NICHOLAS CHOONG

It’s been a while. People ask me how I’m doing all the time. To be honest, I’ve been regurgitating the same old story for a long time (what I’ve been doing, how’s life, how’s work lately etc.). Repeating myself is not conducive so I think it’s easier to just put this down on paper. Lest I repeat myself again. In a way, a form of journaling. In another way, it could be turned into a blog post. Which it now is.

Let’s take a step back to late 2023 where I was approached by a newly established gallery. I considered the offer for a while, then proceeded to accept an exclusive gallery representation for a body of work that I was oftentimes making – my experimental mixed media collages. So I signed a year-long contract with the gallery and the deal was that they would purchase my works in this genre (cityscapes and watercolors are excluded), and resell the works to their clientele. Of course, this works out quite well for the artist. A whole year’s worth of paintings being acquired by a company serious enough to take that kind of risk. And I thank them for it. During that year (2024 – 2025), the studio had 6 staff (2 interns), including myself – producing & working diligently on the processes that led to making finished works of art in a genre that I created for myself through years of experimentation.

2024 passed by swiftly. 

A lot of it was great memories and a solo show. I enjoyed teaching and mentoring the team, and the camaraderie. I moved into making objects as well. Skateboards, art speakers, small sculptural studies. But during that year of production, something slowly drained away. My soul wasn’t taking flight. I had been used to (most artists are in some way or another) being in control of what it was I wanted to work on, the whys, hows and when. Working that way emboldens the creative spirit with a freedom to express, to play and to experiment. Although I made a fair amount of money that year, in hindsight, I’ve learned that having more money doesn’t equate to more happiness. Yes, I managed to indulge in other hobbies and musings like searching for new materials, sound system construction, shopping (Hah!) – all of which I’m quite passionate about – growing up curious and musically inclined from a young age. Having that space to explore creatively allowed me to host parties at my studio, to be more sociable and eventually the studio went into producing streetwear, printing tees and crafting toys (this was in 2025, after the gallery deal). Those 2 years were good for growth and opportunity in one dimension (rekindling old passion projects and exploring new materials) but stagnation in another (the mass production of the collages).

I left the gallery system in January of 2025 and spent a year afloat. Not producing for the sake of producing but soul searching and introspecting. This was the year I launched my studio brand, estudio. In 2025, I hosted a slew of studio parties and events, turning the focus to music and fashion. I studied both trends a lot that year. I had to let go of my crew & assistants, for we had no large clients anymore (they have gone on to finish school and find other jobs). I will always appreciate their resolve and dedication. At the beginning, it was an uncomfortable time. The first 6 months was an acclimatising period for me, mentally & emotionally. But I think I managed fairly well to find myself again. I told myself to take it easy – nobody was expecting anything of me, and to stay in the zone of gratitude, awareness. To keep on being of service to others, to show up daily, study and research, meditate and to stay fit and healthy. These habits are non-negotiable, even till today.

I managed only one show in 2025 – a small, intimate solo show in KL. I avoided posting too much on social media and returned to playing some gigs at clubs. In late 2025, a good friend and collector of mine offered to be a patron of my work for a year. It amounted to me receiving a yearly stipend (similar to an arts residency), to buy materials, experiment with work, and to take a load off and to just be myself. Wow. What generosity, spirit and a relief for my nervous system! I accepted the patronage on the spot, and its now been 4-5 months later that I’m writing this, wanting to highlight that a change of fortunes is possible – if you keep your wits about yourself. That no matter how stressed you get, there will be a light at the end of the tunnel. To never stop believing in yourself and in your work, calling and creative expression. Because somebody out there is supporting you as a person. I mention this to young artists : That you really only need 4-5 good patrons a year and you’ll survive making the art you care about. You don’t need 20 patrons a year. Only a few good ones. And it is worth everything.

In the past, now and going forward – I’ve asked that the universe reveal to me what I have to do. If making art isn’t for me, then, to show me outright. As an example : Just remove the studio. Take away my rent money / income and force me to shut down my studio operations and my lifestyle. Surprisingly, the universe has always proven me wrong, or to rephrase that – It has always (one way or another) shown me through a sale of a painting or some other form of income – That I can and should double down on my career as an artist. The rent has always been paid on time, even through hardships.

Most people freak out before the storm ends. Collectively, I think we need more faith and resilience. It’s not my place to judge the actions of others, or to advise how you should think or behave. All I can do is share my perspective with (hopefully) some clarity and wisdom through hindsight.

It’s May 2026 now, and the studio is operating nicely once again. At the front, a co-operative bookstore and a resource center for the law and arts, is emerging. We’ve begun a collective of lawyers and artists that champion transparency, accountability and problem solving in the art sector – to great response. It has been a little overwhelming at times, but always enlightening. The collective is called ALIM (Art & Law Initiative of Malaysia) and is open to enquiries from all sectors of the arts – Film, performing arts, theatre, fine and visual artists, musicians, graphic designers, labels, entrepreneurs, art graduates – Everyone has a right to understand and to assert their rights as art workers or creatives.

I’m chilling and I’m painting again. This year I’ve had the privilege to play a gig recently. I have been refusing gigs from the club scene lately because of personal choices (more about this later perhaps in a separate writeup). I’ve just sent some new watercolors for a show in London through an old gallery that used to represent my cityscape works. Emotionally, spiritually, mindfully – I’ve come to think of making art in larger, more expansive terms (in materiality as well as conceptually) and I’ve not been confined to just making paintings, but also art installations (The Five) and collaborations with cool businesses (MKZY). Operating within this mindset, I’m optimistic about the future. For somebody who’s been there and done that, I’m jaded on some issues – but that’s what growing older (and hopefully wiser) looks and feels like. I have less mental, spiritual and emotional energy to expend to things that don’t resonate with my value system. Of course, its amazing to collaborate and work with those that do share my mindset and vision. But if the shoe doesn’t fit, it’s okay to let it go. Saying no to something means a yes to the things that better aligns to one’s personal journey. In the words of a good friend, instead of saying no, it’s cooler to say “I’d prefer not to.”

Authenticity matters. In a world of distractions, it’s very easy to lose oneself. Being in music for most of my life, I navigate life and assess where I’m at, referencing song structures : There’s an intro, a first verse, a chorus, the second verse, a second chorus, the bridge and the outro. I like to keep track of where I am in a situation, or just life in general using that timeline.

I might be in the second verse of life right now. And that’s just fine with me.