During this period, he supported his wife Chong Eng in her political career, which began as a state assemblyperson and later as Bukit Mertajam MP in 1999. Gunabalan was the primary caregiver for their two sons.
Despite the demands of managing his family, Gunabalan, who holds an art degree from Universiti Sains Malaysia and later from Arizona State University, consistently made time to pursue his passion for painting.
A stroke in 2017 that restricted his mobility did not diminish his passion. To date, he has created over 100 artworks, drawing inspiration from his personal journey. He also breathes new life into discarded materials, transforming them into sculptures with compelling narratives.
Last year, Chong Eng decided to retire from politics. In recognition of Gunabalan’s sacrifices for their family, she, along with their sons, fulfilled his long-held dream of hosting a solo art exhibition.
Although his dream only materialised at age 77, the exhibition holds profound meaning for Gunabalan, especially as it was made possible by the most important people in his life.
“Why did I delay having an exhibition? Because I married a remarkable political figure,” he explained. “When she was active in politics, I became a ‘house husband’; but at the same time, I began building my collection of paintings, though I had no time for exhibitions.
“Now that she’s retired, she took the initiative to organise this exhibition for me,” he told Bernama in a recent interview.
Titled “Social Cultural Justice Art”, the exhibition, held at the Penang state assembly building from Dec 7-15, featured 69 pieces from Gunabalan’s collection, divided into six series.
“The Faces of the Forgotten” comprises 30 artworks that honour Indian labourers who were forced to build railroads during the Japanese occupation. “The Roots and Tracks” highlights the contributions of rubber tappers and railway workers who played a crucial role in Malaysia’s success as the world’s largest rubber producer.
Gunabalan reveals his deep connection to railways and rubber, as his grandfather was forced to work on railroad construction in Thailand during World War II. “Thousands of lives were lost, including my grandfather, who never returned. This personal story inspired me to name my debut exhibition ‘Social Cultural Justice Art’,” he shared.
Another series, “The Himalayan Journey”, was inspired by Gunabalan’s spiritual journey with mentors to the Himalayan mountains, where he surrounded himself with lush green valleys and flowing rivers.
Meanwhile, “Echoes of the Divine” explores the intersection of spirituality and culture that shapes Gunabalan’s vision, blending Eastern philosophy, spiritual motifs, and cross-cultural symbolism.
Gunabalan is also known for his ability to give new life to discarded materials like driftwood and broken tiles, transforming them into artworks in line with his commitment to environmental sustainability. This is showcased in the series “Echoes of Renewal”, which features several works created using old newspapers damaged by floods.
Two notable pieces in this series depict a lone fish swimming in the ocean, inspired by Chong Eng’s political journey as the sole opposition representative in the Penang state assembly from 1995 to 1999.
The final series, “Fragments of Resilience”, documents Gunabalan’s struggle and perseverance following his stroke. This series employs a style and colour palette vastly different from his earlier works, reflecting his emotional and physical journey.
Chong Eng said the exhibition was a tribute to her husband, who had made significant sacrifices for their family, particularly in raising their sons Jothi Jhen Hao and Omprekash, now aged 38 and 29, respectively.
“Before, I was at the forefront with him supporting me from behind; this time, I let him take centre stage while I support him from behind,” she said.
Chong Eng also expressed her gratitude for the overwhelming response to the exhibition despite it being her husband’s first showing, and added that more than 20 of the paintings had already been sold.