FROM leaving his tag on backstreet walls to producing large-scale public murals across Sarawak, mural and graffiti artist Amey Sheikh Ali, better known as Amey, has spent more than a decade transforming urban spaces into visual stories.
Now 36, the Miri-born artist reflects on a journey shaped by struggle, experimentation and an enduring passion for colour, culture and community.
Having settled in Kuching since 2013, Amey has become one of the familiar figures in the local mural scene, balancing commissioned work, public art and digital design while constantly evolving his artistic voice.
Early beginnings rooted in childhood creativity
Amey’s artistic journey began long before murals and spray paint entered his life.
He recalled developing a love for drawing as early as seven years of age, spending much of his childhood sketching.
“I started drawing when I was about seven. I was already interested in art from a young age,” he said.
As he grew older, particularly during his teenage years, he became immersed in graffiti culture – attracted by its bold visual language and street-level energy.
During those early days, he explored tagging and graffiti writing, a phase he described as part of understanding the roots of the culture.
One unexpected encounter would later reshape his direction.
“I was painting on an empty wall with a friend, and the shop owner came over.
“Instead of getting angry, he asked if I could paint a mural for his shop. That was my first commission,” he recalled.
From that moment onward, his career began to grow organically through referrals and increasing public interest in mural art.
Carving a path as a full-time mural artist
Although he was not the earliest mural artist in Kuching, Amey noted that he was among those who chose to pursue the field professionally.
“There were many who started around the same time, but most of them had other full-time jobs. I pushed myself to become a full-time artist,” he said.
His decision was shaped by circumstances rather than a single defining moment.
After moving to Kuching to pursue studies at an institute, he struggled to balance education with financial pressures.
“I needed money for rent, food and daily life. That struggle pushed me to keep going,” he said.
Eventually, he decided to leave his studies and focus fully on building a career in art. Supported partly by his family, he began actively seeking clients and promoting his work online.
“I told myself – instead of paying someone else to do work, why not find someone to pay me for my work?” he added.
Influences and artistic identity
Speaking about inspiration, Amey emphasised that his influences come more from artistic techniques and creative approaches rather than personal relationships.
“It’s more about their style and creativity, how they approach art. I don’t know them personally, but I learn from what they create,” he said.
He cited international artists such as Philippe Panton, Reutz and Ares, alongside Malaysian names including Kenji Chai and Leonard Seow.
Despite these influences, he describes his own artistic identity as fluid and constantly evolving.
“I’m someone who gets bored easily. I can’t stick to the same style every month or every year,” he said.
Born in the 1990s but inspired by the retro aesthetics of the 1980s, his works often incorporate cyberpunk elements and bold colour palettes.
Some months he focuses on portraits, while at other times he experiments with animals, typography or abstract visuals.
Balancing concept, aesthetics and client expectations
For Amey, visual appeal is often the starting point for any mural.
“If I really like the sketch, then I’ll start. I need to feel excited about the design first,” he said.
His creative process begins with analysing the wall, its size, orientation and surrounding environment before moving on to research and sketching.
Most of his initial designs are developed digitally, allowing him to refine ideas until satisfied.
“After that, I choose the colour palette – sometimes based on the concept, sometimes based on the paint I already have,” he added.
When working on commissioned projects, the process can be more complex.
“Sometimes three or four people are reviewing the design. You have to make sure everyone is happy before you start painting,” he said.
He stated that public murals offer greater creative freedom but also require sensitivity to community values.
“We avoid sensitive topics or politics. In public spaces, we prefer something fun, uplifting and colourful so everyone can enjoy it,” he said.
Celebrating Sarawak through modern visuals
Many of Amey’s works reflect Sarawak’s cultural identity, though he prefers to present traditional elements through a contemporary lens.
“I like Sarawak themes, but I combine them with modern visuals. The younger generation can relate to it more,” he said.
He believes murals can strengthen community identity and spark curiosity about local heritage.
Large-scale artworks, he noted, often encourage people to learn more about a place’s history.
“When people see a mural, they start asking questions. It can make them curious about the past or the meaning behind a location,” he said.
A mural close to the heart
Among his many projects, one of the most personal is a COVID-19 awareness mural created in collaboration with an arts institution around 2019 or 2020.
The mural featured portraits of his wife and young son, who was only a year old at the time.
“I used my wife and son as the models. When the mural was finished, it was around my son’s birthday,” he said.
The work served both as a public health message and a deeply personal tribute.
“It felt like a gift for our family,” he said, adding that it remains one of his most meaningful projects.
Breaking misconceptions about graffiti
Amey acknowledged that graffiti is often misunderstood and associated with vandalism.
“The roots of graffiti do come from that culture. But the visual and the message need to be done properly,” he said.
He believes public perceptions have improved significantly, especially as murals become more visible in urban spaces.
“Now people appreciate murals and graffiti more. They enjoy colourful artworks – especially things that make the city livelier,” he said.
Challenges in the digital era
Despite growing acceptance, the mural industry is still beset with challenges.
One of the biggest pressures today, he said, is the demand for constant online content.
“In the past, artists could take months to create something new. Now, if you don’t post for a month, people think you’re slow,” he said.
To overcome creative blocks, he looks to other artists for inspiration and dedicates time to sketching regularly.
“Sometimes I just spend half an hour sketching something new,” he said.
As a perfectionist, he prefers to share only work he considers complete.
“I want everything to be perfect before showing it to the public,” he added.
Amey said balancing artistic freedom with client expectations also requires adaptability.
“I try to be versatile. Sometimes clients ask for something outside my usual style, and I challenge myself to make it work,” he said.
Looking ahead: evolving with age and experience
In the coming years, Amey hopes to paint more large-scale murals across Sarawak while expanding into contemporary art forms.
“I want more big walls. But I also want to explore galleries, canvas work and indoor art,” he said.
He sees this shift as a natural progression as he grows older.
“Outdoor mural work is physically demanding. As I age, I want to try different mediums and slow down a bit,” he added.
Beyond murals, he also works in digital design, including branding and logo creation.
“I have two jobs – painting outside and working on the computer,” he said.
At home, art remains a shared activity with his children.
“They enjoy spray painting too. Sometimes we just play with spray cans together, to the point my son said he wants to follow my footsteps,” he said.
A continuing legacy on Sarawak’s walls
After more than 13 years in the industry, Amey’s journey mirrors the evolution of mural and graffiti culture in Sarawak from underground beginnings to recognised public art.
Through persistence, adaptability and passion, he has built a career that reflects both personal growth and community engagement.
For him, murals are more than decoration; they are tools for storytelling and connection.
“Art is about expression and sharing stories. Every wall has a story to tell,” he stated.
As he continues to experiment with new styles and mediums, his work stands as a testament to how street art can grow into a respected and meaningful form of expression – one mural at a time.
