, fewer
and fewer people really create and promote watercolor,
so my artistic career often faces pressure from all sides,
but I insist on painting.” He acknowledges that every
fi eld of work has its own challenges and pressures; the
key is to discover what you love and stick to your ideal.
Th e life of an artist is Chow’s ideal, so he pursues it
unfailingly despite these obstacles. Indeed, he fi ndsOPPOSITE
Venice No. 2
(watercolor on
paper, 11¾ x7¾ )BELOW
The Impression of
Zacatecas
(watercolor on
paper, 22x30)