MALAYSIAN-born painter Kok Wan Lee's depictions of the human figure opens Masterworks' Artists Up Front . . . Street series next week.

According to the artist, the ten watercolour paintings he has selected to display continue a theme he began with his last exhibit.

"I always love doing a series of work," he said. "This is a little different than the exhibit on figure painting I did last year, but it is a continuation of that show.

"It's also part of my journey; my painting passion. And in that respect, I think (the Up Front series) is very good especially for (lesser known) artists. It's the most economical way to have a show and gives something to the whole community. I think what they're doing is very good."

Mr. Lee began his journey only four-and-a-half years ago. A chef by profession, his strong interest in art led him to take classes at the Bermuda College. He supplemented those studies with overseas workshops and paid careful attention to the feedback he received on his work - exhibited at the Bermuda Society of Arts and the Arts Centre at Dockyard.

Those experiences served him well, Mr. Lee feels, as they exposed him to a variety of styles and caused him to experiment in a number of mediums.

"I would tell any new artist not to be afraid to experiment. You have nothing to lose by doing that. I was once interviewed by (former Mid-Ocean News reporter, the late) Pat Calnan. At the time, I said the only thing wasted by trying is colour, paper and time. So experiment - in many mediums - because you never know which one might become your favourite.

"I love watercolours, charcoals and occasionally acrylics but I believe that different mediums have different advantages. My primary mediums are watercolour and charcoal. I love to work with charcoal because it's hands-on and you get more of a feel than by using a brush or any kind of painting tool.

"When it comes to watercolours, the mingling of the colour is so different as compared to using oils or acrylics; they don't mingle as much. With watercolours, you can paint on layers and layers. The most important part is the essence of what you want to paint, not the details.

"In my figure paintings I rely on broadly applied areas of colour, rather than on rendered details to convey my expressive message. I dissolve and fuse edges in order to unite two people into one harmonious form. I use this subjective treatment of colour and form to suggest something felt, not seen."

This upcoming exhibit will be the artist's second solo show. According to the artist, he isn't facing it with the trepidation he once did when preparing to show his work before an audience.

"What I learned through my experience at the College is that the more you expose yourself, the better you become. Often, (people) wait until they're ready to show their work, but if you don't show your work, how do you know whether you're ready or not? When you take an examination, for example, it's not to test how many marks you score, but where you stand.

"When I first began exhibiting my work, I sold quite a few pieces. In the second year, I did not sell a piece for a whole year. That's very tough. You always question whether or not you're doing what's right; whether or not your paintings are bad.

"But if you don't believe in yourself, who else will? I learned through my experience that year and then I met artist Julia Coash (whose photographs are now on display at the Bermuda National Gallery), who gave me very good advice. She agreed that (going through rough times) is the worst experience for an artist, but if I couldn't take it, I'd better stop. There's always ups and downs."

According to Mr. Lee, the rate at which he has progressed as an artist often receives comment.

"(At the College), I took different art classes such as painting and drawing, but for me, painting is a hobby. I didn't have the time to complete the full programme while working.

"A lot of people say, 'You're too young to have had such a good, whole journey.' But really, (at 45) I'm right on time. That's why I have to work so hard to catch up. I'm a late bloomer. But honestly, I don't think it's as much about how long you have been painting as how you deal with your art.

"It's not about how long you're standing there, I paint very quickly. With one of my smaller pieces, three hours and it's done. It's the same with cooking. You can cook for 20 years or five. If you put time and effort or interest into those five years, it's as strong an (experience as someone who's) been cooking for 20."