A retrospective is often a window into the arcs and turns of an artist’s transformative journey—charting their experimentations, stylistic shifts and creative cycles. For Hungarian artist Anton Molnar, however, the concept manifests as a living, organic process. His work immerses viewers in the multifaceted realities of his surroundings—a spectrum so broad that no single style could adequately reflect it. Perhaps this is what drives him to spend 12 to 13 hours a day in his studio, equating his artmaking with musical composition. “When I create a painting, it’s like composing on a piano, a single instrument. But when I work on a sculpture, it’s like conducting a full orchestra,” Molnar explains. “It’s about having a vision in your mind—bringing together the violin, the trombone, the organ and everything else.”
With his heart set on Kuala Lumpur, Molnar spent much of 2024 working on his latest pieces, which were unveiled in a solo exhibition at Qing Gallery to mark the opening of their new gallery space at Plaza Arkadia in Desa Parkcity. Once situated by The Waterfront, the gallery now resides in a new area that merges visual arts, gourmet dining and cultivated leisure, with an omakase restaurant, a curated wine cellar and a private lounge for art club members. As Qing Gallery’s director Patrick On describes it, this 12th exhibition acts as a pivotal bridge between local and global art worlds. “My aim is to contribute to the cultural landscape and offer our audience access to the international currents of the art scene,” On says. “This exchange not only deepens the understanding of diverse artistic expressions, but also helps position Malaysia as a flourishing hub for contemporary art.”
Entitled Travelling Through The World Of Art, this exhibition is centred around the treasures and cultural wealth of Malaysia. Molnar brings his personal perspective to the nation’s rich heritage, layering his signature style with the motifs and symbolic imagery of everyday life in Malaysia. One of his trademarks is the distinctive framing of his paintings. “I developed this framing style as part of my signature when I first arrived in France as a young artist in 1988. I was not too happy with how some people framed my paintings. If the frame was good, it worked; but if it was cheap, it completely ruined the painting.” Molnar says. “I see it as a reflection of my personality, and it also allows me to write my thoughts about the painting and the place it represents.”
In his Tiger of Malaysia piece, Molnar eloquently captures the regal stature of the Malayan tiger. When asked about the difficulty of painting humans versus animals, Molnar emphasises that both are equally complex. “Everything is difficult to paint because I hold great respect for the essence behind my subjects. Painting an animal like a tiger requires great attention to detail. When you paint, you have to focus on every single hair, each one having its own tonality and depth. It’s not just about painting the surface, but capturing the unique shades and textures of each hair.” He elaborates: “This process makes it more complex, as every stoke adds a layer of volume and authenticity.”
The Happy New Year piece, on the other hand, is a fusion of Renaissance revivalism and contemporary influences. It depicts a finely arranged collection of wines and a lavish banquet, outlined with saturated contrasts and brilliant, strong pigments. “With a large painting like this, you notice its impressive size. The colours are layered carefully, using multiple layering techniques to liven up the hues. Art collectors often describe it as a contemporary perspective, but executed with traditional techniques,” Molnar says. His manipulation of light brings forth the grandeur of Renaissance still-life art, while the subject of indulgence speaks to modern-day themes of affluence. A dialogue between the old and new, it illustrates luxury across time.
Despite the colossal portraits, unconventional sculptures and two-piece puzzles, Molnar’s Travel in Malaysia may, arguably, be the true gem in this series. Brimming with detail within a single canvas, it encapsulates the spirit of Malaysia—spotlighting the development of Kuala Lumpur, especially its momentous 1957 independence. Like a travel diary, this painting captures the true soul of Malaysia, containing emblematic components such as the Petronas Twin Towers, durian, hibiscus, folkloric dancers, local dishes and more. “This is probably my most complicated work,” Molnar reflects. “It’s not just a still-life, or simply a fish or a tiger or just a portrait. It’s about putting all these facets together. And that’s what makes it complicated—because as a painter, if you make a noticeable mistake, it can affect the whole piece.
“When I have a vision, it’s always rooted in tradition,” Molnar continues. “Tradition is fundamental—whether in France, Hungary or anywhere else. It’s about showing respect for the legacy of our fathers and ancestors. Tradition is a part of our history, and that’s what I wanted to honour with my work.”
Visitors can now visit Qing Gallery at its newly relocated space on the Lobby Level, Block C-G-1, Plaza Arkadia, Desa Parkcity, No.3 Jalan Intisari, 52200 Kuala Lumpur. The gallery opens Monday to Friday from 10am to 7pm, and on Saturdays from 10am to 5pm.
Cover image: Anton Molnar with his painting ‘The Happy New Year’
