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1980’s is a
very important period for Tham Siew Inn. Eager to share what
he has learnt during the journey abroad, he dived into the
local art scene and did all he can. Founded two watercolor
societies, participated numerous exhibition both local and
globally. Some of the artworks capture scenery from the
country he visited, with a lot more showing exotic Malaysian
landscape. In the mid 70’s, in an effort to raised art
awareness, he started teaching art classes in his home town
– Klang. The successful art classes however, were occupying
too much of his time and mind. He decided to stop teaching
classes and focus on creating artwork fulltime in 1986.
It was during
this productive years that Tham have started his “Rainforest
Series”, “Flame of the Forest Series”, and “Seaside Series”.
Shifting his focus from accurate scenery depiction into a
praise to nature. This change came naturally when his
understanding towards relationship between human being and
nature improved. Compared to accurate dry on dry technique
he used, the evolved wet on wet method uses more primary
colors that preserved its luminosity. Magnifying the
untouched beauty of the natural forests and oceans is one of
the characteristic of Siew Inn’s painting during the 80’s.
譚氏80年代的創作，是他繪畫生涯中極為重要的一環，歸國后的他，積極參與畫壇交流活動，關心美育課題，將國外所得的見解，帶回國內與大家分享。部分畫作呈現外國風貌，也有呈現本地特色的本土寫生。而在80年代后期，停止繪畫班的事業，專心一致投入繪畫工作。
譚氏繪制了許多戶外寫生的作品，為求突破，譚氏在觀念、技法，題材上都大膽的進行各種嘗試，畫面用色更鮮明大膽，畫風漸漸轉向寫意，從一些畫面上，可以看出有些畫作是他個人腦海里的心象，而非某個特定的景點。此時他也開始了一些巨幅的水彩創作，而且譚氏好幾個延續長久的系列：雨林，花木及海邊的系列，即使從此時開始的。
而繪畫題材從生活化的景致寫生轉型為對自然界的贊歌，此一變動是因為他對人文的關懷，對人類與環境的關系，有了更深的認知。相較于繪制生活化體裁時常使用的補色，繪制自然界時所用的鮮麗原色，體現出原始、無垢、未為人所指染的自然界的感覺，乃是此時期的畫作特色之一。 |
