Once an artist, always an artist

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Ramsay explaining the finer points of his painting — Ulu Hornbills — produced in 1999. — Photos by Geryl Ogilvy Ruekeith

RAMSAY Ong’s passion for drawing started in his early teens when the family was living at Batu Lintang, Kuching.

It was after World War II and there were no tall buildings in the state capital back then. The sights of Gunong Serapi and Gunong Singai looming majestically in the distance touched an artistic chord in Ramsay, piquing his interest to sketch as his passion for drawing took roots.

Ramsay grew up in a big family ambience with five siblings, 10 cousins, aunts and uncles under the same roof.

The Japanese occupation clouded the joy of his childhood and the sight of POWs taken to nearby fish ponds to bathe still lingers in his memory.

It was a difficult time but when he was old enough to pick up a pencil, he found solace in drawing — and has not looked back since.

Ramsay has buzzed the local art scene for more than 50 years. The batik painting maestro who turned 71 on May 2, is certainly not slowing down.

My recent up-close-and-personal with the affable artist revealed a colourful and sophisticated personality who always has time for his friends despite a busy schedule.

He enthralled us with wonderful stories of adventure and discovery, befitting a man who has travelled afar to explore his passion for art.

Recently, he completed a piece called Tree of Life – Chinese Zodiac painted Chinese-scroll style on wild sukun tree bark.

“Whenever I have that inclination to be creative, I will sit outside and paint. That’s when I become artistically inclined towards painting. Nature is my best source of inspiration,” Ramsay said.

Frequent family visits to see his great grandfather, the late Ong Tiang Swee, during the formative years had a big influence on him choosing the path of a full-time artist.

He said the grand patriach of the Ong Clan, who was a former Council Negeri member, had “a big house full of treasures.”

Images of a big atrium with many beautiful Chinese paintings of bamboo and fishes, and exquisite handicrafts and artworks, adorning the walls, are still vivid in his mind.

His great grandfather’s collection of old sculptures and statues also provided creative inspiration for his paintings.

He recalled while stationed in Marudi in 1966, he would spend almost his entire monthly salary on beautiful Orang Ulu wood carvings.

Ramsay learned batik painting from a German lecturer while attending a training institute at Batu Lintang.

His late father Ong Kee Chong, the state agriculture director at the time, had asked him to pursue a career in agriculture.

“I wasn’t cut out for that kind of profession,” Ramsay confessed.

“I was unhappy when they sent me to Tarat (agriculture centre) to become an agriculturist but luckily, I was one year shy of the eligible age for training.”

His father found him a job with Telekom Malaysia as a draftsman but Ramsay found engineering drawings not his cup of tea.

He frequently volunteered to help with the company’s magazine publication which he said helped nurture his nascent talent to stamp his artistic authority on canvas.

“I love illustrations but when it comes to circuit diagrams, I’d die. Forget it. How do you do engineering drawings when your talent is something more expressive?”

Still, Ramsay ended up working at Telekom for five years.

But it was not altogether without rewards. He did pick up a virtue that would stand him in good stead as an artist. Training as a draftsman had instilled in him the discipline needed to produce beautiful batik paintings.

This piece titled Cempaka was painted in 1997.

Life as an artist

Ramsay held his first exhibition in 1964 at the British Council, situated at the Museum ground. The exhibition was well-received and Museum curator Tom Harrison, an avid art collector, bought a few pieces for the Museum.

Subsequently, Ramsay quit his job at Telecom to pursue a cherished dream of becoming a professional artist.

“My father, on seeing the response to my paintings, encouraged me to go for it. He knew I have what it takes,” he recalled.

Ramsay held his second exhibition at Tenaga Club in Seria, Brunei, targetting British expatriates whom he described as avid art collectors. His batik paintings sold like hot cakes as art fanciers queued up to buy his admirable artworks.

Three years after feeling like “a big fish in a small pond,” Ramsay went to pursue his artistic goals in the US, spending in all six years (1967-73) in Hawaii and San Fransisco.

He taught batik paintings to university students.

In San Francisco, he took on extra jobs, working at a launderette. He sold small paintings for about US$30 apiece at the weekend market to earn pocket money.

Somehow knowing he would someday return to Sarawak, Ramsay kept all his major artworks.

Despite his father’s advice not to move back but apply for permanent resident status in the US, he was adamant on returning.

His mother, Josephine Wee, suffered a stroke when he reached Kuala Lumpur and this led him to sort out his life.

Ramsay’s latest work — Tree of Life — Chinese Zodiac — painted in 2014.

Place on art scene

Ramsay first met Frank Sullivan, the High Priest of the Malaysian Arts Scene, in 1967 before setting off to the US.

He had taken some of his paintings to the nation’s capital, not intending to exhibit them.

But Sullivan, who co-owned the renowned Samat Gallery at Loke Yew Building in Kuala Lumpur, had taken an interest in his artworks.

Ramsay described the Aussie as “fierce but professional.”

He said Sullivan asked why he never brought his paintings to Kuala Lumpur for exhibitions.

Sullivan advised him see what other artists were doing in Kuala Lumpur in order to gain experience and grow in art.

Ramsay rejected the offer and left.

“I was hurt in a way. What Sullivan said that day, I felt, was a slap in my face — I saw it as an insult. I thanked him and left,” he said of his first encounter with Sullivan.

Six years later, he returned to Samat Gallery with 40 paintings he produced in the US.

This time around, Sullivan expected Ramsay’s works to be “very modern and abstract” after his long stay in the US.

But to the Aussie’s amazement, Ramsay instead produced paintings of Sarawak’s interior such as scenes of the Baram. He also brought along native wood carvings and other works with local themes.

Sullivan was interested in handling his works despite full booking of the gallery for the whole year.

Not wanting to miss the opportunity presented, Sullivan fixed a slot for Ramsay within a month.

Ramsay invited his uncle, Tan Sri Ong Kee Hui, a federal minister, to officiate at his exhibition. The 1974 show received good response and the publicity marked Ramsay’s induction into the national art scene.

Meditation under the tree.

Going strong at 70

Over the past 50 years, the amicable artist has shifted from batik to collage painting on tree bark and organic hand-made paper.

He said an artist must constantly change and be innovative when going through a certain phase in his or her life.

“As an artist, one must constantly change and evolve. Don’t stay in your comfort zone. In those 50 years, I have been making drastic changes to my techniques.

“When I gave up batik work, I was scolded by so many people who said I made so much money with batik paintings because they were in demand.

“But I changed because I couldn’t do batik painting anymore. I couldn’t stand the burning wax fumes. With the new medium, I enjoy what I am doing.”

Ramsay first learned tree bark painting while in Hawaii. He also went to Australia to learn a different kind of tree bark painting and to Sri Lanka to practise painting on hand-made paper produced from elephant dung.

As he loves experimentation, he travelled to various countries, including Nepal, to acquire their hand-made papers.

Today, some of his creative works can still be seen at Petronas Arts Gallery, OCBC Premier Centre, the National Arts Gallery and the Brunei Museum, among others.

He also has a mural at the Textile Museum in Kuching.