Weiling Gallery

Weiling Gallery Located in Kuala Lumpur, showcasing Malaysian and international contemporary art

Wei-Ling Gallery

WLG & WLC now form the largest and most prominent platforms for contemporary art in Malaysia. https://linktr.ee/weiling_gallery

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Yau Bee Ling is well known for her vibrant, expressive works centred on the subject of family and human relationships. H...
13/05/2026

Yau Bee Ling is well known for her vibrant, expressive works centred on the subject of family and human relationships. Her practice is defined by a distinctive oil paint process of layering on and scraping back, building surfaces of accumulated density that have become a signature of her work. Over the years, Bee Ling has remained steadfastly committed to the development of her artistic journey, and this exhibition presents one significant aspect of the many important phases her practice has moved through.

Her first solo exhibition with the gallery in 2008, titled ‘Portraits of Paradox’, revealed a new level of maturity in the way Bee Ling approached her work, a shift tied in part to the changes she experienced on a personal level. In 2006, she became a mother for the first time, navigating life as an artist, wife, and mother simultaneously.’ Portraits of Paradox’ grew from this period, revolving around her struggle with the superficiality of human relationships and communication, in which sincerity and honesty had become increasingly elusive.

The paintings were multi-layered in more ways than one. The portraits depicted people in the manner of a photograph, composed and at ease with one another on the surface, while beneath that composed facade lay an entanglement of unresolved tensions, deceit, and jealousy. In her efforts to avoid co-existing within this hypocritical social grouping, Bee Ling found herself isolated; yet when caught within it, she felt bound and claustrophobic. These two states, exclusion and entrapment, became the emotional axis around which the series turned.

This body of work sought to give form to feelings and thoughts that resisted ordinary communication. Where words failed or were unwelcome, the paintings became the space through which Bee Ling's voice could be heard, candidly and on her own terms.

Image 1: Arbitrary Ruler I (2008) | Oil on canvas; 183cm x 138cm
Image 2: Arbitrary Ruler II (2008) | Oil on canvas; 183cm x 138cm
Image 3,4: Mass Gathering (2008) | Oil on canvas; 168cm x 214cm
Image 5: “Untitled (Woman Study)” (2008) | Oil on canvas; 92cm x 92cm

‘Emerging Intervals’ (2026) begins where the body and land converge, where the contours of human presence fold into terr...
12/05/2026

‘Emerging Intervals’ (2026) begins where the body and land converge, where the contours of human presence fold into terrain, and terrain folds back into feeling. For Yau Bee Ling, landscape is an inner condition: layered, pressured, and alive with what cannot yet be spoken aloud.

Working in oil on jute canvas, the painting is built through accumulation and rupture. Dense passages of pigment, ochres, pinks, deep crimsons, press against one another, describing a crowded human world in continuous, restless motion. Over this ground, dark brown diagrammatic lines ascend with a deliberate frailty, their thinness a studied choice: these are the marks of connection made visible, the diagrams we draw in air between ourselves and others, at once structural and fragile.

Against the weight of human density, slender white intervals open across the surface. These gaps carry rest, the held breath between demands, the pause that makes continued movement possible. Bee Ling conceives of them as pitstops, spaces holding the quality of mentorship: offered freely, without condition, to those who are younger, more vulnerable, still finding their footing in the complexity of shared life.

The painting holds two simultaneous tensions: attachment and detachment, weight and fragility, the pillar that supports and the thread that might break. Neither resolves the other. But seen together, they form an honest portrait of what it means to walk in a relationship, to be held, and to hold; to need guidance, and to become it.

This work’ is Yau Bee Ling's own inquiry on care, the kind that persists through fatigue and finds its shape in the deliberate, structural act of staying present for another.

Now showing as part of ‘Structural Voids’ at Wei-Ling Gallery, on view till 6 June 2026.

Yau Bee Ling – Emerging intervals (2026), Oil on jute canvas, 150.5cm x 213.5cm

On Mother's Day, we feature two works by Yau Bee Ling whose subject matter speaks directly to the occasion. Motherhood i...
10/05/2026

On Mother's Day, we feature two works by Yau Bee Ling whose subject matter speaks directly to the occasion. Motherhood is not incidental to Bee Ling's practice. It is one of its foundations. Regarded as one of the most powerful contemporary painters in Malaysia today, she has spent nearly three decades building a practice rooted in layered mark-making, expressive portraiture, and a sustained inquiry into the relationships that define us.

For Bee Ling, painting has always been a form of therapy, a way to resolve the external and accept the internal. As a new mother during her earlier exhibitions, her multi-layered paintings became a mouthpiece to express herself while depicting the various relationship links in her life. The experience of motherhood, its weight, its complexity, its refusal to be simplified, shaped the very language she paints in. That biographical thread runs through both works featured here.

Great Mane is a monumental figure composed entirely from dense, overlapping gestures in reds, yellows and greens. The marks accumulate with intensity, yet a face holds steady within them, composed and unhurried. Mother and Child IV draws multiple figures into a single indivisible form, faces surfacing from within faces, the boundaries between bodies deliberately unresolved. The layering symbolises an unfolding of introspection, and Bee Ling's intention has always been for the viewer to look past the surface into something deeper.

Happy Mother's Day 🌸

Image 1: Yau Bee Ling – Great Mane (2013) | Oil on canvas; 141cm x 102cm
Image 2: Yau Bee Ling – Mother and child series IV (2012) | Oil on canvas; 140cm x 102cm

NOW SHOWING: 'Structural Voids', the eighth solo exhibition by Yau Bee Ling.📅 9 May – 6 June 2026📍 Wei-Ling GalleryMalay...
09/05/2026

NOW SHOWING: 'Structural Voids', the eighth solo exhibition by Yau Bee Ling.

📅 9 May – 6 June 2026
📍 Wei-Ling Gallery

Malaysian painter Yau Bee Ling has spent more than thirty years paying attention. To the people around her. To her children and her students. To the subtle ways people lose their grip on one another without quite meaning to.

What she calls a void is not emptiness. It is what remains when the layers are peeled back. When the versions of a person accumulated through duty, habit and time are set aside and something more essential is given room. She finds these clearings in the thin gaps that run through each of her heavily worked surfaces, at the exact points where structure begins to give.

The six new oil paintings in this exhibition are built from that understanding. Pigment applied and sanded back over and again. Colour chosen for psychological weight rather than beauty.

Each canvas holding suppression and memory and the unspoken within the same surface. Her attention rests especially on the young, a generation she watches with real tenderness as they try to find themselves in a world that keeps pulling them apart. The void, for them, she suggests, may be the most honest place to begin.

On the second floor, a selection of her earlier paintings charts the trajectory of a practice that has always known what it was looking for.

We hope you will come and find your own clearing in it.

Walk-ins welcome. Pre-registration by appointment through the link in bio.

Wei-Ling Gallery is pleased to present 'Structural Voids', the eighth solo exhibition by Yau Bee Ling, launched alongsid...
07/05/2026

Wei-Ling Gallery is pleased to present 'Structural Voids', the eighth solo exhibition by Yau Bee Ling, launched alongside her long-awaited monograph 'The Weaving of Life: Art through Trials and Triumphs'. Together they represent more than three decades of a practice that has sought, with persistence and great feeling, to articulate what ordinary life leaves unspoken.

Six large-scale oil paintings trace the feeling of people losing their grip on one another, built through layers of pigment applied and sanded back until each canvas holds suppression, memory and unspoken feeling within the same surface. Colours are chosen for psychological weight rather than harmony, and thin white gaps punctuate each heavily wrought surface at the points where structure strains and individuals begin to wander, yet are still held together. Her attention turns to the young, her own children and students, a generation she watches with tenderness as they struggle to find their place in a world that continues to fragment them.

Each void she speaks of is not an absence but a clearing, a space where the layers of who one has been are peeled back and something truer is given room to emerge.

The monograph, produced by Wei-Ling Gallery and supported by Balai Seni Visual Negara, surveys her practice from 1990 to 2025 across 250 full-colour pages. Featuring essays by curators Louis Ho and Gowri Balasegaram among others, large-scale reproductions and extensive fold-out documentation, it offers a sustained account of three and a half decades of a painter who has held her commitments firmly while continuing to find new ground within them.

📅 9 May – 6 June 2026
📍 Wei-Ling Gallery

The exhibition is available via walk-ins and pre-registration by appointment through the link in our bio.

Last day to catch Ivan Lam’s ‘On Edge’ at Fresh from his residency at ISCP in New York, the works explore urban visual l...
06/05/2026

Last day to catch Ivan Lam’s ‘On Edge’ at

Fresh from his residency at ISCP in New York, the works explore urban visual language and systems of communication. Stepping away from fixed structures, meaning unfolds through layering, pauses, and subtle shifts, including two newly debuted pieces rooted in process, transition, and becoming.

📍The Drawing Room, Level 3, Yap Ah Shak House. Open until 6pm.

Today is by appointment only. If you’d like to visit, do reach out via [email protected] or by WhatsApp at +60 12 348 1422 and we’ll arrange a time for you.

Hope to see you there!

Come drop by Ivan Lam’s ‘On Edge’ at The Drawing Room, Level 3, Yap Ah Shak House  . Open until 6pm today.Fresh from his...
05/05/2026

Come drop by Ivan Lam’s ‘On Edge’ at The Drawing Room, Level 3, Yap Ah Shak House . Open until 6pm today.

Fresh from his residency at ISCP, New York, Ivan presents recent and new works exploring urban visual language and systems of communication. Stepping away from fixed structures, meaning unfolds through layering, pauses, and subtle shifts.

He also debuts two new pieces that offer a glimpse into an evolving practice rooted in process, transition, and becoming.

We are also open tomorrow Wednesday, 6th May 2026 from 10am - 6pm, by appointment only via email ([email protected]) or WhatsApp (at +6 012-3481422)

Would love to see you here! 🤍

We are pleased to present ’On Edge’, a special pop-up exhibition by Malaysian artist Ivan Lam which will take place at T...
02/05/2026

We are pleased to present ’On Edge’, a special pop-up exhibition by Malaysian artist Ivan Lam which will take place at The Drawing Room, Yap Ah Shak House.

📍 Level 3, The Drawing Room, Yap Ah Shak House
📌 Jalan Yap Ah Shak, Chow Kit, Kuala Lumpur
⏱️ 10 am – 6 pm
🗓️ 5 May 2026 (walk-ins allowed)
🔖 6 May 2026 (By appointment only via WhatsApp +60 12-348 1422 or email [email protected])



Developed during his residency at the International Studio & Curatorial Program (ISCP) in Brooklyn, New York, the exhibition brings together works that reflect Lam’s engagement with systems of meaning, observation, and the subtle negotiations embedded within artistic practice. While in residence, Lam immersed himself in the visual language of the city, studying signage across train systems and the layering of posters in public spaces. He absorbed their rhythms and coded forms of communication.

Across the exhibition, Lam balances between precision and ambiguity, positioning his practice as a form of research into how artistic knowledge is produced, deferred, and shaped. Instead of focusing on resolution or completion, the works exist in moments of transition.

They are made in moments of anticipation and hesitation, within a process of becoming.
In addition to these works developed in New York, ‘On Edge’ also debuts two new pieces conceived after Lam’s return. These works synthesise his residency experience, drawing together observation, research, and reflection into a more distilled visual language.

For appointments and enquiries, please don't hesitate to reach out. We look forward to seeing you there!

This Labour Day, we find ourselves returning to Cheng Yen Pheng's ‘One Ringgit Chicken’ (2023).In Malaysia, "One Ringgit...
01/05/2026

This Labour Day, we find ourselves returning to Cheng Yen Pheng's ‘One Ringgit Chicken’ (2023).

In Malaysia, "One Ringgit chicken" is a colloquial phrase for something cheap or insignificant, most commonly used to describe a person who is considered small, powerless, or of little consequence. It is the kind of expression that circulates casually in daily life, carrying within it a long history of how economic value becomes entangled with human worth.

Working from this everyday expression, Cheng Yen Pheng reimagines the one-ringgit banknote, reconstructed entirely by hand from self-made and natural papers and threads.

At the centre of the work, a chicken sits as if hatched from the currency itself, a creature associated with the domestic, the market, and the everyday. It stands as a reflection on the labour that sustains a household, and on the contradiction of an economic system that assigns a price to most things, yet accounts for very little of what actually keeps life going.

The chicken is also drawn from the artist's own experience of raising chickens at home, grounding the work in the personal and the immediate.

‘One Ringgit Chicken’ (2023) sits with a question that has no easy answer: what do we value, and what have we simply stopped noticing?

Image: Cheng Yen Pheng – One Ringgit chicken (2023) Self-made & natural color dyed mulberry papers, banana stem papers, threads, color pencils, color ink pens; 55cm x 104cm

Wei-Ling Gallery will be closed from 1 to 8 May 2026. We look forward to welcoming you back with two exciting exhibition...
30/04/2026

Wei-Ling Gallery will be closed from 1 to 8 May 2026. We look forward to welcoming you back with two exciting exhibitions ahead.

🎨 ‘On Edge’ by Ivan Lam

A special pop-up exhibition featuring works from Ivan Lam's ISCP residency in New York alongside his two latest works, set within the historic Yap Ah Shak House. Attendance is strictly by appointment only. We encourage early registration to secure your visit.

📍 Level 3, The Drawing Room, Yap Ah Shak House
📌 Jalan Yap Ah Shak, Chow Kit, Kuala Lumpur
⏱️ 10 am – 6 pm
🗓️ 5 May 2026 (walk-ins allowed)
🔖 6 May 2026 (By appointment only via WhatsApp +60 12-348 1422 or email [email protected])

​​🎨 ‘Structural Voids’ by Yau Bee Ling

A solo exhibition by prominent painter Yau Bee Ling that explores internal space, form, and absence, inviting viewers to reflect on what lies within and between structures, both physical and emotional. The exhibition also coincides with her very first book launch, featuring 35 years of her career.

📍 Wei-Ling Gallery
🗓️ 9 May to 6 June 2026

For appointments and enquiries, please don't hesitate to reach out. We look forward to seeing you.

29/04/2026

Out now on YouTube: Malaysian artist Chen Wei Meng speaks about the ideas, processes, and personal philosophy behind 'Unbounded', his eighth and most transformative solo exhibition at the gallery.

For an artist long celebrated for his meditative and hyper-realistic landscapes, 'Unbounded' represents a shift away from the pictorial precision of his earlier work, embracing instead a mode of painting defined by sustained mark-making, continuous reworking, and a willingness to follow uncertainty wherever it leads.

Click below link to watch full interview:
https://youtu.be/QBibxEXFSoY?si=w_bMisu4_3fox0_g

Address

8 Jalan Scott, Brickfields
Kuala Lumpur
50470

Opening Hours

Tuesday 10:00 - 18:00
Wednesday 10:00 - 18:00
Thursday 10:00 - 18:00
Friday 10:00 - 18:00
Saturday 10:00 - 17:00

Telephone

+60322601106

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