Art review: Kiehl's & Kobra

Carrying from where they had left off at Jonker Walk, Malacca (2015) Kiehl's Wall Mural has now (2019) descended upon the Silang neighbourhood. It paints over the sputum of our vibrant betel-leafers. 

Art trivia is coming at you from Spitters' Paradise at Soong Kee's heritage wall in a gloriously showy mode for art critics to chime in their two cents. It embodies our diverse cultures habituating in Chinatown.

The simplistic, flat, two-dimensional approach isn't without reason. It is convoluted to be sucked into a three-dimensional vortex of, say, the weed-inspired Kobra fleshed out by Eduardo, our South American cousin. 

It is safe to assume the Brazilian and our brothers under the bridge are using the same bong with a different plant. Yet, they possess an eye for graffiti like no other.

But then, that is what we do with the minimalist approach in Kiehl's offering. It wakes up the child in us and avoids all paths which may invoke the wrath of our local censorship board because venturing into it inspires the forbidden smudge. 

If Mum provides the paint, our children will love Kiehl's spread and mimic the two-dimensional masterpiece. Little ones are inexplicably drawn to various colours, like a moth to a flame. Likewise, before adults hit the brakes for the stoplights, we are unwittingly shooting askance in that general direction. 

Jonker Walk, Malacca

The inference is that our stoned brothers will maintain their vicious cycle by getting higher on their newly generated proceeds, even if they are given a shot at an exhibition of their own. At the same time, the Kiehl's Conglomerate continues to leave its neon lights and colourful mark on all heritage sites in our country. 

Meanwhile, Eduardo Kobra walks the tightrope, balancing his photorealism on one end of the pole and the toddler's playpen. 

Words - Tommy Peters