Author Archives: ipreciation

iPreciation at Ink Asia 2019

Irene Chou, Koo Mei, Ju Ming, Gao Xingjian, Wang Dongling, Chen Xinmao, Jin Jie, Cai Heng, Chu Chu – A group exhibition of ink paintings, contemporary calligraphy and sculpture, presented at Ink Asia 2019.

Venue:

Booth J3, Hong Kong Convention and Exhibition Centre, Hall 3

Fair Dates and Opening Hours:

3 Oct 2019, Thu

3pm – 9pm                               Private Preview (By Invitation Only)

6pm – 9pm                               Vernissage (By Invitation Only)

4 – 6 Oct 2019, Fri – Sun

11am – 7:30pm                        Open to Public

7 Oct 2019, Mon

11am – 6pm                             Open to Public

 

iPRECIATION is delighted to announce our participation in Ink Asia 2019, presenting a selection of finest contemporary calligraphy, ink paintings, oil paintings and sculptures by nine prominent Asian artists, namely Irene Chou, Koo Mei, Ju Ming, Gao Xingjian, Wang Dongling, Chen Xinmao, Jin Jie, Cai Heng, and Chu Chu.

For Visitor and VIP Passes to Ink Asia 2019, or for more information on the art fair, please contact us at (65) 6339 0678 or email us at enquiry@ipreciation.com

Bloom – A Duo Exhibition by Ashley Yeo and Jodi Tan

Venue: iPreciation (誰先覺), 50 Cuscaden Road, HPL House #01-01, Singapore 249724

Private Preview: 17 Oct 2019, Thurs, 6 – 8 pm (By Invitation Only, Artists Present)

Exhibition Opens to Public: 18 Oct – 2 Nov 2019

iPreciation is proud to present a duo exhibition titled Bloom, featuring new works by two young Singaporean female artists, Ashley Yeo and Jodi Tan.

When one mentions the word “bloom”, flowers are the first thing that comes to minds. Flowers have always been known for their natural charms. The floral subject was widely embraced in art of different eras and has evolved in its embodiment in artworks over time. In contemporary art today, the trend of floral being used as an attractive feature or accent has not been seen dwindling. It continues to be used by artists as a source of inspiration, and a concept to work with to create artworks. Apart from being a charmer, or decorative in appearance, how else can we view a flower?

Bloom is an exhibition that hopes to present alternative perceptions and interpretations of floral in a more poetical light through the works of both Ashley and Jodi. The artworks will highlight the borrowing a flower’s presence to explore and present a new perspective on how or what a floral can be in contemporary art by having a simpler and genuine interest in florals.

Ashley takes references from botanical symmetry to create delicate paper cut structures. The lightness and fragility of these works can be related to a flower’s true fragility and impermanence. At the same time, a flower’s natural perseverance and vigour to multiply and survive can be seen within her paper cut art, where floral patterns flow seamlessly from edge to edge. It is in the accumulation of detail in her artworks, where the viewer can see strength and an underlying intensity of a message being silently conveyed.

Jodi questions the significance of a subject matter and one’s perception of it. To her, paintings of flowers have been typecast as decorative or dated, and various symbolisms have been embodied by the use of florals in both classical and ornamental paintings. Her paintings continue to blur the line between figurative and abstraction by disassociation from, or reduction of, the known symbolisms and associated meanings to florals in art. This allows viewers of her art to question – or choose – their interpretation of her floral still life paintings.

 

Ashley Yeo (b. 1990, Singapore) has graduated with a Master’s Degree in Fine Art from the University of Arts London, Chelsea College of the Art & Design, United Kingdom in 2012. She was the first Singaporean artist to be shortlisted for the LOEWE Craft Prize, London, United Kingdom (2018). Ashley had founded her practice through drawing and has developed her practice of creating artworks of exceptionally light, delicate crafts with meticulous details. Ashley is often inspired by nature, and by taking in the nature of a plant such as flowers; the impermanence, frailty, and delicateness. In her latest practice of papercut art, she demonstrates a slow and light construction that attempts to present an elegant and emotional resonance through the use of the material and repeated patterns. The repetition in her creative process reflects and meditates on the contemporary society of the world that has contributed to an array of anxieties and emptiness. Ashley is interested in presenting new objects in silence that attempts to articulate equanimity, generating a discourse of the obfuscation of things and the epidemics of visual culture.

Jodi Tan (b. 1990, Singapore) has graduated with a B.A. (Honours) in Fine Arts from LASALLE College of the Arts, Singapore in 2011. She was also awarded the Winston Oh Travel Award, Singapore, in the same year. Jodi’s core interest lies in image-making and image reading. As she continues her ongoing series of “Still Life”, her works are often created with found images, which she would derive particular colours or textures that spoke to her, then reconstructs the image in ambiguity, blurring the line between figuration and abstraction. In her works, Jodi explores the creation of an image where interference from symbolisms and associated meanings are reduced, or even becomes irrelevant. With a hint of familiarity, the artworks are presented to its viewer with a doubt or a choice; what does one choose to see, and how does one read the image?

For more information on Bloom and the artists’ works, please contact us at (65) 6339 0678 or email us at enquiry@ipreciation.com.

Cai Heng 蔡珩 (b. 1973)

Born in 1973, Cai Heng received her Bachelor of Arts in Fine Arts, with distinction, from Royal Melbourne Institute of Technology University, Australia in 1995. She then pursued her PhD in Art History and Theory, The University of Sydney, Australia in 2008.

Cai Heng is currently living in Singapore, where she practices her art and works as a researcher.

Solo Exhibitions

  • 2011 | Clarity of the Heart, The Private Museum, Singapore
  • 2002 | Ink Diffusion, Plum Blossoms Gallery, Hong Kong
  • 1999 | Chance Encounters, Wetterling Teo Gallery, Singapore

Duo Exhibitions

  • 2000 | Kumari/Cai Heng: Juxtaposed, Wetterling Teo Gallery, Singapore
  • 1997 | The Mysticism of Red and Black, duo exhibition with Kumari Nahappan, Wetterling Gallery, Stockholm, Sweden
  • 1996 | The Mysticism of Red and Black, duo exhibition with Kumari Nahappan, Wetterling Teo Gallery

Group Exhibitions

  • 2015 | Calligraphy is Not Calligraphy – International Modern Calligraphy Exhibition, China Academy of Fine Arts, Hangzhou China
  • 2013 | International calligraphy Festival, San Qingshang Art Museum, Hangzhou
  • 2011 | Artworks from LASALLE Collection, LASALLE-SIA College of Arts, Singapore
  • 2010 | Calligraphy is Not Calligraphy – International Modern Calligraphy Exhibition, China Academy of Fine Arts, Hangzhou China
  • 2009 | Ink Impression: Contemporary Ink by Plum Blossoms Artists, Plum Blossoms Gallery, Hong Kong
  • 2006 | Celebration of Calligraphy, China Academy of Fine Arts, Hangzhou China, December
  • 2005 | Calligraphy is Not Calligraphy – International Modern Calligraphy Exhibition, China Academy of Fine Arts, Hangzhou China
  • 2003 | Up Down Left Right: modern perception in Chinese Calligraphy, Plum Blossoms Gallery, New York
  • 2002 | Nokia Singapore Art 2001, Singapore Art Museum
  • 2001 | ArtSingapore 2001, Singapore International Convention & Exhibition Centre / aseanARToday 2001 Singapore, Earl Lu Gallery, Singapore / Snapshot – the contemporary soul in Southeast Asian Art’, Plum Blossoms Gallery, Hong Kong
  • 2000 | L’art dans le monde, Paris-Musees, France / ArtSingapore 2000, ARTrium, MITA Building, Singapore
  • 1999 | On the Cusp – Three Local Artists on the Borders of New Millennium, American Club, Singapore / Praxis, Earl Lu Gallery, LASALLE-SIA College of the Arts, Singapore
  • 1998 | Australian Contemporary Art Fair 6, Melbourne, Australia / The Contemporary Chinese Woman Artists Exhibition, Asia Artist Gallery, Singapore
  • 1997 | Tresors – The International Fine Art & Antiques Fair for Asia, Singapore International Convention & Exhibition Centre / East Meets West, Regent Hotel, Kuala Lumpur, Malaysia / Asean Gift and Collectibles Exhibition, Asean Centre, Tokyo, Japan
  • 1996 | Taipei Art Fair 1996 International, Taipei World Trade Centre, Taiwan / Passage, Wetterling Teo Gallery, Singapore

For the full list of exhibitions, please contact the gallery at enquiry@ipreciation.com

Artwork Images

 

iPreciation 20th Anniversary: Reverie Collection – 25 Years of Art Collecting Journey

Venue: iPreciation (誰先覺), 50 Cuscaden Road, HPL House #01-01, Singapore 249724

Exhibition Opens to Public: 29 Aug – 21 Sep 2019

Art Appreciation Talk Conducted by Milenko Prvački: 19 Sept 2019, Thurs, 6pm (Limited Seats; RSVP by 5 Sept 2019)

To commemorate iPRECIATION’s 20th Anniversary, we are delighted to present the Reverie Collection. With a collection of over 400 pieces of significant artworks, the founder of Reverie Collection has been collecting arts through her close-knitted friendship with many artists over the past 25 years.

This exhibition will feature 33 selected artworks from 20 prominent Asian Contemporary artists, including iconic works created from 1964 to present.  These artists have play/played an instrumental role in developing and re-defining Asian Contemporary art in their field during their time. Exhibits include sculptures by Cheung Yee, Ju Ming, Baet Yeok Kuan and Zhan Wang, Ceramics by Ju Ming, Ah Leon, Annie Wan and Rosanna Li Wei Han, ink paintings by Irene Chou, Koo Mei, Gao Xingjian and Oh Chai Hoo, ink calligraphy by Wang Dongling, paintings by Milenko Prvački, Jin Jie, Ye Jian Qing, Tang Da Wu, Lee Wen, Lui Chun Kwong, Vincent Leow and Tse Yim On.

For more information on iPreciation 20th Anniversary: Reverie Collection – 25 Years of Art Collecting Journey and its artists’ works, please contact us at (65) 6339 0678 or email us at enquiry@ipreciation.com.

Wang Jia’nan 王佳楠 (b. 1955)

Born in 1955 in Heilongjiang Province, North China, Wang Jia’nan entered the esteemed Central Academy of Fine Arts in Beijing at the age of 23. Upon graduating in 1982, he progressed to establish the first post-cultural revolution independent professional art studio in Beijing.  During this time, he embarked on a career as a teacher at the Academy, in the Chinese painting department. 1987 saw a migration to London with his artist wife, Cai Xiaoli, and the couple proceeded to participate in exhibitions throughout continental Europe. As a youth, Wang grew in the midst of social discord (courtesy of the Cultural Revolution) and witnessed the effects that propaganda and a callous doctrine had on the artistic sphere. However, his entrance to University at 23 was untainted by asphyxiated ideals (heralded by the death of Mao Zedong in 1976), bestowing a freedom of aesthetical development for the artist. Yet, the recently battered dissension remained a secondary theme that would influence his artistic progression. 

Wang Jia’nan’s paintings have liberated the artist from his conflicting desires, by effectively mingling two distinct wants: The need for Wang Jia’nan to preserve the culture and historical intimacies of his homeland, and concurrently, to pursue and peruse the freethinking, innovative habits of the Western world. The sense of dislocation, derived from the artist’s move to Europe, was fundamental to the growth of his later series of works, and elucidates the disarray of colours and textures in his paintings; reflecting the social and emotional pandemonium felt by the world of the diaspora.

Selected Solo Exhibitions

  • “Freedom of Spirit: Wang Jia’nan”, 2004, Midland Arts Centre, Birmingham, England
  • 2000, Klifilish Gallery, London, Germany
  • 1993, Manchester Art Centre, England
  • 1992, Gallery John Jones, London
  • 1992, Pilscheur Fine Art, London
  • 1988, Gallery Art East & Art West, Hamburg, Germany
  • 1988, Gallery Ilse Lommel, Leverkusen, Germany

Selected Exhibitions with Cai Xiaoli

  • 1999, Gallery Gemini, Munchen, Germany
  • 1996,  “Nature in China”, Goedhuis Contemporary, London
  • 1995, Museum Van Rossum, Amsterdam, Holland
  • “Art in Action, International Arts Festival”, 1995, Oxford England
  • 1994, Anxintang Gallery, Tokyo, Japan
  • “Art in Action, International Arts Festival”, 1993, Oxford England
  • 1993, Pilscheur Fine Art, London
  • 1992, Hong Kong Art Centre, Hong Kong
  • 1990, Art East & Art West Gallery, Hamburg, Germany
  • 1989, Beer Shaba Gallery, Tokyo, Japan

Selected Group Exhibitions

  • “China without Borders”, 2001, Goedhuis Contemporary at Sotheby’s, New York
  • “Contemporary Chinese Painting Exhibition”, 1997, Michael Goedhuis, London
  • “Three Persons Exhibition”, 1994, Suffolk Art Gallery, Suffolk, England
  • “Contemporary Chinese Painting Exhibition”, 1988, Royal Festival Hall, London
  • “Beijing Artist’s Exhibition”, 1986, Chinese National Fine Arts Museum, Beijing, China
  • “The Sixth National Art Exhibition of China”, 1986, Chinese National Fine Arts Museum, Beijing, China
  • “Zhong Li Art Studio Exhibition of New Ceramics”, 1986, Chinese National Fine Arts Museum, Beijing, China
  • “Annual Group Exhibition”, 1982-1986, Chinese National Fine Arts Museum, Beijing, China

Artwork Images

Koo Mei 顧媚 (b. 1929)

Koo Mei began to study painting under Chao Shao-an in 1963, Hu Nien-tsu in 1969 and continued with the master of contemporary Chinese ink painting, Lui Shou-kwan in 1974. She has since established her own unique style, painting mostly landscapes shrouded in clouds and mist. Her landscapes are conceptual, realised through interweaving lines that inspire impressions of minuscule cracks on ancient stone tablets, and through layers of ink wash, achieve an ethereal atmosphere of otherworldly beauty.

She has exhibited twenty-eight times as a solo artist since 1971 in places as varied as Taiwan, Hong Kong, Singapore, Malaysia, Thailand, the United States and Canada. She was awarded the Urban Council Artist Award by Hong Kong Museum of Art in 1977

She has taught Chinese ink painting courses at the Department of Extramural Studies at The Chinese University, Hong Kong, and also at Chinese ink painting workshops in both the State University of Utah and Utah University, Salt Lake City.

Since 1986, her paintings have been seen and auctioned at both Sotheby’s and Christie’s.

Her works have been collected by many important private collectors and organizations such as the State University of Utah, The University of Hong Kong, Hong Kong Museum of Art, Hong Kong Stadium, the Canadian Consulate General, Bank of America, Citibank, Bank of Australia, Hutchison Global Crossing Limited and Shaw Brothers (Hong Kong) Limited in Hong Kong respectively.

Selected Solo Exhibitions

  • 2009, The Cloud and Mist Weaver, University Museum and Art Gallery, The University of Hong Kong
  • 2001, The Lark and Her Misty Cloud, iPreciation, Singapore.
  • 1998, Splendour in the Sky, Museum Annexe, Hong Kong
  • 1995, Poetic Interlude, Artpreciation, Hong Kong.
  • 1994, The Pristine Harmony Art Center, Taipei.
  • 1993, Artpreciation, Hong Kong.
  • 1984, University of British Columbia, Vancouver, Canada.
  • 1981, Lung Man Art Gallery, Taipei.
  • 1981, National Art Gallery, Singapore

Selected Group Exhibitions

  • 2009, Art Show 09, CCM Center, Vancouver.
  • 2003, Ink Paintings & Calligraphy, National Dr. Sun Yat-sen Memorial Hall, Taipei.
  • 2001, iPreciation, Singapore
  • 2000, Modern Classical, Valentine Willie Fine Art, Kuala Lumpur, Malaysia.
  • 1997, Reunion and Vision, Contemporary Hong Kong art 1997, Hong Kong Museum of Art, Hong Kong
  • 1997, Masterpieces of 20th Century Chinese Painting, The Canadian Foundation for the Preservation of Chinese Cultural and Historical Treasures, Canada
  • 1992, Contemporary Art of Hong Kong, Hong Kong Museum of Art, Hong Kong
  • 1992, Where the Stream Becomes a River, Vancouver Art Gallery, Canada.
  • 1990, University of British Columbia Asian Art Exhibition, Asian Art Auditorium, Vancouver.
  • 1990, Metamorphosis-Contemporary Chinese Paintings, Luen Chai, Hong Kong Arts Centre, Hong Kong
  • 1987, Ten Years of Hong Kong Painting; an exhibition to mark the 10th Anniversary of the Hong Kong Arts Centre, Hong Kong Arts Centre, Hong Kong
  • 1986, Art Ensemble 86, Chinese Cultural Center, Vancouver
  • 1986, Exhibition of International Art of Suiboku, Tokyo.
  • 1980, Exhibition of International Ink Painters Association, National Museum of History, Taipei.
  • 1980, Contemporary Hong Kong Artists Invitational, University of Cincinnati

For the full list of exhibitions, please contact the gallery at enquiry@ipreciation.com

Artwork Images

   

A Lack of Significance 《不重要的重要》- A Solo Exhibition by Yeo Tze Yang

Venue: iPreciation (誰先覺), 50 Cuscaden Road, HPL House #01-01, Singapore 249724

Private Preview: 8 Aug 2019, Thurs, 6 – 8 pm (By Invitation Only, Artist Present)

Exhibition Opens to Public: 10 Aug – 24 Aug 2019

Artist Dialogue with Zulfadhli Hilmi: 17 Aug 2019, Sat, 2pm

iPRECIATION is delighted to present a solo exhibition by emerging young Singaporean artist Yeo Tze Yang 楊子揚, titled A Lack of Significance《不重要的重要》. An exceptionally talented painter, Yeo was awarded the Silver prize for the UOB Painting of the Year established category in 2016. His figurative, still-life and landscape artwork often encapsulates the everyday life in Singapore and its surrounding region. Recognising the sentimental value within the forgotten and neglected persons, objects and places of his immediate surroundings, Yeo finds it worthwhile to paint their stories. He believes in the unity of life and art, and envisions his works to speak for themselves to viewers of any background. He hopes that his artworks would inspire viewers to re-discover and appreciate everyday life in Singapore. Since young, art has always been Yeo’s favourite subject in school. However, it was only when he was in National Junior College, studying art history and under the influence of his art teacher, Lee Pheng Guan, that he began to start painting and developing his artistic practice. By the end of his Junior College years, he began to participate in exhibitions. Other than his teacher, Yeo’s father, Yeo Hong Peng, a commercial illustrator and Elaine Navas, a Filipino painter based in Singapore, also play a huge role in influencing his artistic practice. For Yeo, his father inspires him to paint figurative while he considers Navas as a close friend whom he has learnt a lot from. Yeo relates strongly to Navas’s artistic approach because he finds that both of them share a similar artistic philosophy and they would constantly be found engaging in deep discussions about life and art.

This exhibition will showcase 25 oil paintings which Yeo has laboriously worked on since early 2017. From an old man sitting in what seems like the middle of nowhere to a discarded lottery ticket, Yeo continues to memorialise the lives of ordinary people, paying particular focus on the neglected in our daily lives. The “Fruits and Vegetables Shop,”  a major work spanning across six panels, is an impressive 180 by 466 centimeters painting which portrays Yeo’s re-imagination of a wet market in Singapore. The painting is detailed, containing a variety of fruits and vegetables, stacks of all kinds of boxes, a Singapore flag and the names of goods and prices scrawled on Styrofoam boards. Yeo’s portrayal of the local iconographies and the atmosphere of the wet market proposes an alternative to local identity based on Yeo’s retrospection of Singapore and its surrounding region. As Yeo said, these paintings “unveil and challenge ideas on localness that coincide with narratives of nationhood”.

A Lack of Significance《不重要的重要》 oxymoronically will bring significance to the insignificant, not only offering viewers a refreshing take on the old tradition of figurative painting, but also charging the banal with socio-political, metaphorical, psychological and spiritual possibilities.

 

Yeo Tze Yang (b. 1994, Singapore) has been conferred the Silver Award of UOB Painting of the Year in 2016. His paintings often depict the unnoticed and bypassed places and objects of his immediate surroundings. Avoiding contemporary conceptual approaches to art, he instead reverts back to a more direct and emotive approach to painting. As a Southeast Asian major, Yeo is deeply interested in issues pertaining the region and the subject matter of his artworks are derived from across the region. The result of such a process is an accumulation of images, thoughts, emotions, stories and memories, that in turn become allegories of both the artist’s life and the stories that his audiences weave into his works. His works are collected in Singapore, Malaysia, Australia, the United Kingdom, and the United States and in the UOB collection.

For more information on A Lack of Significance and Yeo Tze Yang’s works, please contact us at (65) 6339 0678 or email us at enquiry@ipreciation.com.

Dance with the Wind 《隨風起舞》 – A Solo Exhibition by Han Sai Por

Venue: iPreciation (誰先覺) 50 Cuscaden Road, HPL House #01-01, Singapore 249724

Private Preview: 4 Jul 2019, Thursday, 6 – 8pm (By Invitation Only)

Exhibition Opens to Public: 5 Jul – 20 Jul 2019

iPRECIATION is proud to present a solo exhibition by Han Sai Por 韩少芙, titled Dance With the Wind隨風起舞. Han is a prominent second-generation Singapore artist who has been recognised by the art industry as one of the leading modern sculptor driving the sculptural art scene to date.  She has been conferred countless awards from the Singapore Culural Medallion in 1995, the top praise winner of the 11th Triennale India in 2005 to the winner of “The Leonardo Award for Sculpture” Chianciano Art Biennale in Italy, 2015. Widely acknowledged locally and internationally, Han has been actively participating in many prestigious art exhibitions. A thematic concern, commonly found in her artworks, involve the desire to reflect the beauty and importance of nature in our society.

Inspired by the natural cycle of life, her artworks depict the elegant beauty of nature and embody the philosophical thought of how ‘nature works in mysterious ways’. All of her paintings predominantly consist of bold black and white strokes of acrylic paint, with a few works containing other colours like dark blue and red. Han’s decision to dominate most of her canvas paintings with a black and white colour scheme allows her to create a dynamic visual perception of nature in both its abstract and solid form. This classic colour palette, often associated with modernist and minimalist themes, further encapsulates Han’s aesthetical perception of nature as being elegant and mysterious. The thick brush strokes across her paintings show how nature interacts with the atmosphere and the spacial constraint surrounding it. These bold and energetic abstract paintings will inspire the viewer’s imagination as they get to visually experience the wind shifting at different angles, giving the illusion that these paintings are coming to life.   

The sculptures, meticulously carved out of Han white marble stone slabs (漢白玉)and stainless steel, are shaped according to the flora and fauna present in our everyday lives. Han felt that the reflective surface of the stainless steel in comparison with the opaqueness of the Han white marble juxtaposes nicely against one another. When Han first started the sculpturing process, she did it in China before bringing them back to Singapore for the final polishing. Every detail, from the smooth edges to the curves and lines present in each of her sculptures, reflects the sheer amount of time, labour and effort Han had invested in perfecting them. Han’s minimalistic approach in her artworks translates the profoundness behind her artistic thought when she was in the process of developing her paintings and sculptures. The gallery space, thus, becomes a temporal space for audiences to immerse, interact and appreciate the beauty and uniqueness of nature brought by Han Sai Por’s artworks.

Han Sai Por (b. 1943) is one of Asia’s leading modern sculptors and a recipient of Singapore’s Cultural Medallion award in 1995. Being educated in Fine Arts at Wolverhampton College of Art, United Kingdom (1983) as well as Landscape Architecture in Lincon University, New Zealand (2008), have established her knowledge in the understanding of nature and its environment, which in turn influenced her artistic work. Most of her organic works are inspired by the flora and fauna found in tropical forests of Southeast Asia. Her work comments on the changing landscape in the region and the deforestation that adversely impacts the environment and ecosystem. “The Black Forest” installation in 2011 is one such example as the series of works being exhibited contained strong social commentary on the bleak consequences of deforestation.

Han has participated in numerous international exhibitions around the world. Her works can be found in many private collections, international and local institutions, and public spaces including; National Museum of Singapore, Suzhou Centre in China, Singapore Art Museum, Singapore National Art Gallery, China National Museum in Beijing, Portland Sculpture Park in England and World United Nation, New York Singapore office building.

For more information on Dance with the Wind and Han Sai Por’s works, please contact us at (65) 6339 0678 or email us at enquiry@ipreciation.com.

Peony Pavilion 《遊園驚夢》 – A Solo Exhibition by Chen Xinmao

Venue: iPreciation, 50 Cuscaden Road, HPL House #01-01, Singapore 249724

Private Preview: 11 Apr 2019, Thursday, 6 – 8pm (By Invitation Only)

Exhibition Opens to Public: 12 Apr – 27 Apr 2019

Artist Talk: 13 Apr 2019, Saturday, 2pm (Moderator: Ms Chow Yian Ping)

 

iPRECIATION is proud to present a solo exhibition by Chinese artist Chen Xinmao 陳心懋 (b. 1954), entitled Peony Pavilion遊園驚夢. Chen, currently a Professor at East China Normal University, College of the Arts in Shanghai, has exhibited widely across China and internationally. This exhibition marks the debut of Chen’s artworks in Singapore and Southeast Asia. Peony Pavilion遊園驚夢 by Chen Xinmao 陳心懋 is the first of iPRECIATION year 2019 series of ink exhibitions that highlights outstanding Chinese and Singapore artists and their contemporary encounters and reinterpretation of the long tradition of ink painting. iPRECIATION year 2019 series of ink exhibitions will also include exhibitions by Cai Guangbin, Jennifer Wen Ma, and Zhuang Shengtao.

This exhibition showcases Chen’s most recent works entitled “Peony Pavilion” inspired by China’s famous kunqu opera of the same name, written by the Ming dynasty playwright Tang Xianzu in 1598. The opera tells a fantastical love story of an official’s daughter Du Liniang and a young scholar Liu Mengmei. Transcending time and space, and life and death, Peony Pavilion has enchanted its audiences across the centuries.

Chen has seen the opera multiple times and was inspired to create artworks based on its story. In depicting the well-loved story, Chen aims to capture the essence of the “Chinese aesthetic”. Defining the “Chinese aesthetic” has been a key focus in Chen’s art over the years. As a part of the generation of Chinese artists who were born in the 1950s, Chen has experienced China’s tumultuous political and cultural changes, which culminated in the Cultural Revolution and the 1985 New Art Wave Movement.

With the influx of various artistic influences, methods, and ideologies, Chinese artists of the time explored various modes of individualistic expression. Chen’s diverse artistic influences come to the fore in the melange of text and imagery of mountains, rocks, landscapes and varied figures seen in his Peony Pavilion artworks. In Chen’s work, he has always made use of a diversity of subjects and media, yet he has always maintained his goal of capturing the traditional Chinese aesthetic in the contemporary era.

Chen believes that landscape painting continues to be representative of the Chinese aesthetic, particularly in the depiction of gardens and its related elements. Peony Pavilion and its garden setting, which the entire opera takes place in, realise Chen’s thoughts on how best to portray gardens in his paintings.

According to Chen, while the garden carries importance, the figures in the garden form the central focus of his paintings. Chen views the people in his depicted gardens as a symbol of humankind. Whether in the past or present, people have been demarcated by religion, ethnicity, laws and social customs, yet they share a universal search for freedom and equality.

The figures in Chen’s paintings provide depth and breadth in their encompassment of the relationships between humans and society. Chen’s works reflect the indispensable tradition of Chinese painting of cleansing our hearts and minds.

Chen Xinmao 陳心懋 (b. 1954, China) studied at the Art Department of Shanghai Theatre Academy for his bachelor’s degree and graduated in 1982. He later obtained his master’s degree from Nanjing University of the Arts in 1987. On top of practising his artistic career, Chen is presently a Professor at East China Normal University, College of the Arts.

For more information on Peony Pavilion and Chen’s works, please contact us at (65) 6339 0678 or email us at enquiry@ipreciation.com.

Yang Zhong Da (b. 1988)

Yang Zhong Da (b. 1988, Singapore) believes that a strong technical facility and sincerity is the foundation of all good artworks. He studies Western Painting at the Nanyang Academy of Fine Arts, Singapore (2014 – present). He has exhibited in group exhibitions and art fairs including “Affordable Art Fair” (Singapore, 2013), “Expression” (Dahlia Gallery, Singapore, 2012) and “Primeval: A Group Exhibition” (Goodman Arts Centre, Singapore, 2012). Zhong Da’s paintings serve as a visual response to the evanescence and growing nihilism of our time. Beginning from abandoned places, prosaic objects, and decrepit memories, he re-constructs these forgotten or neglected visuals as a means to record and reaffirm their existence and also his own. This visual diary answers a subconscious need to see meaning in daily life, of his relationship to the subjects, and his identity in relation to society. Working primarily in monochrome, he aims to eternalize transitory fragments of memories and effect intimate personal emotions and nostalgia. Through this context of documentation, preservation, and celebration of these moments, it is his wish that viewers would be momentarily transported via the paintings to re-examine and appreciate similar moments in their lives.

Selected Group Exhibitions

  • When Space Dissolves into Luminosity; Where Flowers Bloom Amidst Rocks, 2017, iPreciation Gallery, Singapore
  • Portable Art Week 2017, iPreciation Gallery, Singapore

Artwork Images

    

Jennifer Ma 馬文 (b. 1973)

Jennifer Wen Ma (1973, Beijing, China) is a visual artist who moved to the United States in 1986, and received her Master of Fine Art degree in 1999 from Pratt Institute, New York. Ma works and lives between New York and Beijing. Ma’s interdisciplinary practice bridges varied media such as installation, drawing, video, public art, design, performance, and theatre; often bringing together unlikely elements in a single piece, creating sensitive, poetic and poignant works.

Recent projects include: The Alchemy of Making at Solomon R. Guggenheim Museum, New York, 2017; A Beautiful Disorder at Cass Sculpture Foundation; What About the Art? at Qatar Museums, 2016; Installation opera Paradise Interrupted, Charleston, New York, Singapore, Taiwan, 2015-2018; Flux Projects, Atlanta; Market Square Public Art Program, Pittsburgh, 2015; 5×5 Monument Park, Washington DC; Vancouver Art Gallery, 2014; Lower Manhattan Cultural Council, New York, 2013; Cambio Cultural, Belo Horizonte, Brazil, 2013; Performa 13, New York, 2013; The Republic of China Centennial Grand Countdown, Taipei, 2010; Biennale of Sydney, 2010; Echigo-Tsumari Triennial, Japan, 2009; Guggenheim Bilbao, Spain, 2009; Solomon R. Guggenheim Museum, New York, 2008; and the National Art Museum of China, Beijing, 2008, among others.

Solo exhibitions include: Halsey Institute, Charleston, 2019; Tang Contemporary Art, Beijing, 2018; Sandra Gering Inc, New York, 2017; Art021, Shanghai, 2016; Hanart Square, Hong Kong, 2013; Ullens Center For Contemporary Art, Beijing, 2012; Eslite Gallery, Taipei, 2012; and The Phillips Collection, Washington, DC, 2009, and others.

Permanent and long-term public installations include: Nature and Man in Rhapsody of Light at the Water Cube, The National Aquatic Center, Beijing, 2013; In-Between World—Daydream Nation, Digital Beijing Building, 2008; Aeolian Garden, the city of Colle di Val d’Elsa, Italy, 2005, among others.

In 2008, Ma was one of the seven members on the core creative team for the opening and closing ceremonies of the Beijing Olympics, and the chief designer for visual and special effects. She received an Emmy for the US broadcast of the ceremony.

In 2015, Ma conceived, co-wrote, visually designed and directed installation opera Paradise Interrupted. It was previewed at the Temple of Dendur, The Metropolitan Museum of Art, New York, and world premiered at Spoleto Festival USA, Charleston, in 2015; performed at Lincoln Center Festival, New York, and Singapore International Festival of Arts in 2016; National Kaohsiung Center for the Arts, Kaohsiung, and National Theatre and Concert Hall, Taipei, in 2018. The opera won the prestigious international award from Music Theatre Now.

Selected Solo Exhibitions

  • Gardens of Dark and Light, 2019, Halsey Institute, Charleston, SC
  • Paradise Interrupted, National Kaohsiung Center for the Arts, Kaohsiung; National Theatre and Concert Hall, Taipei, Taiwan
  • Ink Wash v.s. Kun Opera Workshop, 2017 National Kaohsiung Center for the Arts, Kaohsiung; National Theatre and Concert Hall, Taipei, Taiwan
  • Eight Views of Paradise Interrupted, 2017 Sandra Gering Inc, New York, NY
  • Exhaustive, 2016 Ink Studio, Art021 Art Fair, Shanghai
  • Paradise Interrupted, 2016 Lincoln Center Festival, New York, US; Singapore International Arts Festival, Singapore
  • Jennifer Wen Ma 4-Part Video Compilation, Arthub Asia’s “Screenings” series online exhibition, 2016
  • Paradise Interrupted: Disintegration, 2014, Mikimoto New York Flagship Store holiday installation, New York, US
  • Forty-Four Sunsets in a Day, 2013, Hanart Gallery, Hong Kong, China
  • Hanging Garden in Ink, 2012, Ullens Center for Contemporary Art, Beijing, China
  • Tide–Inked Spring, 2011, Art Space Niji, Kyoto, Japan
  • Brain Storm, 2009, Phillips Collection with Transformer Gallery and Shigeko Bork mu project, Washington, DC, US
  • You Can’t Always See Where You Are Going, But Can You See Where You’ve Been?, 2009, DMoCA, Echigo-Tsumari Triennial, Niigata, Japan
  • Aeolian Garden, 2005, UMoCA, Arte all’Arte 10, Colle di Val d’Elsa, Italy 
  • Whiplash, 2005, Shigeko Bork mu project, Washington, DC, US
  • Cleansing Walk, 2002, Chinatown, Lower Eastside, Brooklyn Bridge, Long Beach, New York, US
  • Do Do Falling, 2002, Art Fiend Foundation, New York, US
  • Richard and Jenn, 2001, The University Gallery, Oklahoma, US
  • Bye Bye Do Do, 2001, Elysium Studios, New York, US
  • Above is the Old/Below is the Small, 1999, P.S. 12 Gallery, Brooklyn, US
  • Sinicism, 1996, The Lovelight, Norman, Oklahoma, US

Selected Group Exhibitions

  • Luminous Shadows, 2017, INK studio, Beijing, China
  • Excerpts from Paradise Interrupted and Traditional Kun Operas, 2017, The Huntington Library, San Marino, US
  • The Alchemy of Making Paradise Interrupted, 2016, ACAW Field Meeting Take 4: Thinking Practice, Solomon R. Guggenheim Museum, New York
  • A Beautiful Disorder, 2016, Cass Sculpture Foundation, West Sussex, UK
  • Bending the Arc, 2015, Flux Night, Atlanta, US
  • Asian Cultural Council 50 Anniversary Gala centrepiece commission, 2014, New York, US
  • Innovation For Future Mobility, 2013, Haixinsha Parade, Guangzhou, China
  • The World Turned Inside Out, 2013, Witte de With Center for Contemporary Art, Rotterdam, Netherlands
  • Moving Image in China: 1988–2011, 2012, Centro per l’arte contemporanea Luigi Pecci, Prato, Italy
  • Calendar,  2011, Art Space Niji, Kyoto, Japan
  • Lingua Franca, 2011, St. Moritz Art Masters, St. Moritz, Switzerland
  • Compulsive Beauty, 2010, Space 15th, Seoul, Korea
  • Everything is Museum, 2009, Guggenheim Bilbao, Bilbao, Spain
  • mARkeT, 2008, Beijing Center for the Arts, Beijing, China
  • The Politics of Fear, 2007, Albion, London, UK
  • Belief, 2006, Singapore Biennale, Singapore
  • Blue Sky Exposure, 2003, 798 Space and Beijing Tokyo Art Projects, Beijing, China
  • Small Works Salon, 2001, Atelier Sockmonkey, Brooklyn, US
  • Size Matters, 1999, GAle GAtes et al., Brooklyn, US
  • A.I.R. Gallery’s 3rd Biennial Exhibition, 1998, A.I.R. Gallery, New York, US

Public Art

  • A Winter Landscape Cradling Bits of Sparkle, 2015, Public Art Commission at Market Square, Pittsburgh, US
  • Nature and Man in Rhapsody of Light at the Water Cube, 2013 permanent new media public art, National Aquatic Center, Beijing, China
  • The In-Between World–Daydream Nation, 2008, permanent public multimedia installation, Digital Beijing Building, Beijing, China

For full CV and biography details, please contact the gallery at enquiry@ipreciation.com

Artwork Images

Cai Guangbin 蔡廣斌 (b. 1963)

Cai Guangbin was born in Heilongjiang, China in 1963. He graduated from the Chinese Painting Department of the China Academy of Art in 1988, where he majored in figure painting. Cai is one of the major artists of contemporary Chinese ink painting, and a pioneer and practitioner of ink and wash in a photographic style. He currently holds the position of a professor at the Department of Chinese Painting and Calligraphy of the College of Fine arts at East China Normal University in Shanghai, and a professor of painting at Shanghai Chinese Painting Academy. He is a Director of the Shanghai Artists Association.

Selected Solo Exhibitions

  • Currently—Contemporary images and ink painting conception, 2018, The Museum of Fondazione Querini Stampalia, Venice, Italy
  • Contemporary Ink Expression of Intelligent Images—The Research Exhibition of Artist Cai Guangbin, 2017, United Art Museum, Wuhan, China
  • Filming as the Source: Exhibition of Cai Guangbin’s Ink Works, 2015, Hong Kong Convention and Exhibition Center, Hong Kong, China
  • Recreating New Ink Art: Cai Guangbin’s Ink Art Research Exhibition, 2014, Huafu Art Space, Shanghai, China
  • Selfies and Snapshots of The Others—Contemporary Ink Art by Cai Guangbin, 2014, Huafu Art Space, International Exhibition Center, Singapore
  • Selfies and Snapshots of The Others—Contemporary Ink Art by Cai Guangbin, 2013, Today Art Museum, Beijing, China
  • SNAPSHOT! Contemporary Ink Art by Cai Guangbin, 2013, T-Museum, Hangzhou, China
  • Digital Reflection in Ink, 2011, Shanghai Art Museum, Shanghai, China
  • Avant-garde Ink, 2010, Xinyisu Museum, Singapore
  • Solo Show—Cai Guangbin, 2009, Kunsthalle Hamburg, Germany
  • Manual Image—Cai Guangbin Solo Exhibition, 2007, Creek Art, Beijing, China
  • Window—Cai Guangbin Solo Exhibition, 2006, Shanghai Academy of Chinese Painting, Shanghai, China

Selected Group Exhibitions

  • Avant-garde Shanghai, 2018, Mingyuan Art Museum, China
  • Ink-Not-Ink, Guizhou Museum, Guiyang, China
  • nk in the Present Day: Contemporary Ink Art Exhibition, 2017, Shanghai Himalayas Museum, Shanghai, China
  • Chinese Contemporary Art Exhibition, 2017, Mexico National Museum of Art, Mexico
  • Ink China—Narrative China: Special Exhibition of the 20th Anniversary of Hong Kong’s Return, 2017, Hong Kong Convention and Exhibition Center, Hong Kong, China
  • Attitude: Chinese and German Contemporary Art Exhibition, 2017, YUN· Contemporary Arts Center, Shanghai, China
  • The 9th International Ink Art Biennale of Shenzhen, 2016, Shenzhen Art Museum, Shenzhen, China
  • Being and Inking—Documenting Contemporary Ink Art (2001-2016), 2016, Red Brick Art Museum, Guangzhou, China
  • Disguised Form—Ink Paintings’ Dimension: The Third Exhibition of Contemporary Ink Works, 2016, Guangdong Museum of Art, Guangzhou, China
  • The Exhibition of Annual Contemporary Art of China 2014, 2015, Minsheng Art Museum, Beijing, China
  • Contemporary Art Now: Invitation Exhibition of Chinese Contemporary Art 2015, 2015, Mingyuan Art Museum, Beijing, China
  • Ink as a Kind of Material: Invitation Exhibition for Shanghai Artists Flourmill Gallery, 2015, Shanghai, China
  • Water + Ink: The Development of Chinese Figure Painting, 2015, Shanghai International Folk Arts Exposition, Shanghai, China
  • I Think, I Am: Commemorate the 30th Anniversary of ’85 Art Movement, 2015, Gengsi Art Museum, Nanjing, China
  • Bloom on the Sea: Thirty Years of Contemporary Art in Shanghai, 2015, She Shan Museum of Contemporary Art, Shanghai, China
  • Fusion· Convergence: The Official Opening of T-Museum, 2014, T-Museum, Hangzhou, China
  • A Galaxy of Treasures: Exhibition of Boutique Collections of China’s Ten Art Museums, 2013, National Art Museum of China, Beijing, China
  • International Art Exhibition 2013, 2013, VE Art Gallery, Stockholm, Sweden
  • Water and Ink: Looking Over the Past Three Decades · 2013 Chinese Ink Art Academic Invitation Exhibition, 2013, Today Art Museum, Beijing, China

For full CV and biography details, please contact the gallery at enquiry@ipreciation.com

Artwork Images

Shen Liang 申亮 (b. 1976)

Shen Liang is a Chinese artist born in Yingkou City, Liaoning, 1976. He received a Master’s degree in the oil painting department of Central Academy of Fine Arts.

Selected Solo Exhibitions

  • Neon Landscapes – Shen Liang Solo Exhibition, 2017, Lin & Lin Gallery, Taipei/ Taiwan
  • Shen Liang Solo Exhibition, 2015, Lin & Lin Gallery, Taipei/ Taiwan
  • Material Engraving Picture – Shen Liang Solo Exhibition, 2012, Space Station, Beijing/ China
  • Far Mountain, 2011, Michael Schultz Gallery, Beijing/ China
  • Hope to see you there, 2008, Michael Schultz Gallery, Seoul / Korea
  • On the Cover, 2008, Michael Schultz Gallery, German/ Berlin
  • Recent works by Shen Liang, 2007, Goedhuis Contemporary, New York / U.S.A
  • Doodling and Painting, 2006, Zi Jinxuan Gallery, Beijing / China
  • Shen Liang, 2005, Peking Opera, LA Gallery, Frankfurt / Germany
Selected Group Exhibitions
  • Trace, 2017, Tang Contemporary Art, Hong Kong
  • Motif and Material, 2017, Tang Contemporary Art, Hong Kong
  • Posers, 2016, Pékin Fine Arts, Beijing/ China

Artwork Images

Hong Zhu An 洪祝安 (b. 1955)

Hong Zhu An (b.1955) was trained under the famous art scholar Wang Zidou at the Shanghai Art and Craft Institute.

Hong Zhu An has a deep love of the line and his understanding of its importance as a fundamental of Chinese artistic expression does not contradict his search for new avenues in Chinese art. Wielding his brush fearlessly even as he charts new artistic territory, Hong Zhu An allies eye and hand in brave new ways to connect with the age-old Chinese sensibility, the ability to converse with nature and make it scintillate on intellectual, philosophical and spiritual levels uniquely his. His works are resplendent because they reveal the beauty of the world, life, and man. From oracle bone inscriptions to calligraphy, to the underglaze-blue arabesques of Ming porcelain, the line is more aesthetically and philosophically fundamental to Chinese culture than to any other and so crucial to classical Chinese culture that painters spend a lifetime mastering it.

The grand scale Hong Zhu An uses can also be read as a visual prompt designed to recall the great narrative tradition of Chinese painting, the comparison serving to underscore his formal and conceptual distance from China and the classical art historical trajectory. Similarly, in evoking nature as inspiration for these new paintings, but in categorically denying their identity as landscape images as well as their iconographic allusion to any particular symbols, Hong is pointedly marking his break with tradition.

Selected Solo Exhibitions

  • Unabating Spring, 2017, Ode To Art, Singapore
  • Inner Drawing, 2011, Ode To Art, Singapore
  • Silence, 2009, Ode To Art, Singapore
  • Fluid Transitions, 2003, The Esplanade, Singapore
  • Ancient Hues, 2002, Featherstone Center for the Arts, Massachusetts, USA
  • Solo exhibition: The Essence of Art, 1996, Art Forum, Singapore
  • East-West: Abstraction Meets Calligraphy, 1995, The Substation, Singapore
  • Hong Zhu An – Exhibition, 1987,  National Art Museum Shanghai, China

Selected Group Exhibitions

  • Asian Art Mosaic, 2006, a Charity Auction show organized by Yaddo Art, Singapore
  • The Fifth Shenzhen International Art Biennale, 2006, China
  • The Second Beijing International Art Biennale, 2005, China
  • Melbourne Art Fair 2000, Australia, organized by Art Forum, Singapore
  • UOB The Painting of the Year Winners’ exhibition, 1995, UOB Plaza, Singapore

Artwork Images

Chen Xinmao 陳心懋 (b. 1954)

Chen Xinmao 陳心懋 (b. 1954, China) was born in Shanghai, China. Chen studied at the Art Department of Shanghai Theatre Academy for his bachelor’s degree and graduated in 1982. He later obtained his master’s degree from Nanjing University of the Arts in 1987. Chen is presently a Professor at East China Normal University, College of the Arts, where he manages the Chinese painting studio and supervises master’s degree students.

Chen has participated in numerous exhibitions since 1981, exhibiting widely across China, including Shanghai, Beijing, Shenzhen, Hong Kong, and internationally. His recent exhibitions include Avant-Garde Shanghai – Shanghai 30 Years Contemporary Art Literature Exhibition (1979-2010): Unit 2 – New Wave of Avant-Garde (1985-1992) at Mingyuan Art Museum, Shanghai in 2018 and “2017 Re-start” – East China Normal University Academy of Fine Arts First Teacher Exhibition at Powerlong Art Center, Shanghai in 2017-2018. Chen’s artworks have also been featured in various publications and exhibition catalogues.

Selected Solo Exhibitions

  • “Heart and ink phase” – Chen Xinmao’s solo exhibition, Shanghai Lush Lotus Art Space
  • Chen Xinmao Solo Exhibition, 2011, Shandong Fine Arts Publishing House Art Museum
  • Solo exhibition, 2010, Hong Kong Central Library
  • Chen Xinmao Solo Exhibition, 2008, M50, Shanghai
  • Chen Xinmao Solo Exhibition, 2008, Vermont Studio Center, U.S.A
  • iStone: Solo Exhibition, 2007, HaiShangShan Art Centre, Shanghai
  • Solo Exhibition, 2007, M50, Shanghai
  • Chen Xinmao – Solo Exhibition, 2003, Art Scene Warehouse, Shanghai

Selected Group Exhibitions

  • Shanghai 30-Year Contemporary Art Document Exhibition: Unit 2 – Avant-garde Trend (1985-1992), 2018, Mingyuan Art Museum
  • “Xi Yun Dan Qing” Chinese Opera Character Painting Exhibition exhibited works “Beijing Opera Drunk Mountain”, “Meng Opera Beijing Butterfly Cup”, 2017, Putuo District Cultural Center, Shanghai
  • Edge Scenery – Shanghai Ink Invitational Exhibition, 2017, Han Tianheng Art Museum
  • “Wind, Water, and Change” – Contemporary Ink Invitational Exhibition, 2016, 20th Shanghai Art Fair
  • Breathing in the water – Shanghai Art Masters Invitational Exhibition, 2016 Shanghai Liu Haisu Art Museum
  • China New Ink Art Invitational Exhibition, 2016, Tangshan Art Museum
  • 2015·Peace Layer – Contemporary Ink Invitational Exhibition, 2015, Duoyunxuan Art Center, Shanghai
  • Times · Yingying – Shanghai Contemporary Ink Invitational Exhibition, 2015, Long Art Museum, Shanghai
  • 85·Arts 30th Contemporary Art Invitational Exhibition, 2015, Xinhua Center Art Museum
  • Elephant Invisible – Contemporary Chinese Abstract Art Invitational Exhibition, 2014, Today Art Museum
  • Paper·2014 Contemporary Art Invitational Exhibition, 2014 Art Newspaper Art Festival, Nantong Art Museum
  • “Art Shanghai City, Style Shanghai” Shanghai Contemporary Ink Paintings Invitational Exhibition, 2013, Sinan Mansion, Artron Art Network
  • International Ink Painting Exhibition and Academic Seminar, 2012, Zhongshan National Dr. Gallery, National Gallery of Chinese Paintings
  • Ink Online – Contemporary Ink Art World Tour, 2011, Berlin China Cultural Center, Germany
    Planning Exhibition and Academic Hosting Exhibition of Chinese Painting Studio of East China Normal University Art School, 2011, Mingyuan Culture and Art Center
  • Chinese Ink Scene · Shanghai, 2010, Shanghai Art Museum, Shanghai
  • “Open Flexibility ”Innovative Contemporary Ink Art, 2009, Taipei Art Museum, Taiwan
  • Second Taipei International Modern Ink Painting Biennial, 2008, Taipei Contemporary Art Museum
  • The Third Chengdu Biennale, 2007, New International ConventionCenter of Chengdu, Sichuan
  • The 22nd Art International Exhibition of Asia, 2007, Bandung Selasar Sunaryo Art Space, Indonesia
  • Exhibition of Chinese Painting Documentaries, 2006, South Vision Art Museum, Nanjing
  • Chinese Modern Art Exhibition, 2005, Reed Savage Gallery, Miami, USA
  • Magic Lanterns, 2005 Galway Art Center, Ireland
  • Contemporary Ink Painting Exhibition, 2005, Walsh Gallery, Chicago, USA
  • Art Cologne, 2004, Koelnmesse, Cologne, Germany
  • Art Chicago, 2003, Navy Pier, Chicago, Illinois
  • Ink Art Group Exhibition, 2002, Chambers Fine Arts, New York, USA
  • Beyond Image / Under Image  Chinese Contemporary Art Exhibition, 2001, Shanghai Art Museum, Shanghai
  • 20 Years of Experimentation – Contemporary Chinese Ink Painting Retrospection Exhibition, 2001, Guangdong Art Museum, Guangdong Province
  • The 4th National Ink Painting Exhibition, 2000, International Art Palace, Beijing
  • The 2O+1 Exhibition for Contemporary Chinese Art, 1998, International Communication Club, Japan

For the full list of exhibitions, please contact the gallery at enquiry@ipreciation.com

Artwork Images

 

Jodi Tan (b.1990)

Jodi Tan (b.1990) is a Singapore-based artist. Her core interest lies in image-making and image-reading. Tan graduated with a BA (Hons) in Fine Arts in 2011, from LASALLE College of the Arts, Singapore. She was awarded The Winston Oh Travel Research Award in the same year. Tan has participated in several exhibitions locally including Departure 3, iPreciation (2018), Re:Generation – Young Singapore Artists Series, The Fullerton Hotel Singapore (2018), and UNTAPPED EMERGING, SHOPHOUSE 5 (2016). In 2018 she held her first solo presentation, Room, at SPRMRKT.

Solo Exhibitions

  • 2018, Room, SPRMRKT, Singapore

Selected Group Exhibitions

  • 2018, Fantasy Islands, I_S_L_A_N_D_S, Singapore
  • 2018, Departure 3, iPreciation, Singapore
  • 2018, say hi to_ house, | DDD Holland Village | Design Singapore, 72 Jalan Kelabu Asap, Singapore
  • 2018, River Stories at The Mountbatten, Padang Trust, Singapore
  • 2018, Re:Generation – Young Singapore Artists Series, The Fullerton Hotel Singapore, Singapore
  • 2017, Young Talent Programme 2016/17, Affordable Art Fair, Singapore
  • 2016, UNTAPPED EMERGING, SHOPHOUSE 5, Singapore
  • 2014, Seni Mini, Mi Casa Su Casa, Singapore
  • 2013, Criss*Cross, The Arts House, Singapore
  • 2013, Buku Mini, Mi Casa Su Casa, Singapore
  • 2013, Mi Casa Su Casa, Mi Casa Su Casa, Singapore
  • 2013, Looking For Time, The Private Museum, Singapore
  • 2012, Looking For Space, 71 Sultan Gate, Singapore
  • 2011, The Winston Oh Travel Award 2011, Project Space, Institute of Contemporary Arts, Singapore
  • 2011, Human Activities, Karte Studio, Singapore
  • 2010, A Persistent Illusion, Forest Rain Gallery, Singapore
  • 2010, Accent on Art, Accenture, Singapore
  • 2010, Pameran Poskad,cMy Art Space, Singapore
  • 2010, I AM WHAT I AM, Sculpture Square, Singapore
  • 2009, Tape It Up, Tape it Down!, Praxis Space, Institute of Contemporary Arts, Singapore
  • 2009, Singapore Artstreet 20009, Parkway Parade, Singapore
  • 2008, Man-made-this, LASALLE College of the Arts, Singapore

For the full list of exhibitions, please contact the gallery at enquiry@ipreciation.com

Awards

  • 2011, The Winston Oh Travel Research Award, Singapore
  • 2006, Singapore Youth Festival Gold Award, Ministry of Education, Singapore

Artwork Images

Han Sai Por 韓少芙 (b. 1943)

Han Sai Por was born in 1943. She is one of Asia’s leading modern sculptors and a recipient of Singapore’s Cultural Medallion award. 

She has participated in numerous international exhibitions and projects around the world. Her works can be found in the collections of many international institutions, public spaces and private collections in Singapore, Malaysia, India, China, Japan, New Zealand, Australia, United Kingdom and the United States, such as National Gallery Singapore, Singapore Art Museum, National Museum of China, Beijing, Australia Parliament, Chancery of the Permanent Mission of Singapore to the United Nations, New York, Singapore Embassy, Washington DC, Istana Singapore, and Changi Airport Terminal 3.

Her education in Fine Arts and Landscape Architecture established her knowledge in the understanding of nature and its environment, which has affected her work. Most of her organic works are inspired by the flora and fauna found in tropical forests of Southeast Asia. Her work comments on the changing landscape in the region and the deforestation that adversely impacts the environment and ecosystem. “The Black Forest” installation is a series of works that comments on the bleak consequences of deforestation.

Solo Exhibitions

  •  Four Dimensions, 1993 – An Installation at National Museum Art Gallery, Singapore
  •  Rain Forest, 1999 – Sculpture and drawing exhibition at Plastic Kinetic Worm Gallery
  • 20 Tonnes (Physical consequences), 2002 – An Installation at MICA building
  • Oasis, 2006 – An Installation at Sculpture Square
  • The Changing Landscape, 2009 – Sculpture and Drawing Exhibition at Luxe Museum
  • The Black Forest 2011- An Installation at Esplanade, Jendela
  •  Black Forest 2013 – An Installation at Institution of Southeast Asian Gallery 1 & 2 (NAFA)
  • Moving Forest, 2014 – An Artist in Residency Project, exhibited at Singapore Tyler Print Institute
  • Harvest, 2015 – An Installation exhibition in connected with SG50 at Esplanade Theatres on the Bay
  •  Secret Landscapes, 2016 – Painting and sculpture exhibition at Private Museum. A project under Bali Purnati Artist Residency.

Selected Group Exhibitions

  • NAFA 80th celebration Exhibition, 2018, Liu Haisu Art Museum Shanghai, China
  • Black Forest 2018 – Gangwon International Biennale 2018, invited by South Korea, in association with PyeongChang Olympics 2018
  • The Belt and Road, 2017, International Exhibition at Qingdao, China.
  • Unearthed, 2014, Singapore Art Museum (SAM)
  • Singapore Contemporary Art Exhibition, 2013, at Suzhou, China. Jinji Lake Art Museum
  • Contact – Three Singaporean Art Exhibition, 2012, Yunnan Yuan Xiao Cen Art Museum, China
  • International Art Exhibition, 2010, Yekaterinburg Art Foundation, Yekaterinburg, Russia
  • Participated in 2008 Olympic Games the Landscape Sculpture in Beijing
  • International City of Sculpture, 2006, events and exhibition in Zhenzhou, China
  • The 11th Triennale, 2005, India
  • The 1st International Miniature Sculpture Exhibition, 2002, Taiwan
  • Borrow landscape, 2002, Site-specific works in Indonesia
  • Sculpture at the Park, 2000, Christchurch, New Zealand
  • International Sculpture Exhibition,1998, Quebec
  • Sculpture in Singapore,1991, National Museum Art Gallery, Singapore
  • Third Asian Art Show, 1989, Fukuoka Museum, Japan
  • Contemporary Asian Art Show, 1986, National Museum of Modem Art, in Seoul, Korea
  • Second Asian Art Show, 1985, Fukuoka Museum, Japan
  • Singapore Sculpture Exhibition, 1985, National Museum Art Gallery

For the full list of exhibitions, please contact the gallery at enquiry@ipreciation.com

Award

  • Archives of Women Artists Research, 2018, Selected by Aware (France)
  • The Leonardo Award for Sculpture, 2015, Chianciano Biennale, Italy
  • Singapore Women”s Hall of Fame (SCWO), 2014
  • NAFA Distinguished Alumni Awards, 2011, Singapore
  • The Finalist of Beijing Olympic International Tour Exhibition, 2008, Beijing, China
  • Outstanding City Sculpture Award, 2006, China
  • The top praise winner of 11th Triennale, 2005, India
  • Singapore Cultural Medallion Award, 1995

Artwork Images

Vincent Leow (b. 1961)

Vincent Leow (b. 1961, Singapore) has been teaching at the School of the Arts, Singapore since 2013. Leow received his Diploma in Fine Art, Sculpture from LASALLE, College of the Arts in 1987 and his Master of Fine Art from Maryland Institute College of Art, Baltimore, USA in 1991. In 2005, Leow attained his Doctorate of Fine Art from the Royal Melbourne Institute of Technology, Melbourne, Australia. Leow consistently questions and pushes the boundaries of the roles of artists, and develops his perspectives through various media, ranging from painting, drawings, sculpture, installation, printmaking, conceptual and performance art.

Leow has held numerous solo exhibitions since 1991, most recently For Those Who Have Been Killed at the Visual Arts Development Association, Singapore in 2015. For his contribution to the arts, Leow was also awarded the Culture Award by the Japanese Chamber of Commerce and Industry, Singapore in 2002. Leow’s works are also in the collections of National Gallery Singapore, NUS Museum – National University of Singapore, Singapore Art Museum, Deutsche Bank Singapore, National Arts Council, Singapore, National Institute of Education, Singapore, Fukuoka Art Museum and in other private collections.

Selected Solo Exhibitions

  • Passing, 2018, iPreciation, Singapore
  • For Those Who Have Been Killed, 2015, VADA, Visual Art Development Assoc. of Singapore, Shophouse 5, Singapore
  • Resembling Imaginary Creatures, 2012, Chan Hampe Galleries, Singapore
  • Rhapsody of Non-sense, 2010, 8Q, Singapore Art Museum “Tags and Treats” / SooBin Art International Singapore “Rhapsody of Non-sense”, Singapore

Selected Group Exhibitions

  • 52nd Venice Biennale of Contemporary Art, 2007, Singapore Pavilion, Italy / “Domesticity” Seoul Museum of Art, Seoul, Korea / 3rd GuiYang Biennale of Contemporary Art, Guiyang, China
  • “WORLD EXPO 2005 Singapore pavilion, Nagoya Japan / “Contemporary Self-Portraiture/Reassessing Identity, 2005, ICAS, Singapore
  • 11th Asian Art Biennale, 2004, Osmani Memorial Hall, Bangladesh
  • RENGA Paintings, 2003, National Art Gallery, Kuala Lumpur Malaysia
  •  “P.A.U.S.E” Gwangju Biennale, 2002, Korea / “NOKIA Singapore Art” Singapore Art Museum, Singapore
  • “ParallelWorld”, 2002, Project 304 Bangkok, Thailand / “Feast” group exhibition, Singapore Art Museum, Singapore

For the full list of exhibitions, please contact the gallery at enquiry@ipreciation.com

Selected Permanent Collections

National Gallery Singapore, NUS Museum, National University of Singapore, Singapore Art Museum, Deutsche Bank Singapore, National Arts Council, Singapore, National Institute of Education, Singapore, Fukuoka Art Museum


Images of artworks 

iPreciation at Taipei Dangdai 2019

Booth: C07

Taipei Dangdai 2019 –  Cheung Yee, Gao Xingjian, Irene Chou, Wang Dongling, Milenko Prvacki, Lim Soo Ngee, Oh Chai Hoo and Tay Bak Chiang

 

Fair Dates and Opening Hours

17 Jan 2019, Thursday

VIP Preview: 2pm-5pm

Vernissage: 5pm-9pm

18 Jan 2019, Friday

VIP Only Access: 11am-12pm

Public Access: 12pm-8pm

19 Jan 2019, Saturday

VIP Only Access: 11am-12pm

Public Access: 12pm-7pm

20 Jan 2019, Sunday

VIP Only Access: 11am-12pm

Public Access: 12pm-5pm

 

Location: Taipei Nangang Exhibition Centre

No. 1, Jingmao 2nd Road, Nangang District, Taipei City, Taiwan 115

 

iPreciation is proud to present a diverse range of works by eight renowned Asian artists at the inaugural Taipei Dangdai art fair.

Cheung Yee (b. 1936, Hong Kong/USA) is a pioneer sculptor in Hong Kong, fusing ancient Chinese culture from the I Ching (Book of Changes) with modern sculptural forms, evident in his unprecedented cast paper murals and sculptures. As a well-respected art educator, Cheung was a recipient of the Member of the Most Excellent Order of the British Empire (MBE) in 1979 and a professor of Fine Arts at the Chinese University of Hong Kong until 1998. He is the only living artist to be invited to show a solo exhibition at the Hong Kong Museum of Art.

Gao Xingjian (b. 1940, China/France) is an important leading cultural figure, and he was the first Chinese to be awarded the Nobel Prize for Literature in 2000. Different from writing, his luminous ink paintings is another creative channel through which he captures his inner mindscapes.

The late Irene Chou (1924-2011, Shanghai/Hong Kong/Australia) was one of Hong Kong’s pioneering artists behind the New Ink Painting movement during the 1960s-70s. After suffering from a stroke in 1991, she was determined to overcome her physical difficulties. The unbridled energy and emotion of her abstract paintings reflect her strong and unwavering spirit and her inner world.

Wang Dongling (b. 1945, China) is one of China’s most highly regarded calligrapher and ink artist. He is best known for his “Wild Cursive” calligraphic works, characterised by their erratic and dynamic strokes. His works are deeply rooted in the ancient philosophies of Buddhism and Taoism, as well as Chinese poetry. As an art educator, he is presently a professor of calligraphy at the calligraphy department of China Academy of Art in Hangzhou, China.

Milenko Prvacki‘s (b. 1951, Yugoslavia/Singapore) abstract paintings reflect his memories with their distinctive motifs, symbols and shapes. His work exudes a personal narrative and distinctive visual language honed over forty years of practice. As an art educator for over twenty years in Singapore, Prvački has contributed significantly to the landscape as a formidable force of influence and mentorship to the younger generation of artists.

Lim Soo Ngee’s (b. 1962, Singapore) approach to sculpture is immensely intimate, musing over the different relationships between humanity, the environment and society. His works present themselves as whimsical narratives that offer a commentary on the human condition. Aside from practising art, Lim has been a full-time lecturer at Nanyang Academy of Fine Arts since 1998, where Lim is presently a senior lecturer.

Oh Chai Hoo (b. 1960, Singapore), an art prodigy, held his first exhibition at the tender age of fifteen in a National Day group exhibition at the Victoria Memorial Hall, alongside many distinctive artists including pioneer generation artists Chen Wen Hsi and Cheong Soo Pieng. Oh pushes the boundaries of ink painting, evident in his paintings of vast rock formations that exude enigmatic qualities and a stunning sense of depth and texture.

Tay Bak Chiang (b. 1973, Malaysia/Singapore) comes from an artistic background based in traditional Chinese ink painting and philosophy. Tay broke away from this formalist approach and reinterprets Chinese art forms by depicting traditional subjects of rock forms and the guqin instrument using contemporary media of ink and pigment on canvas and paper.

For more information on the fair and the VIP pass, please contact us at 65 6339 0678 or enquiry@ipreciation.com. You may also visit https://taipeidangdai.com/.

 

Passing – A Solo Exhibition of Vincent Leow’s works

VenueiPreciation (誰先覺) 50 Cuscaden Road, HPL House #01-01, Singapore 249724

Private Preview: 10 Jan 2019, Thursday, 6 – 8pm (By Invitation Only)

Exhibition Opens to Public: 11 Jan – 26 Jan 2019

 

iPRECIATION is proud to present a solo exhibition by Singapore artist Vincent Leow, entitled Passing. This exhibition showcases twenty-five works by Leow from 2007 to 2018, featuring paintings, mixed media and a sculptural work. Leow considers the impermanence of life through the passage of time, and explores the sentiment of losing something or someone.

Leow’s works are informed by the cultural and social issues around him. From 2008 to 2013, Leow taught Painting at the University of Sharjah, United Arab Emirates (UAE), and his works created during this period of time reveal many influences from the region. His series of silhouette portraits allude to censorship in the UAE, while works featuring superimposed layers of animals and people speak of the political crises that have confronted the Arab world. Since Leow’s return to Singapore, his works look to historical issues closer to home, such as the “Merdeka” battle cry used in Singapore, Malaysia and Indonesia calling for freedom, anti-colonialism and independence in the 1950s. Yet, Leow continues to create works based on news of loss in the Arab region.

Vincent Leow (b. 1961, Singapore) has been teaching at the School of the Arts, Singapore since 2013. Leow received his Diploma in Fine Art, Sculpture from LASALLE, College of the Arts in 1987 and his Master of Fine Art from Maryland Institute College of Art, Baltimore, USA in 1991. In 2005, Leow attained his Doctorate of Fine Art from the Royal Melbourne Institute of Technology, Melbourne, Australia. Leow has held numerous solo exhibitions since 1991, most recently For Those Who Have Been Killed at the Visual Arts Development Association, Singapore in 2015. For his contribution to the arts, Leow was also awarded the Culture Award by the Japanese Chamber of Commerce and Industry, Singapore in 2002. Leow’s works are also in the collections of National Gallery Singapore, NUS Museum – National University of Singapore, Singapore Art Museum, Deutsche Bank Singapore, National Arts Council, Singapore, National Institute of Education, Singapore, Fukuoka Art Museum and in other private collections.

 

For more information on Passing and Vincent Leow’s works, please contact us at (65) 6339 0678 or email us at enquiry@ipreciation.com.

Ritual · In Progress 《儀式 · 進行中》- A Solo Exhibition by Lim Soo Ngee

Venue: iPreciation

50 Cuscaden Road, HPL House #01-01, Singapore 249724

Private Preview: Thursday, November 15, 2018 (By Invitation Only)

Exhibition Opens to Public: November 16 – December 1, 2018

 

iPreciation will be presenting a solo exhibition featuring artist Lim Soo Ngee (b. 1962, Singapore) which opens to public from November 16, 2018 until December 1, 2018. Ritual · In Progress 「儀式 · 進行中」will feature series of sculptural works as well as several prints. Lim’s inspiration largely stems from the natively sourced wooden carved statues of ancestors found in South East Asian aboriginal villages, which is used as a significant emblem of identity. The ancestor statues are treated with honour and respect as it represents a rich history of its forefathers and a narrative of their land.

In particular, a series of seven wood carvings titled We, The People (2018) shows Lim depicting a story of an ordinary person switching between seven different personalities facing various scenarios. The story manifests in a never-ending cycle, as the character changes faces transforming into different roles and people, day by day without fail. This consistent adaptation to life’s changing dynamism is Lim’s interpretation of the term “Rituals”. In this exhibition, he also fulfils his long-time dream of creating 100 pieces of figurines for a separate series. Ultimately, he hopes to present and express contemporary stories of life which is guided either consciously or unconsciously through rituals using his own traditional carving techniques.

Lim Soo Ngee (b. 1962, Singapore) is currently senior lecturer at the Nanyang Academy of Fine Arts, Singapore. He earned a Diploma in Fine Art (Sculpture) from the Nanyang Academy of Fine Arts in 1989 before continuing to pursue a Master of Fine Arts (Sculpture) from Edinburgh College of Art in 1997. Lim’s approach to sculpture is immensely intimate, musing over the different relationships between humanity, the environment and society. As such, his works usually present themselves as whimsical narratives that offer a commentary on the human condition.

Lim has represented Singapore in numerous exhibitions both locally and internationally, and is a regular contributor to many international sculpture symposiums, such as the inaugural International Woodcarving Symposium, Singapore in 2007,  Hong Kong International Sculpture Symposium 2009 as well as the  International Sculpture symposium of the 11th Asian Art Festival, where his work was featured and has now become the permanent collection of the Asian Sculpture Theme Park in Inner Mongolia, China. In 2016, Lim was selected to participate in the “ Singapore Biennale – An Atlas of Mirrors” as a commissioned artist. His works are also in the collection of the Singapore National Art Gallery, Esplanade Singapore, Nanyang Academy of Fine Arts Singapore, Ngee Ann Kongsi Singapore and other local and international private collections.

The Fisherman and the Woodcutter 《漁樵問答》- A Solo Exhibition by Tay Bak Chiang

Venue: iPreciation

50 Cuscaden Road, HPL House #01-01, Singapore 249724

Private Preview: Thursday, October 18, 2018 (By Invitation Only)

Exhibition Opens to Public: October 19, 2018 – November 3, 2018

iPreciation will be presenting a solo exhibition titled The Fisherman and the Woodcutter 「漁樵問答」featuring artist Tay Bak Chiang 鄭木彰. In this exhibition, Tay uses the guqin, also known as the seven-stringed Chinese zither, as an exploratory subject in his latest canvas paintings. Inspired by the classic guqin melody “Conversation Between a Fisherman and a Woodcutter” which serenades a carefree life amidst nature, Tay seeks comfort in the subtle and tranquil melodic tones. It echoes and serves as a metaphor that Tay yearns for as the way of life. Using elegant and minimalist contemporary aesthetics, Tay chooses to compose the interpretative layers he discovers in the subject matter of guqin through his own unique visual language. He presents intimate, unseen layers of meanings within the age-old oriental instrument in his paintings, which in fact mirrors his personal outlook on life.

Tay Bak Chiang (b. 1973, Malaysia/Singapore) graduated from the Nanyang Academy of Fine Arts in Singapore in 1995 and studied at the China Academy of Art in Hangzhou, China. Tay has always been inspired by the qualities of nature. To him, nature is perfection, balance and harmony. In recent works, he experiments with deconstructing and reconfiguring subject matters that intrigues him such as the traditional oriental instrument of guqin, portraying them with an aesthetic quality of minimalistic simplicity. He believes that his work should reflect the spirit of contemporary times, hence continues to push the boundaries and contemporise the genre of Chinese ink painting using canvas, as he recognises the limitations of rice paper as a medium.

This will be Tay’s third solo exhibition with iPreciation following the success of “From a Distance” in Art Basel Hong Kong, 2016 and “Cleavages Fractures Folds” in 2014. It witnesses Tay’s departure from his rock series and marks his progressive attempts to introduce newer and fresher perspectives of the guqin into his creations. To arrange for a private viewing appointment or more information on Tay’s paintings, please contact us at enquiry@ipreciation.com or +65 6339 0678.

iPreciation at Fine Art Asia 2018

Booth: G11,G13

Fine Art Asia 2018 – Ju Ming (Taiwan), Irene Chou (Hong Kong), Gao Xingjian (France), Wang Dongling (China), Rosanna Li (Hong Kong), Oh Chai Hoo (Singapore), Jiao Jian (China), Annie Wan (Hong Kong), Chu Chu (China) and Tse Yim On (Hong Kong).

VIP Preview Date (By invitation only): 
28 September 2018, Friday, 4pm – 9pm

Fair Dates & Opening Hours: 
Sunday to Monday, 29 Sep – 1 Oct: 11am – 7pm
Tuesday, 2 Oct : 11am – 6pm

Location: Hong Kong Convention and Exhibition Centre, 1 Expo Drive, Wanchai, Hong Kong

iPreciation is pleased to announce our participation in Fine Art Asia 2018 this September presenting a diverse selection of works by ten prominent International Asian artists. The exhibition will feature sculptures from Ju Ming (Taiwan), Rosanna Li (Hong Kong) and Annie Wan (Hong Kong), ink paintings by Wang Dongling (China), Gao Xingjian (France), Irene Chou (Hong Kong) and Oh Chai Hoo (Singapore), photographic works by Jiao Jian (China) and Chu Chu (China) as well as acrylic paintings by Tse Yim On (Hong Kong).

For more information on the fair and the VIP pass, please contact us at 65 6339 0678 & enquiry@ipreciation.com. You may also visit http://www.fineartasia.com/.

Gentle Breeze, Moving Heart《風動 • 心動》 – A Solo Exhibition by Oh Chai Hoo

Preview: 16 August 2018, Thursday, 6:30pm – 8:30pm

Exhibition Opens to Public: 17 August 2018 – 1 September 2018, 10.00am – 7.00pm

 

 

 

iPRECIATION proudly presents a solo exhibition of Singapore artist Oh Chai Hoo 胡財和. Titled Gentle Breeze, Moving Heart「風動 • 心動」this solo exhibition will feature more than 50 latest works created between 2016-2018 by Oh including ink paintings, ceramic sculptures and a seals light installation that will succinctly showcase his mastery in these mediums. Some of the ink paintings are fan-shaped and there will be a handscroll painting that is as long as 8-metres. 

Oh Chai Hoo (b. 1960, Singapore) graduated from the Nanyang Academy of Fine Arts, Singapore in 1982. He is an artist who works extensively with various artistic mediums ranging from ink painting, seal carving to ceramics sculpture. Oh’s mastery of ink painting is as well admired as his fearless experimentation with the medium. In recent years, he has been focusing on the development of new ink techniques on rice paper. Oh’s career now spans over 20 years and he continues to push boundaries of the art form’s rich heritage to create works that are ultimately powerful. Oh has participated in various solo exhibitions including “Tropical Zen Garden” (Esplanade, Singapore, 2014) ,“Lifetime of Change” (iPreciation, Singapore, 2016), “The Serene Path” (Gallery Huit, Hong Kong, 2018) as well as numerous group exhibitions in Singapore, Taiwan, China, Korea, Japan and United Kingdom. This includes “V’Spartio (Travelling Exhibition) at Asian and Pacific VSA Festival” (Osaka, Japan, 1999), “San, Exhibition by Singaporean Artists” (King’s Road Gallery, United Kingdom, 2000), “GAM Art Exhibition (Ceramic)” (Toyota City Art Museum, Japan, 2003), “Modern Calligraphy Exhibition (Travelling Exhibition)” (China, 2005), “When Space Dissolves Into Luminosity; Where Flowers Bloom Amidst Rocks” (iPreciation, Singapore, 2017) and “International Ink Painting Exhibition” (The National Art Center, Tokyo, Japan, 2018). Oh’s works can also be found in private and public collections.

 

Wonderful World of Color by Tse Yim On《謝炎安的彩色美好世界》- A Solo Exhibition

 

Exhibition Opens to Public: 18 July 2018 – 5 August 2018, 11.00am – 10.00pm

 

 

iPRECIATION will hold a solo exhibition titled Wonderful World of Color by Tse Yim On《謝炎安的彩⾊美好世界》featuring around 15 works between 2011 – 2018 by Hong Kong contemporary artist Tse Yim On 謝炎安, on July 18 2018 to August 5 2018 at the Gallery by the Harbour, Harbour City, Hong Kong. Featured works include acrylic paintings on canvas from Tse’s Mongkok Library series, Hong Kong Seals Series in 2011, 2012 as well as latest paintings.

 

In late 2012, Tse gained significant recognition for his Mongkok Library series when it previewed in Hong Kong. Not only was his choice of colour combination refreshing to the local crowd, the familiar subject matters also spoke to them. Named after the “Mongkok” district in Hong Kong, known to be a melting pot for subcultures, the series of acrylic paintings models a library and invites the audience to discover the various subcultures in Hong Kong. Works such as Anita – 艷芳 (2011) and Ann – 愛芳 (2011) shows acclaimed Hong Kong media icon, Anita Mui and her sister Ann Mui as Japanese manga-like characters looking fixedly ahead at children’s classics. While the paintings seek to remember and commemorate the pair’s sisterly love, Tse’s multi-layered compositions often invite his audiences to interpret his works on many levels. His skillful proficiency in referencing popular culture references then synthesising them into colourful, quirky narratives of his own is a distinctive quality of the artist.

 

Tse’s colourful repertoire continues to evolve in this solo exhibition. A portion of Hong Kong Seals Series that will be exhibited reveals a specific and striking shade of red and blue that Tse has used. Particularly inspired by the 1970s era when Tse was born, he considers subject matters such as cultural figures, visual style during the time, landmarks like public housing, even imagined memories as a child, as foundation for his creation. Tse manipulates these images of collective memories and reassembles them to mimic a Seal Carving composition. This can be seen in works such as Wonderful World (1974)《美好世界》 (1974) (2016) and Wonderful World (1997)《美好世界》 (1997) (2016). In his own way, Tse uses his highly colored lens of cartoonic visuals and pop culture aesthetics to express a one-of-a-kind visual narrative in Hong Kong.

 

About Artist :

Born in Hong Kong, in 1974, Tse is a contemporary artist who is known for his bold and fanatically colored tongue-in-cheek works. Like the majority of Generation X in Hong Kong, Tse grew up in an environment culturally influenced by local and foreign popular culture, particularly Japanese animation, games and manga; apparent in the caricatured characters and bold text that appear in his paintings. Working primarily with acrylic on canvas, Tse’s vividly colored paintings depict familiar imagery derived from Hong Kong and speaks strongly of identity and culture from the perspective of a Hong Kong citizen through his uniquely quirky perspective.

 

Tse studied at the Chinese University of Hong Kong, where he received his Bachelor’s Degree in Fine Arts in 1998 and a Master’s Degree in Fine Arts in 2001. Besides his practice in art, he also serves as an educator and advisor in various institutions, including the Hong Kong Visual Arts Centre and the Hong Kong Arts Development Council. In 1998, Tse received the Hong Kong Urban Council Fine Arts Award and was given the opportunity to showcase his works in the Contemporary Hong Kong Art Biennial Exhibition at the Hong Kong Museum of Art. Tse has participated in many group exhibitions worldwide including “ARTscope Hong Kong 2000”  (Spica Museum, Aoyama, Tokyo, Japan, 2000), “Mapping Asia — The 18th Asia International Art Exhibition (AIAE)”  (Hong Kong Heritage Museum, 2004), “Asia Art Archive New Open Exhibition”  (Asia Art Archive, Hong Kong, 2007), “Art Taipei 2”  (Taipei Show (former Taipei World Trade Center II), Taiwan, 2007), “CHiE! – Culture sieges Politics”  (Osage Kwun Tong Gallery, Hong Kong, 2008), “Painting On and On – The Repository of Coherent Babbles”  (Southsite, Hong Kong, 2012), “From longing to belonging”  (Laznia Centre for Contemporary Art, Poland, 2014), “Art Paris”  (Grand Palais, Avenue Winston Churchill, Paris, 2015) and “Evolving Images: Modern Hong Kong Printmaking”  (Sun Museum, Hong Kong, 2017). His works have been collected by the Hong Kong Museum of Art and are also in several private collections.

Calligraphy · Universe《書·萬物》- A Solo Exhibition of Chu Chu’s Works

Preview: Thursday, 26 April 2018, 6.30pm – 8.30pm

Exhibition Opens to Public: 27 April 2018 – 19 May 2018

 

 

During April through May, iPreciation will present Calligraphy · Universe《書·萬物》, the first solo exhibition in Singapore by the renowned Chinese female artist Chu Chu 儲楚. In this exhibition, Chu Chu seeks to explore calligraphy through the origins of the manifestations of Chinese characters, the evolution of which is generally described by the six-fold classification system like pictograms and ideograms, etc., which are closely connected with natural elements in our universe, her choice of subject matter in many of her works. Chu Chu seeks to incorporate the art of Chinese calligraphy into her photographic works which are uniquely printed on xuan paper. She is also deeply influenced by philosophies and classical texts. In both of her series titled Whisper of Trees and Magnolia Flower, she extracts certain portions from Chinese poems and texts that describe the relationships between human and nature, subtly incorporating them into the background of her ethereal photographs of tree branches and flowers, evoking a sense of quietude and transience. This juxtaposition of images constructed instantly from a camera, together with the carefully and slowly constructed calligraphic characters presents interesting layers of meaning, as they successfully combine two very different visual languages – contemporary photography and traditional calligraphy.

Chu Chu is a multidisciplinary artist who is accomplished in ink painting, calligraphy, photography and oil painting. She majored in oil painting at the China Academy of Art in Hangzhou, China, where she graduated with a Bachelor’s Degree in 2000. Subsequently, she attained a Master’s Degree in New Media at the academy in 2007 and a Ph.D. in calligraphy, under the tutelage of acclaimed calligraphic master, Wang Dongling, in 2015.

Departure 3 – A Group Exhibition

Departure 3

A Group Exhibition by Milenko Prvacki and Singaporean artists Faris Nakamura, Jodi Tan, Leow Wei Li , Tan Wee Lit, and ZERO (Zul Othman)

Preview: 22 March 2018, 6.30 pm – 8 pm

Exhibition opens to public: 23 March – 7 April 2018  

 

 

iPreciation is proud to present Departure 3, the third edition of a biennial showcase featuring the latest pieces of Milenko Prvacki, while capturing a selection of works by the following artists who graduated from Lasalle College of the Arts, Singapore: Tan Wee Lit, Leow Wei Li, Jodi Tan, Faris Nakamura, and ZERO (Zul Othman).

Departure 3 is curated by Milenko Prvacki, one of Singapore’s foremost contemporary artists, art educator, and Cultural Medallion recipient. Prvacki has been a mentor to and influence on many generations of young artists at Lasalle College of the Arts throughout various stages of their artistic careers. This exhibition affirms Prvacki’s visionary impact on Singapore’s Art Scene, as he extends beyond academia and art practice to nurture young contemporary artists.

The exhibition explores the personal experiences and expressions of these artists, while reflecting on their developments in professional art making, as they draw references from various sources of inspiration, such as space, sound, and urban life. Encompassing a diverse range of two and three-dimensional mediums, this year’s lineup would include paintings, assemblages, and mixed media installations, presenting a comprehensive and eclectic mix of artworks that were specially produced for Departure 3

 

Artist Biographies:

Milenko Prvački (b. 1951, Yugoslavia / Singapore) is one of Singapore’s foremost abstract painters. Born in Yugoslavia, Prvački moved to Singapore in 1991. He started his career as an art practitioner and art educator in Lasalle College of the Arts, Singapore, in 1994. He graduated with a Master’s Degree in Fine Arts (Painting) from the Institute of Fine Arts in Bucharest, Romania, in 1998. Subsequently, he was appointed the Dean of the Faculty of Fine Arts at the institution until the year 2010, after which he assumed the post of Senior Fellow in 2011. In 2012, he was conferred the prestigious Cultural Medallion for Visual Arts by the National Arts Council, Singapore and the Silver Medallion for Knights in the Order of Arts and Letters by the French Embassy. Formally trained in Eastern European painting, Prvacki was enthralled by Chinese ink painting (水墨, shui mo) when he first moved to Singapore. His oil and acrylic paintings display visible Chinese ink influences, evident in the light washes and layers of colours and brush strokes together with the distinctive method of featuring various narratives around the canvas as opposed to the idea of a singular focal narrative in Western art. While his paintings are informed by personal experiences, they also engage with issues pertinent in society. Prvacki further questions the representative nature of painting by examining the relationship between abstraction and figuration. The figurative elements employed in his paintings are, at the same time, amorphous and highly ambiguous, thereby defying identification and categorization. Prvacki has held solo exhibitions within Singapore, Sydney, Jakarta, Yugoslavia and has also participated in several group exhibitions in the USA, Hong Kong, U.K, Belgium, Korea and many other countries. His works are in several public and permanent collections including that of the Gallery of New South Wales (Australia), Singapore Art Museum (Singapore), National Art Gallery (Singapore), NUS Museum (Singapore), Museum of Contemporary Drawing (Nurnberg, Germany), National Museum of Belgrade (Yugoslavia) and the Museum of Contemporary Art (Belgrade, Yugoslavia).

Tan Wee Lit  (b. 1978, Singapore) graduated with an MFA in Sculpture and has exhibited extensively locally and internationally as a practicing artist. He is a recipient of numerous study awards and scholarships from the National Arts Council Singapore and the Media Authority Singapore for his undergraduate and graduate studies. Tan has also worked on multiple commissions for private collections and public art works at Raffles Place (2013), Haw Par Villa (2012), the Jubilee Walk (2015) and the APEC Summit in Danang, Vietnam (2017). He had his first solo exhibition for “12×12 New Artists/ New Work” at the Museum of Contemporary Art, Chicago and was also awarded the Graduate Fellowship upon graduation. He won the Grand Prize for the 3rd Singapore Sculpture Award in 2007 and has had exhibitions in Europe, the United States and Asia- amongst them “Identities vs Globalisation” (Berlin), “The Same Rain, The Same Wind” (Chiangmai National University), “We Who Saw Signs” (ICA Singapore), “Fifth Outdoor Sculpture Biennial” (Baltimore). He has taught at Singapore Management University, Lasalle College of the Arts, Nanyang Polytechnic, Singapore University of Social Sciences and School of the Arts Singapore. Wee Lit was conferred the Young Artist Award by the National Arts Council in 2012.

Leow Wei Li (b. 1994, Singapore) graduated from LASALLE College of the Arts with Bachelor of Fine Arts (First Class Honours). She works with paint and collect noises. Her paintings are observations of sounds and architecture where she seeks to examine the shapes, colours and textures of ordinary everyday experiences and nuisances. Wei Li is part of an artist duo, Sobandwine, where she does mural paintings and works with various other mediums such as graphic design, sound and videos. Wei Li is a recipient of Young Talent Programme Winners’ Solo Exhibition 2016/17 and has recently exhibited her works at ION Art Gallery, the Affordable Art Fair Singapore and was also one of VADA’s Untapped Discovery artists in 2017. She is also a recipient of TCC-LaSalle Artist-Curator Alumni Award and the Samsung Future Masters 1st runner-up Award in 2016. She has also been awarded the LASALLE College of the Arts and Ngee Ann Kongsi Scholarships during her study. Wei Li has recently participated in Namwon Sound Artists Residency Programme 2017 and will be one of the upcoming resident artists for Seoul Art Space Geumcheon in 2018.

Jodi Tan (b.1990, Singapore) is a Singapore-based artist. Her core interest lies in image-making and image-reading.  Tan graduated with a BA (Honours) in Fine Arts in 2011, from LASALLE College of the Arts, Singapore. She was awarded The Winston Oh Travel Research Award in the same year and has also participated in several exhibitions locally, including the inaugural UNTAPPED EMERGING (2016) organised by Visual Arts Development Association Singapore. Tan is a founding member of The Collective, a group of individuals that have gathered to execute artist-initiated projects.

Faris Nakamura (b. 1988, Singapore) graduated with a Bachelor in Fine Arts (First Class Honours) from LASALLE College of the Arts in partnership with Goldsmiths, College of London. His works reflect his interest in architecture and nature, while at the same time, deal with conceptual questions of space and the relationship people have with space. Through sculptures, installations and site-specific works, he investigates and explores the different ways people navigate and orientate themselves upon encountering a space or place. Additionally, he desires to study and understand the attachment and/or detachment they have towards certain spaces or places, how it develops, and the impact it has on them. Faris was most recently awarded the Young Talent Programme 2017/18 Winners’ Solo Exhibition. In 2015, he won the Kobe Biennale Grand Prize in the Shitsurai International Art Competition held by Kobe Biennale and in 2013, he was the recipient of the Winston Oh Travel Award. Faris has exhibited both locally and internationally. He has showcased at venues such as The Substation (Singapore), National Library (Singapore), Scotts Square (Singapore), Praxis Space (Singapore), Kobe Biennale, Meriken Park (Japan), Georgetown Festival (Penang, Malaysia) FASS Art Gallery (Turkey), Palazzo Ca’ Zanardi, (Venice).

Zul Othman (b.1979, Singapore), commonly known by his artist moniker Zero has been a practising artist since late 2003. His is an unconventional practice, opting to delve into the subculture norms of street art and graffiti. His notions of a street artist being a pseudo documentarist of contemporary urban life is reflected in his growth as an artist throughout the years. His artistic research and works revolve around contemporary issues on urban social life and space, current affairs and adverse effects of pop culture. A reactionary artist, ZERO’s body of works attempts to negotiate the oddity of street and graffiti art in a regulated space while creating social commentaries on the notion of society and space. His exploits with his defunct collective ARTVTS, has been acknowledged as influencers of the street art scene in South East Asia. He has since founded the RSCLS collective and is still currently active in archiving and documenting urban art practices in South East Asia. His critical approach into understanding and researching urban art practices is apparent in his contemporary practice as an artist. From 2008 till 2010, ZERO was an associate artist with The Substation. In 2013, he was awarded the Young Artists Award by the National Arts Council and also the National Arts Council Seed Grant Award with RSCLS. His works have been acquired by the Singapore Arts Museum in 2010 as part of their permanent collection and he has participated in, organised and curated multiple exhibitions and events both in Singapore and internationally over the course of his artistic practice. He holds a Master of Arts (Fine Arts) Degree from LASALLE College of the Arts/ Goldsmiths UK.

Winding Path to Serenity《曲徑通幽》Book Launch

Venue: iPreciation

50 Cuscaden Road, HPL House #01-01, Singapore 249724

Date & Time: Saturday, March 10, 2018, 2 pm

iPreciation will host a book launch of Oh Chai Hoo’s limited-edition catalogue Winding Path to Serenity《曲徑通幽》, published by iPreciation, at our gallery. Chai Hoo will be present during the event to give a short presentation of his artistic practice and transformation. This catalogue marks a major milestone in Chai Hoo’s artistic oeuvre from 2015 to 2017, departing from his style in commissioned projects which was bounded by limitations, to one that reflects his deep personal introspections which he expresses through ink on xuan paper and ceramic sculptures with seal engravings. The subject matters are invariably depictions of mountains, rocks and stones, natural phenomena that evoke emotional and artistic responses from Chai Hoo.

Please contact us at enquiry@ipreciation.com or +65 6339 0678 to find out more about the book launch.

About the Artist

Oh Chai Hoo 胡财和 (b. 1960, Singapore) is an artist who works extensively with various artistic mediums, ranging from ink painting, seal carving to ceramics. He graduated from the Nanyang Academy of Fine Arts, Singapore in 1982. Oh’s mastery of the ink brush is as well admired as his fearless experimentation with the medium. In recent years, he has been focusing on the development of new ink techniques on rice paper. Making use of the slip trailer to complement the use of traditional calligraphy brushes, he pushes the boundaries of the art form’s rich heritage to create works that are powerful fusions of Eastern and Western fine art traditions. His bold experimentations include making use of Japanese kimono inks on rice-paper and calligraphy carvings on foil-layered teak. Chai Hoo’s works have been showcased at various exhibitions, including solo exhibitions, “The Serene Path” with Galerie Huit, Hong Kong (2018), “Lifetime of Change” with iPreciation, Singapore (2016), as well as “Tropical Zen Garden” at Esplanade Theatres on The Bay, Singapore (2014). Apart from frequent exhibitions, he has also been given recognition for his outstanding works, by being awarded the Highly Commendable Award for Abstract Medium in the 18th UOB Painting Competition, Singapore (1999) and the Siaw-Tao Best Artwork Award, at the Siaw-Tao Annual Art Exhibition, Singapore, 2013. Oh’s works are in private and public collections including the National Museum Art Gallery (Singapore), Singapore Heritage Board, BNP Paribas (Singapore), DBS Bank (Singapore), Bank Brussels Lambert (Singapore), Hilton Hotel (Singapore), Hyatt Regency (Surabaya, Indonesia), Four Seasons (Bali, Indonesia), Regent Hotel (Jakarta, Indonesia) and Shangri-La Hotel (Qingdao, China).

Along the Great Path《行於大道》- A Solo Exhibition of Wang Dongling’s Calligraphic Repertoire

 

 

Performance (4pm) & Private Preview (6pm): Thursday, January 25, 2018 (By Invitation Only)

Exhibition opens to public: January 26, 2018 – February 28, 2018

In conjunction with Singapore Art Week 2018, iPreciation proudly presents Along the Great Path 行於大道, a solo exhibition by acclaimed Chinese calligrapher and ink artist, Wang Dongling 王冬齡. Regarded as one of China’s greatest living calligrapher, Wang is best known for his public performances involving large format “Wild Cursive” script (狂草), a Chinese calligraphic style characterized by its erratic and dynamic strokes. His works are often deeply rooted in the ancient philosophies of Buddhism and Taoism, as well as the Chinese classics. Along the Great Path is Wang’s first ever solo exhibition in Singapore, and features over 30 abstract ink and calligraphic paintings. Among these works, a selected range is presented through a unique medium and format. The exhibition will provide viewers with a rare opportunity to view and appreciate Wang’s captivating and powerful calligraphic works up-close.

Born in 1945 in Rudong, Jiangsu Province, China (中國江蘇省如東), Wang graduated with a Bachelor’s Degree in Fine Art from the Nanjing Normal University (南京師範大學) under the guidance of prominent literatus and calligrapher Shen Zishan 沈之善 (1899-1969). Wang also became a disciple of Lin Sanzhi 林散之 (1898-1989), known as the sage of cursive script, during this period. He received his Master’s Degree in Fine Art from the Calligraphy Department from the then Zhejiang Academy of Fine Arts (浙江美術學院) (currently China Academy of Art 中國美術學院) in 1981, under the tutelage of Lu Weizhao 陸維釗 (1899-1980) and Sha Menghai 沙孟海 (1900-1992), when his calligraphy started to emanate its own style and character.

In 1989, at the invitation of the University of Minnesota, USA as a visiting professor to teach Chinese calligraphy, Wang embarked on a journey through the US for four years that expanded his vision of artistic practice through teaching, participation of symposiums and solo exhibitions at institutions like Harvard University and University of California, Berkeley. It was during this period that Wang started his modernist engagement when he immersed himself in the modern works of acclaimed artists like Pablo Picasso (1881-1973), Paul Klee (1879-1940), Joan Miró (1893-1983) and Henri Matisse (1869-1954). In addition, Wang was also exposed to Japanese calligraphy during the 1990s, especially of works from the Japanese master Inoue Yuichi 井上有一 (1916-1985). All these influences aroused Wang’s pursuits of experimental techniques and reinterpretations of the ancient art form, refining and fusing them into his own artistic language of gestural abstraction.

Wang’s works have been prominently exhibited at institutions and several international venues such as the Metropolitan Museum of Art (New York City, USA), Guggenheim Museum (New York City, USA), National Art Museum of China (Beijing, China) and the Palace Museum (Beijing, China). They can also be found amongst others in the collections of the British Museum (London), the Zhejiang Museum of Fine Art, (Hangzhou, China), the Yale University Art Gallery (New Haven, USA), Harvard University (Cambridge, USA), and the University of California, Berkley (USA).

Wang is currently a Professor and Director of the Modern Calligraphy Research Center at the China Academy of Art.

This exhibition is of Singapore Art Week 2018, a joint initiative by the National Arts Council, the Singapore Tourism Board and the Singapore Economic Development Board, Singapore Art Week reinforces Singapore’s position as Asia’s leading arts destination. In its sixth edition in 2018, the twelve-day celebration of the visual arts will be taking place in venues across Singapore, from galleries and museums to art precincts and non-profit spaces.

 

Jiao Jian 矯健 (b.1962)

Jiao Jian is a contemporary artist who works mainly with the photographic medium. In 1984, he graduated with a Bachelor’s Degree in Arts, Crafts and Decorating from the Zhejiang Institute of Fine Art (now known as the China Academy of Art) in Hangzhou, China. He further pursued his post graduate studies in Visual Communication at the institute in 1992. In 1995, he enrolled in a photography course at the West Sydney Institute of Fine Art in Australia. Subsequently, he underwent a short-term master’s degree program in Photography held in conjunction between the Beijing Central Fine Art Institute (China) and the Queensland Fine Art Institute (Australia) in 1998. At present moment, he is an Associate Professor and Head of Photography Department at the Animation and Media Institute in the China Academy of Art, Hangzhou.

Jiao Jian’s initial practice during the early 1980s were mostly marked by experimental mixed media works that reflected the uncertainty of the modern world amidst rising political issues. He favored the use of collage as a medium to portray the universal, worldly themes he was deeply intrigued with. From the late 1980s onwards, he continued to further experiment with other mediums, painting close-up portraits of human figures and later on moving towards more abstract themes as opposed to the figurative works he was used to in his early years as an artist. He began to pursue photography professionally, expanding his interest in the medium that started from his childhood days. He explored different techniques including pinhole, digital and analogue photography, often processing film in the darkroom. In the series titled Fill the Void, Jiao Jian uses his own body as a means of expressing a certain kind of existential restlessness. His body, compressed and contorted into uneasy postures, takes the shape of gaps and empty spaces that have formed in various unidentified urban landscapes. The juxtaposition of his physicality against the hard concrete material of the featured architectural spaces suggest an uneasy tension, perhaps hinting at his own perception of the world around him.

Jiao Jian’s works have been exhibited at galleries, institutions and photography festivals including OFOTO Gallery (Shanghai, China), the China Academy of Art (Hangzhou, China), Liu Haisu Art Museum (Shanghai, China), TRIANGLE Gallery (London, UK), the 6th San Francisco International Photography Festival (San Francisco, USA) and China International Photography Festival (Pingyao, China).

Exhibitions

  • 2013, Let it Be, OFOTO Gallery, Shanghai, China
  • 2012, Objects, Bottega Veneta Exhibition Hall, Shanghai China
  • 2011, Wanxiang – China Art Academy Photography Exhibition, China Academy of Art, Hangzhou, China
  • 2011, Lishui International Photo Festival – Unexperimental Visual Way, Lishui, China
  • 2010, Visual Dialogue – Joint Workshop between Chinese and European Artists, Mingyuan Culture and Art Center, Shanghai, China
  • 2010, Another Landscape, Inter Art Center and Gallery at 798 Art Zone Beijing, M50 epSITE Shanghai, China
  • 2009, Drama/Stage, Urban Photography in Shanghai, Liu Haisu Art Museum, Shanghai, China
  • 2008, Pink China Contemporary Art Exhibition, TRIANGLE Gallery, London, UK
  • 2007, City Tale, Photography Exhibition, OFOTO Gallery, Shanghai, China
  • 2007, Jiao Jian, Yan Shi Photography Exhibition, OFOTO Gallery, Shanghai, China
  • 2005, Plentiful – China’s Contemporary Photography Exhibition, Art Scene Gallery, Shanghai, China
  • 2005, CAN2005 Photography Exhibition, 6th San Francisco International Photography Festival, San Francisco, USA
  • 2005, IT IS I, Gallerla Carla Sozzanl, Milan, Italy
  • 2004, Jiao Jian Photography Exhibition, The Chinese Institute of Fine Art (New Media Art Department), Hangzhou, China
  • 2003, IT IS I, China’s International Photography Festival, Pingyao, China
  • 2001, Jiao Jian, Luo Yongjin, Zhang Baocheng Photography Exhibition, The Chinese Institute of Fine Art, Shanghai Branch Gallery, Shanghai, China
  • 2000, Jiao Jian Photography Exhibition, Shanghai University Fine Art Institute Gallery, Shanghai, China
  • 2000, Jiao Jian Photography Exhibition, The Chinese Institute of Fine Art Gallery, Hangzhou, China
  • 1989, The Chinese Modern Art Exhibition, The Chinese Museum of Fine Art, Beijing, China

For full CV and biography details, please contact the gallery at enquiry@ipreciation.com


Images of Artworks

 

Wang Dongling 王冬齡 (b.1945)

Wang Dongling is one of China’s most highly regarded calligrapher and ink artist. He is best known for his public performances involving large format “wild cursive” script, a Chinese calligraphic style characterized by its erratic and dynamic strokes. His works are often deeply rooted in the ancient philosophies of Buddhism and Daoism, as well as Chinese poetry. Wang graduated with a Bachelor’s Degree in Fine Art from the Nanjing Normal University (Nanjing, China) in 1966 and a Master’s Degree in Fine Art from the Calligraphy Department of Zhejiang Academy of Fine Arts (Hangzhou, China) in 1981.

Wang’s prolific career spans across the past two decades, during which he first gained rapid recognition in China for his calligraphic work. His classical training enabled him to hone his repertoire of traditional techniques in calligraphy, forming a solid foundation on which he began his journey of expression with ink in the early 1980s. In 1989, he traveled to the United States, where he taught the practice of calligraphy to Western art students, at the same time participating in several solo exhibitions held at different universities around the country. During this particular period, Wang immersed himself in the modern works of acclaimed artists such as Picasso, Klee, Miro and Matisse. In the 1990s, he traveled to Japan, where he became deeply influenced by the works of Japanese calligraphic master, Inoue Yuichi. By this time, Wang had ventured far from his roots as a traditional Chinese calligrapher, combining his knowledge and experiences with experimental techniques, resulting in remarkable reinterpretations of the ancient art form. Breaking free from conventional notions of Chinese calligraphy, his works embraced movement, space and gestural abstraction, liberating each and every written character from the bounds of text. In his current practice, Wang continues to push the boundaries, relentlessly practicing his well-honed techniques and exploring new and highly experimental ones, such as the use of photosensitive materials to create calligraphic compositions on photographic paper.

Wang’s works have been prominently exhibited at institutions and several international venues such as the Metropolitan Museum of Art (New York City, USA), Guggenheim Museum (New York City, USA), National Art Museum of China (Beijing, China) and the Palace Museum (Beijing, China). They can also be found amongst others in the collections of the British Museum (London), the Zhejiang Museum of Fine Art, (Hangzhou, China), the Yale University Art Gallery (New Haven, USA), Harvard University (Cambridge, USA), and the University of California, Berkley (USA). Presently, he is a professor of calligraphy at the Calligraphy Department of China Academy of Art in Hangzhou, China.

Selected Solo Exhibitions

  • 2018, Wang Dongling: Poetry and Painting, Chambers Fine Art, New York, USA
  • 2017, Poetic Rainbow: The Calligraphy of Wang Dongling, Hanart TZ Gallery, Hong Kong, China
  • 2017, The Bamboo Path, OCT Art and Design Gallery (Shen Zhen), Shen Zhen, China
  • 2016, Public performance of chaos-script (luanshu) calligraphy, Vancouver Art Gallery, Vancouver, Canada
  • 2016, Public performance of chaos-script (luanshu) calligraphy, Library and Archives Canada, Vancouver, Canada
  • 2016, Between Heaven and Heart, Imperial Ancestral Temple Art Museum, Beijing, China
  • 2016, Public performance of calligraphy, Guiyang Confucius Academy, Guiyang, China
  • 2016, Wang Dongling: Contemporary Calligraphy, Gus Fisher Gallery, Auckland, New Zealand
  • 2016, Public performance of chaos-script (luanshu) calligraphy, British Museum, London, United Kingdom
  • 2016, Public performance of chaos-script (luanshu) calligraphy, Victoria and Albert Museum, London, United Kingdom
  • 2016, Public performance of chaos-script (luanshu) calligraphy, Imperial Ancestral Temple Art Museum, Beijing, China
  • 2015, Public calligraphy performance, Universität Hamburg, Hamburg, Germany
  • 2015, “The Heart Sutra in Chaos Script”, public calligraphy performance, Brooklyn Museum, New York, the United States of America
  • 2015, “‘Drinking by the Lake: Clear Sky followed by Rain’ by Su Shi,” public calligraphy performance, Apple Store West Lake, Hangzhou, China
  • 2015, Writing Non-Writing: Calligraphic Works by Wang Dongling, Sanshang, Contemporary Art Museum, Hangzhou, China
  • 2015, Wang Dongling · The Heart Sutra, Wenzhou Contemporary Art Museum, Wenzhou, China
  • 2015, New Works, Chambers Fine Art, New York, the United States of America

Selected Group Exhibitions

  • 2018, New Ink Art in China 1978-2018, Minsheng Art Museum, Beijing, China / Mind Temple, Museum of Contemporary Art, Shanghai, China
  • 2017, Boundless: On Going Chinese Ink Art, Art Museum of Sichuan Fine Arts Institute, Chongqing, China
  • 2017, The Unusual West Lake: The First Art Scene of West Lake Photo Exhibition, CAA Art Museums, Hangzhou, China
  • 2016, Open Books: International Artists Explore the Chinese Folding Book, Library and Archives Canada, Vancouver, Canada
  • 2016, Shan Shui A Manifesta, Gong Wang Art Museum, Hangzhou, China
  • 2016, Shan Shui Within, Museum of Contemporary Art, Shanghai, China
  • 2016, Light Writers 2016, Light Gallery, Hangzhou, China
  • 2015, 10th World Calligraphy Biennale of Jeollabuk-do, Jeonju, Korea
  • 2015, Magic Mountains, Hong Kong S.A.R., China
  • 2015, Hangzhou International Modern Calligraphy Exhibition and Writing Nor- writing Document Exhibition, Museum of Contemporary Art of CAA, Hangzhou, China
  • 2015, China 8 – Contemporary Art from China at Rhine & Ruhr, Kunstmuseum, Gelsenkirchen, Germany
  • 2014, Kochi-Murizis Biennale – Collateral Project “Janela-Migrating Forms and Migrating Gods” , Mill Hall Compound, Kochi, India
  • 2014, Orchid Pavilion Calligraphy Biennial, Zhejiang Art Museum, Hangzhou, China
  • 2014, Guanshan Gathering: Works by Zheng Shengtian and Wang Dongling, Chambers Fine Art, New York, USA
  • 2014, Ink and the Body, Ink Studio, Beijing, China
  • 2014, China’s Changing Landscape—Contemporary Chinese Ink, Nordiska Akvarellmuseet (Nordic Watercolour Museum), Goteborg, Sweden

Awards and honors

  • 2012, “Orchid Pavilion Prize: The Art Prize” in The 4th Chinese Calligraphy Orchid Pavilion Exhibition
  • 2011, Named “Annual Influential Artist”, 6th Award of Art China (AAC)
  • 2011, Named “Annual Top Ten Persons in Chinese Calligraphy”
  • 2006, “Orchid Pavilion Prize: The Education Prize (The First Prize)” in The 2nd Chinese Calligraphy Orchid Pavilion Exhibition
  • 2005, Named “Annual Top Ten Persons in Chinese Calligraphy”
  • 1997, “The Grand Prix” in Worldwide Calligraphy of Jeollabuk-do Biennale

Selected Collections

British Museum, London, UK Metropolitan Museum of Art, New York, USA, Stanford University, California, USA Harvard University, Cambridge, Massachusetts, USA Yale University, New Haven, USA University of California, Berkeley, California, USA University of Minnesota, Minnesota, USA Asian Studies Center at Michigan State University, Michigan, USA North Dakota Museum of Art, North Dakota, USA National Art Museum of China, Beijing, China National Library of China, Beijing, China The Palace Museum, Beijing, China Military Museum of the Chinese People’s Revolution, Beijing, China Zhejiang Art Museum, Hangzhou, China Peking University, Beijing, China Guggenheim Museum, New York, USA

For full CV and biography details, please contact the gallery at enquiry@ipreciation.com


Images of Artworks

Chu Chu 儲楚 (b.1975)

Chu Chu is a multidisciplinary artist who is accomplished in ink painting, calligraphy, photography and oil painting. She majored in oil painting at the China Academy of Art in Hangzhou, China, where she graduated with a Bachelor’s Degree in 2000. Subsequently, she attained a Master’s Degree in New Media at the academy in 2007 and a PhD in calligraphy (under the tutelage of acclaimed calligraphic master, Wang Dongling) in 2015.

Chu Chu seeks to incorporate the art form of Chinese ink painting into her photographic and calligraphic work. Her oeuvre is closely connected with nature and matter; both key elements that consistently underlies her choice of subject matters in most of her works. She is also deeply influenced by Chinese philosophies and classical texts. In both of her series titled Whisper of Trees and Magnolia Flower, she extracts certain portions from Chinese poems and books that describes the relationship between man and nature, subtly incorporating them into the background of her ethereal photographs of tree branches and flowers, evoking a sense of quietude and transience. This juxtaposition of images constructed instantly from a camera, together with the carefully and slowly constructed calligraphic characters presents interesting layers of meaning, as they successfully combine two very different visual languages – contemporary photography and traditional calligraphy.

Chu Chu was the recipient of the Shiseido Prize for Best Female Photographer (2011) under the Three Shadows Photography Award in Beijing, China. Her works have been showcased in selected solo exhibitions including Material Immaterial (3 Gallery, Beijing, Kunst Licht, Shanghai, China, 2014), About Material - Solo Exhibition of New Media, Photography, Calligraphy  (Hanhouse Art Museum, Hangzhou, China, 2013) and It’s Not It (OFOTO Gallery, Shanghai, China, 2008). She has also been actively participating in group exhibitions and photography festivals in Hong Kong, China, Japan, Europe, U.K and the USA.

Selected Solo Exhibitions

  • 2008, It’s Not It, OFOTO Gallery, Shanghai, China
  • 2012, Material-Immaterial, Hihey.com, Beijing, China
  • 2013, About Material - Solo Exhibition of New Media, Photography, Calligraphy, Hanhouse Art Museum, Hangzhou, China
  • 2014, Material Immaterial, 3 Gallery, Beijing, Kunst Licht,Shanghai, China

Selected Group Exhibitions

  • 2016, Contemporary Landscapes: From Modern Classics to the New Vanguard, Art Basel Hong Kong, Alisan Fine Arts, Hong Kong Convention & Exhibition Centre, Hong Kong
  • 2015, Writing Non-writing, China Academy of Art, Hangzhou, China
  • 2015, Tracing the Brush, Transformed Text, Ink Asia, Alisan Fine Arts, Hong Kong Convention & Exhibition Centre, Hong Kong
  • 2014, Beyond the Jade Terrace, Alisan Fine Arts, Hong Kong
  • 2012, International Biennial of Lanting Calligraphy Commune, Zhejiang, Art Museum, Hangzhou, China
  • 2012, Zhejiang Contemporary Photography Exhibition by New Artists, Hangzhou, China
  • 2012, Material-Word, Bottega Veneta Art Space, Shanghai, China
  • 2012, In situ-Exposition Photo Revelation, Paris, France
  • 2012, Impression of Pudong-Exhibition by New Artists, Pudong Library, Shanghai, China
  • 2012, Jetlag-New Media Exhibition, Hannover Exhibition Centre, Hanover, Germany
  • 2012, Tokyo Photo 2012-International Photography Fair, Tokyo Midtown Hall, Tokyo, Japan
  • 2012, Calligraphy Exhibition by Chinese Young Artists, Jinhua, China
  • 2011, Midsummer, OFOTO Gallery, Shanghai, China
  • 2011, 3rd Dali International Photography Exhibition, Dali, China
  • 2011, Contemporary Photography in China, Tasveer Studio, India
  • 2011, Photo LA+Art LA Projects - Art Fair, Los Angeles, USA

Awards

  • 2011, Shiseido Prize of Best Female Photographer Three Shadows Photography Award, Beijing, China
  • 2010, Yearly Cutting-edge Photographer Selected by www.xitek.com, Beijing, China
  • 2006, Creative Award of New Media China Academy of Art, Hangzhou, China
  • 2001, Excellent Works Award New Century Oil Painting Exhibition, Hangzhou, China
  • 2000, Excellent Works Award, Zhao Mengfu Prize National Painting Competition, China

For full CV and biography details, please contact the gallery at enquiry@ipreciation.com


Images of Artworks

   

Ju Ming [Living World Series – A Decade of Wood Sculptures]

 

The gallery is currently showcasing new works from Ju Ming’s Living World Series. The acclaimed series encapsulates the spirit of life and humanity, portraying figures from various walks of life. Ranging from intricate wood reliefs to life-sized figurative sculptures, the new selection of works display a visible development in the Living World Series, as they present a much more organic and stripped-down aesthetic that is significantly different from his works ten years ago.

In addition to the lineup of wood sculptures, we are also exhibiting bronze sculptures from Ju Ming’s famed Taichi series in the inner gallery.

These works are available for private viewing only. To arrange for an appointment, please contact us at 65 6339 0678 or enquiry@ipreciation.com.

Soh Chee Hui (b. 1967)

Soh Chee Hui (b.1967, born Malaysia) graduated with bachelor degree from Nanyang Academy of Fine Arts, Singapore in 1990 and received his Masters Degree in Fine Arts at the University of Birmingham, UK, in 1996. He was the Singapore United Overseas Bank Painting of the Year award winner in 1992 and was awarded the Silver Medal at the 7th Taiwan International Printmaking and Drawing Biennale in 2003. He was also the recipient of the Freeman Foundation Asian Fellowship in 2003 for residency at the Vermont Studio Center, USA.

Selected Solo Exhibitions

  • 2010, Notes, Artfolio, Singapore
  • 2008, Pursuit: Immersed, Artfolio, Malaysia
  • 2004, Immersed, Art-2 Gallery, Singapore
  • 2003, Life in Vermont, Redmill Gallery, Vermont Studio Center Johnson, VT, USA
  • 2002, Thus as I Heard, Karin Weber Gallery, Hong Kong
  • 2000, Simple Notes, Art Focus Gallery, Singapore
  • 1999, Memories, Works from 1993 – 1998, Karin Weber Gallery, Hong Kong
  • 1997, Recent works from Birmingham, CHIJMES Caldwell House Gallery, curated by Art-2 Gallery, Singapore
  • 1993, Diary 92/93, LASALLE College of the Arts, Singapore

Selected Group Exhibitions

  • 2010, 18 Ludvig International Symposium, Nagykanizsa, Kendlimajor, Hungary
  • 2007, The Best of UOB (26 winning works from the UOB Painting of the Year Competition from 1982 to 2007), Singapore Art Museum / ARTSingapore 2007, Suntec Convention Centre, Singapore / Colours of Spring, Artfolio Gallery, Singapore
  • 2006, Larasati, Pictures Of Asia Fine Art Auction, Singapore / 12 Ludvig International Symposium, Nagykanizsa, Kendlimajor, Hungary / ARTSingapore 2006, Suntec Convention Centre, Singapore
  • 2005, The Sixth Face, MICA Building, Singapore / ARTSingapore 2005, Suntec Convention Centre, Singapore / Malaysia & Thailand Art Exhibition, Soka Gakkai, Malaysia
  • 2004, ARTSingapore 2004, The Contemporary Asian Art Fair, Suntec Convention Centre, Singapore
  • 2003, VSC Freeman Fellowship exhibition, Vermont Studio Center, USA
  • 2002, Recent works by former award winners, The 10th International Biennial Print and Drawing Exhibition
  • 2001, ROC, The Taipei Fine Art Museum, Taiwan
    The Contemporary Asian Art Fair, Suntec Convention Centre, Singapore / ARTSingapore 2001, SICEC, Singapore
  • 2000, 5 Colours, Paragon Art Gallery, Singapore / Feast! Food in Art, Singapore Art Museum
  • 1997, Tresors, Singapore
  • 1996, Royal Birmingham Society of Artists Prize Exhibition
    Taipei Art Fair International
  • 1995, The UOB Group 60th Anniversary Celebration Art Exhibition
  • 1994, Cocoon, The Perception of Four Young Contemporary Artists presented by Shenn’s “Corporate Art Programme”, Singapore / Six Fields, Empress Place Museum Art Gallery, Singapore.
  • 1993, The 6th International Biennial Print & Drawing Exhibition 1993, Taiwan
  • 1992, Three Phases of Sky, Nanyang Academy of Fine Arts, Singapore

Awards

  • 2002, ASEAN Art Awards – Philip Morris Group of Companies, Bali, Indonesia
  • 2001, Juror’s Choice, Philip Morris (Malaysia) Sdn Bhd, Malaysia Art Awards 2001 Competition
  • 1998, Honourable Mention, Philip Morris Group of Companies, Asian Art Awards
  • 1997, Honourable Mention, Philip Morris Group of Companies, Asian Art Awards
  • 1995, Silver Award (Drawing Section), 7th International Biennial Print & Drawing Exhibition, Taipei, Taiwan
  • 1994, Merit Award, Singapore Urbanart Competition
    Honourable Mention, Philip Morris Group of Companies Asian Art Awards
  • 1992, Painting of the Year Award, United Overseas Bank Group’s 11th Painting of the Year Competition

Images of Artworks

Yeo Tze Yang (b.1994)

Yeo Tze Yang (b. 1994, Singapore) is a painter of everyday life. His paintings often depict the unnoticed and bypassed places and objects of his immediate surroundings. A self taught painter, his technique is raw and immediate. Avoiding contemporary conceptual approaches to art, he instead reverts to a more direct and emotive artistic direction. He believes in the unity of life and art, and envisions his works to speak for themselves to viewers of any background. The result of such a process is an accumulation of images, thoughts, emotions, stories and memories, that in turn become allegories of the artist’s life.

Tze Yang was awarded the UOB Painting of the Year Silver Prize in 2016. He was part of the Art Elective Program from secondary school to junior college for six years. Ever since leaving National Junior College in 2012, he has continued to paint, and has exhibited widely in venues such as Shophouse 5, Goodman Arts Centre, Institute of Contemporary Art, Art Apart Fair and the Affordable Art Fair in Singapore. He has been recognized as one of “15 Singaporeans Aged 25 And Under To Watch In 2015” by mustsharenews.com. He lives and works in Singapore. His works are part of private collections in Singapore, Australia, the UK and the USA. His first solo exhibition, A Place Behind My Eyes, was held at ION Art by Utterly Art. He is currently pursuing his bachelor’s degree in Southeast Asian Studies at the National University of Singapore.

Selected Solo Exhibitions:

Selected Group Exhibition and Art Fairs

Awards

Press and Publications

Talks


Images of Artworks

         

iPreciation at Art Miami 2017

VIP Preview Date: December 5, 2017 (By Invitation Only)
Art Fair Exhibition Period: December 5 – 10, 2017

Venue: The Art Miami Pavilion

One Miami Herald Plaza @ NE 14TH STREET
Downtown Miami
On Biscayne Bay between the Venetian & McArthur Causeways

General Admission Hours: 

Wednesday, December 6, 2017: 11am – 8pm

Thursday, December 7, 2017: 11am – 8pm

Friday, December 8, 2017: 11am – 8pm

Saturday, December 9, 2017: 11am – 8pm

Saturday, December 10, 2017: 11am – 6pm

iPreciation is pleased to announce our participation in Art Miami 2017 this December. We will be exhibiting a range of works from established Singaporean and international Chinese artists. This includes the Taichi and Living World Series sculptures from master sculptor Ju Ming (Taiwan), acrylic paintings by Tse Yim On (Hong Kong) and Milenko Prvacki (Singapore), photographic performance series by Lee Wen (Singapore), ink paintings by contemporary ink artists Wang Dongling (China) and Zhuang Shengtao, Oh Chai Hoo and Tay Bak Chiang from Singapore, and contemporary photography works from Chu Chu (China) and Jiao Jian (China).

For more information, please contact us at 65 6339 0678 or enquiry@ipreciation.com.

Portable Art Week 2017 – 4th Edition

 

Portable Art Week 2017 

Preview Date: 12 October 2017, Thursday, 6.30pm – 8.30pm

Exhibition Period: 13 – 21 October 2017

 

 

iPRECIATION is pleased to present the 4th edition of Portable Art Week. The annual group exhibition aims to be an accessible platform for those who are interested in discovering and collecting contemporary artworks from Singaporean and Asian artists. The exhibition will showcase small-sized but no less exceptional works from established and emerging artists. Spanning across a wide variety of media, the works are priced at a great value (from SGD $800-$4,800) and are suitable options for both experienced and new collectors who would like to expand or kick-start their collection of works by artists around the region. This year’s lineup will include paintings by young emerging artists Ashley Yeo, Bess Chan, Benny Teo, Jon Chan, Kenichiro Fukumoto, William Goh, Wong Kel Win, Yeo Tze Yang, Yang Zhongda and Singaporean artist Jeremy Sharma, followed by mixed media installation works by multi-disciplinary artist duo Chen Sai Hua Kuan and Wang Ruobing and ceramic sculptures by veteran artist Oh Chai Hoo. The diverse mix of affordably priced works in this exhibition will provide an opportunity for people to get up close with Singapore and Asian contemporary art, thereby encouraging and cultivating a “collectors” culture amongst art lovers here that will in turn contribute to a more vibrant art scene. To enhance art collecting accessibility to collectors, any acquisition made with OCBC Mastercard, Visa and China UnionPay Cards can enjoy 0% interest instalment payment plans.

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Artist Biographies:

Ashley Yeo (b. 1990, Singapore) is a Singaporean artist whose practice is founded on drawing. Her works are reflections on the epidemics of visual culture and the complexity of human conditions that stem from private thoughts and ontological questioning. Encompassing drawings, installation, sculpture and writing, she displays and deconstructs weariness and heaviness from a modern world. Within her art practice, she attempts to communicate and push forth kindness and equanimity, introducing lightness and encouraging slowness amidst the world of instant gratification and increasing pressure. She works within a construct of creating depth and curiosity. Ashley attained her Bachelor of Arts (Honours) Fine Art from LaSalle College of the Arts, Singapore with First Class Honours and completed her Master’s Degree in Fine Arts at Chelsea College of Art & Design.

Bess Chan (b. 1996, Singapore) is a final year student at Central Saint Martins, University of the Arts, London, where she is currently pursuing her Bachelor of Fine Arts (Honours). As Chan was born in Singapore, brought up in Hong Kong and educated in the UK ever since she was 14, her practice revolves around a continuous documentation of her constant shuffle between these places. Thus, her artistic interest lies in the uncertain nature of the concept of “home” and the ephemerality of contemporary life. Her paintings are drawn from momentary encounters on the streets that are archived and accumulated as photographs over time. Fragmented and distant memories are pieced together on the canvas into scenes constructed from imagination. Portraying the subtle, quiet things and fleeting moments in her immediate surroundings, the paintings essentially become visual reconstructions of the artist’s personal experiences, memories and interior states of being.

Benny Teo (b. 1988, Singapore) graduated with a Bachelor of Arts (Honours) in Fine Arts from LASALLE College of the Arts, Singapore in 2013. His work has been featured in several group exhibitions, including Roadless Travelled, German Centre, Singapore (2013); SPOT ART, MICA Building, Singapore (2013); DRIVE – A Gillman Barracks Public Art Festival, Singapore (2014); Art of Our City: Singapore Young Artists, The Art Space @ SUNTEC, Singapore (2015); and Presence and Distances, Flaneur Gallery, Singapore (2015), among others

Chen Sai Hua Kuan (b. 1976, Singapore) holds a Diploma in Fine Arts from LASALLE College of the Arts (1997) and a Master’s Degree in Fine Arts from the Slade School of Fine Art, University College London (2007). His art practices extend across a wide range of methods and approaches, including film, mixed media, performance, photography, sculpture, sound and installation. His work often centres around the exploration of space and time in relation to architectural concerns. Sai takes inspiration from everyday materials and experiences in the environment. By ‘documenting, collecting, constructing and deconstructing them’, he subverts the meaning of these objects and situations, altering the usual ways in which they are perceived in daily life. Sai’s works have been exhibited extensively in many solo and group exhibitions, including “Sound Like”, (2016, Künstlerhaus Bethanien, Berlin), “Ling Ting 2”, (2016, ENVISION: Sculptures @ the Garden City, Singapore) and (2015, Grand Palais Paris, Art Paris Art Fair), “Singapore Eye”, (2015, Saatchi Gallery, London), “Space Drawing”, (2014, OSAGE Gallery, Hong Kong), “Sound of the Earth” (2013, Fukuoka Asian Art Museum, Japan); ‘EV+A’ (2010, Ireland); ‘Moscow International Biennale for Young Art’ (2010, Russia); “Busan International Short Film Festival”, (2010 Busan, South Korea); ‘14th Media Art Biennale WRO’ (2011, Poland); ‘Luleå Art Biennial’ (2011, Sweden), and “International Festival for Arts and Media Yokohama” (2009, Yokohama, Japan).

Jeremy Sharma (b. 1977, Singapore) works primarily as a painter but his body of work encompasses video, photography, drawing and installation. He obtained his Master of Art (Fine Art) at the LASALLE-SIA College of the Arts / Open University, United Kingdom in 2006, and his Bachelor of Art (Fine Art) with High Distinction from the Royal Melbourne Institute of Technology (RMIT), Australia in 2003. His solo exhibitions in Singapore includes Apropos (2012) at the Institute of Contemporary Arts Singapore, Variations (2011) at Art Forum Gallery, The Protection Paintings – Of Sensations and Superscriptions (2008) at Jendela, Esplanade and End of A Decade (2007) at The Substation Gallery. He has participated in numerous group exhibitions and residency programmes locally and overseas countries including Singapore, Malaysia, Bangladesh, Italy, England and the United States. He has received several awards, including Royal Overseas Travel Scholarship Award (2007) JCCI Arts award with art collective KYTV (2005), Studio 106 residency award (2004 Singapore), Finalist in the Philip Morris Singapore Arts Awards (2003), The Lee Foundation Study Grant (2002) and the Della Butcher Award (1999).

Jon Chan (b. 1982, Singapore) graduated with a Bachelor of Arts (First Class Honours) in 2007, and a Masters of Fine Arts from LASALLE College of the Arts, Singapore, in 2008. Chan is the winner of the 2003 and 2007 Winston Oh Travel Award. He was also the winner of the Japanese Chamber of Commerce and Industry Arts award in 2007. In 2016, he presented a series of works in “Paraphernalia”, a solo exhibition at Grey Projects, Singapore. He has also participated in group exhibitions including “Visual Rage” (Institute of Contemporary Arts, Singapore, 2007) and “Departure 2” (iPreciation Gallery, Singapore, 2016). In his body of work for this exhibition, there is a dichotomy between mediated images and how they either intrude or merge with everyday vicissitudes. He is interested in focusing on narratives without the presence of figures. By doing so, he hopes to highlight the unseen structures and borders that govern space both physically and metaphorically.

Kenichiro Fukumoto (b. 1986, Hiroshima, Japan) studied at Lasalle College of the Arts, Singapore, as an exchange student in 2013. In 2014, he graduated with a Masters of Fine Arts (Painting) from Tokyo National University of the Arts. He was also awarded the Tokyo Wonder Wall Prize and Art Award Tokyo Marunouchi in 2014. He has exhibited in solo and group exhibitions, including the “TWS Emerging – Open Call Exhibition” (Tokyo Metropolitan Government Building, 2014) and “Cross Encounters” (Japan Creative Center – Japan Embassy, Singapore, 2013). His works frequently explore self-created forms and images among the various shapes found in the realms of fine arts, industrial art, folk crafts and decorative art. Since 2013, he has been influenced by tropical plants and other elements of nature he encounters while travelling around South East Asia.

Oh Chai Hoo (b. 1960, Singapore) is a Singaporean artist who works extensively with various mediums. Since he graduated from the Nanyang Academy of Fine Arts, Singapore in 1982, he has always been dedicated to his artistic creations. Oh’s mastery of the ink brush is as well-admired as his fearless experimentation with the medium. In recent years, he has been focusing on the development of new ink techniques on rice paper. Chai Hoo’s fascination with rock structures and their natural formations underlies his series of experimental ceramic sculptures. His sculptures highlight the unique beauty of mineral structures that have been shaped over time by the accumulation of sediments. Chai Hoo’s works have been showcased at many various shows and exhibitions, including recent solo exhibitions, “Lifetime of Change” with iPreciation, Singapore (2016), as well as “Tropical Zen Garden” at Esplanade, Singapore (2014). Apart from frequent exhibitions, he has also been given recognition for his outstanding works, by being awarded the Siaw-Tao Best Artwork Award, at the Siaw-Tao Annual Art Exhibition, Singapore, 2013.

Wang Ruobing (b. 1975, Chengdu, China) was born in Chengdu, China and studied at the Nanyang Academy of Fine Arts, Singapore, where she graduated with a diploma in 1997. She went on to study at LASALLE College of the Arts (1997) and University of London (2001). In 2005, she became a citizen of Singapore and has since been based here, practising art and also taking on various projects as a curator and researcher. She later received her Doctorate degree in Philosophy of Fine Art from Oxford University in 2010, on the Ruskin scholarship, and Lamb and Flag scholarships. From 2011 to 2014, she worked at the National Gallery Singapore as a curator and is currently lecturing at LASALLE College of the Arts. Wang adopts diverse methods in the process of her projects, of which comprises installation, sculpture, photograph and video. Her work challenges and explores ways of seeing, often disrupting perception and highlighting the anthropological nature of her subjects. She has participated in several solo and group exhibitions, including “Over the Horizon”(2016, The Concourse, Esplanade – Theatres on the Bay, Singapore), “#TransActing: A Market of Values” (2015, Chelsea College of Arts, London, UK), “Follies for è birds”, (2014, National Museum, Singapore), “The Earthly World” (2010, The Ruskin School of Drawing and Fine Art and The Dolphin Gallery, UK), “EVA International” (2010, Limerick, Ireland), “Green For Something” (2010, Mora Gallery, Bucharest, Romania, 2010), “Perfect Forest – Seeded II” (2004, The Substation Gallery, Singapore), “Seeded I” (1999, The Substation Gallery, Singapore).

William Goh Jian Hong (b. 1992, Singapore) is a visual artist who works with a range of media including oil and acrylic painting, sculpture, drawing and mixed media. He is currently pursuing his studies in Art Education at the National Institute of Education (Singapore) and holds a Diploma in Art Teaching from the Nanyang Academy of Fine Arts (Singapore). Goh has been a member of both the Modern Art Society (Singapore) and the Singapore Watercolor Society since 2016. He has attended various art and academic symposiums and workshops in Asia. His work has been exhibited both locally and internationally, including the “Fleuve De Vie, River of Life – Group Exhibition”, Society Kentridge Guild House Gallery, National University Singapore (2016) and “Baum des Lebens: Trajectory of Civilisation, Nanyang Academy of Fine Arts, Singapore (2016).

Wong Kel Win (b. 1989, Singapore) is a contemporary Singaporean artist. A recipient of the Future Leadership Scholarship (2013), Wong holds a Bachelor Degree (Honours) in Fine Arts at LASALLE College of the Arts, Singapore-Goldsmiths, University of London. Wong works in fine arts media – painting, printmaking and drawing as well as what is conventionally considered commercial media – digital drawings. Known for his sardonic wit and humour, Wong’s artworks contain elements of satire that mainly highlight conflicts, worldly issues and confrontations he faces in life. Challenging the contemporary world through his alter-ego, he frequently employs a comical approach to articulate illustrations in his mind and feelings of his heart. Wong has exhibited locally and internationally, including shows at Esplanade (“Commoners” – Solo Exhibition, 2017, Singapore), ION Art Gallery (“At Source 根源 The Young Talent Programme 2014/15 Winners’ Solo Exhibition, Singapore), Sabanci University, Turkey (2010), the Singapore Printmaking Society 29th Annual Exhibition (2009), and the Pocket Films Festival, Japan (2007).

Yeo Tze Yang’s (b. 1994, Singapore) works often depict the unnoticed and by-passed places and objects of his immediate surroundings. Avoiding contemporary conceptual approaches to art, he instead reverts back to a more direct and emotive artistic direction. He believes in the unity of life and art, and envisions his works to be able to speak for themselves and resonate with viewers of any background. The result of such a process is an accumulation of images, thoughts, emotions, stories and memories that in turn become allegories of his life. Yeo is currently pursuing his Bachelor’s Degree in Southeast Asian Studies at the National University of Singapore. He was awarded the Silver Prize under the Established Artist Category for the UOB Painting of the Year competition in 2016. His first solo exhibition, A Place Behind My Eyes, was held at ION Art Gallery in 2015. Yeo’s works have also been exhibited in venues including Goodman Arts Centre (Singapore), Institute of Contemporary Art (Lasalle College of the Arts, Singapore), Art Apart Fair and the Affordable Art Fair. His works are part of private collections in Singapore, Australia, the UK and the USA.

Yang Zhongda (b. 1988, Singapore) believes that a strong technical facility and sincerity is the foundation of all good artworks. He studies Western Painting at the Nanyang Academy of Fine Arts, Singapore (2014 – present). He has exhibited in group exhibitions and art fairs including “Affordable Art Fair” (Singapore, 2013), “Expression” (Dahlia Gallery, Singapore, 2012) and “Primeval: A Group Exhibiton” (Goodman Arts Centre, Singapore, 2012). Zhongda’s paintings serve as a visual response to the evanescence and growing nihilism of our time. Beginning from abandoned places, prosaic objects, and decrepit memories, he re-constructs these forgotten or neglected visuals as a means to record and reaffirm their existence and also his own. This visual diary answers a subconscious need to see meaning in daily life, of his relationship to the subjects, and his identity in relation to society. Working primarily in monochrome, he aims to eternalize transitory fragments of memories and effect intimate personal emotions and nostalgia. Through this context of documentation, preservation, and celebration of these moments, it is his wish that viewers would be momentarily transported via the paintings to re-examine and appreciate similar moments in their lives.

Indonesian Artists – Works in the Gallery (September 2017)

 

Top (From left to right): Samsul Arifin, Budi Ubrux, Riki Antoni

Bottom (From left to right): Alfi Jumaldi, Edo Pop, Gusmen Heriadi

Right Corner: Sri Astari Rasjid (sculpture)

 

In the month of September, the gallery will showcase works by Indonesian artists Budi Ubrux (b.1968), Samsul Arifin (b.1979), Alfi Jumaldi (b.1973), Sri Astari Rasjid (b.1953), Gusmen Heriadi (b.1974), Edo Pop (b.1972) and Riki Antoni (b.1977). Ranging from oil and acrylic paintings to sculptures, these works were painted between 2001 and 2009, during the early stages of their artistic careers. The works reflect upon the realities of the modern world and are driven either by personal experiences of the artists or their individual inquiries into the socio-political and cultural issues that has afflicted their society.

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Budi Ubrux (b. 1968)

Born in Semarang, Indonesia, Budi Ubrux has been engaged in numerous art-related works upon his graduation from the Yogyakarta Senior Visual Art School, before emerging as a dedicated full-time artist. The Grand Prize Winner of the Philip Morris Indonesian Art Awards in 2000, he has exhibited extensively both locally and overseas, including Switzerland, Russia, China and Korea. His works are powerful in reflecting the political and social realities of our time, such as the ironic role of the media, conveyed through unique faceless figures mummified in newsprint.

Alfi Jumaldi (b. 1973)

Born in West Sumatra, Alfi Jumaldi is twice the finalist of The Indonesian Art Award, and has widely participated in a numbers of exhibitions and art fairs in Indonesia, Singapore and China. He is also a founding member of the Jendela Fine Arts group, which supports artists in Yogyakarta. Alfi’s works are a quest for self reflection, revealing his own inner struggles by employing metaphorical symbols. Viewing Alfi’s works, one can detect a sense of disquiet and beauty, mingling in a surreal landscape.

Edo Pop (b. 1972)

An active member in the Indonesian art scene, Edo Pop cofounded the Bidar Sriwjaya workshop and Muara Art House. He also participated in overseas solo and group exhibitions in Denmark, USA and Canada. Concerned with materialistic consumerism, his estranged, eccentric figures are caricatures formed by excessive lifestyles. At times a female character holds her head above a cartoonesque body, reflecting an absence of thought, as people become consumed with the material.

Samsul Arifin (b. 1979)

Born in Malang, Indonesia, Samsul Arifin established himself as a multi-talented artist. In 2001, he won both Indonesian Art Institute awards for the Best Watercolour Painting and Best Sketching Work. The artist is often employs, with astute awareness, artistic signifiers in various combinations to construct meanings in his creations. In his series of Barbie Dolls paintings, he has invested much deep thought to effectively manipulate object, colour, space and composition in his works, in criticizing the penetration of imported cultures.

Riki Antoni (b. 1977)

Born in Padang, West Sumatra in 1977, Riki Antoni graduated from the Indonesian Institutes of Arts, Yogyakarta in 2006. His works were widely exhibited in different cities in Indonesia, including the group exhibition of the Artists of Minangkabau held in the National Gallery in Jarkarta. Riki’s paintings are a vigorous expression of self and his fascination for the proverbial, his colourful creations probing viewers to question what constitutes civilised behaviour, and the vulnerabilities that lie beneath a vibrant façade.

Sri Astari Rasjid (b. 1953)

Born in 1953 in Jakarta, Indonesia, Sri Astari Rasjid briefly studied English Literature at the University of Indonesia (1973). She went on to study fashion in London in 1976 and subsequently became a fashion journalist and fashion designer. In 1987, Sri Astari honed her art education and technical skills at the University of Minnesota, USA and the Royal College of Art in London in 1998. She was one of the recipients of the Philip Morris Indonesia VI awards and was also one of the winners of the Millennium Painting Competition of the Winson and Newton Awards (1999). In 2013, she participated in the Indonesia National Pavilion at the 55th Venice Biennale Arte. She started her career as a professional artist in the early 90s, actively taking part in exhibitions in Indonesia and abroad. Besides being an artist, Sri Astari has been an active player in the arts world –

As the executive director of the 9th Jakarta Biennale, she realized curator Jim Supangkat’s suggestion to introduce installation forks for the first time, and was an important mover as executive committee for the seminal exhibition of contemporary art of the Non-aligned countries in 1995. As a member of the Indonesia Art Foundation (Yayasan Seni Rupa Indonesia), Sri Astari also actively contributes to the education of young artists and the development of art in Indonesia. In early January 2016, Sri Astari was appointed the ambassador of Indonesia to Bulgaria.

Gusmen Heriadi (b. 1974)

Gusmen Heriadi was born in 1974 in Pariaman, West Sumatra, Indonesia. Having graduated from the Indonesian Institute of the Arts (ISI) in 2005, he now works as an illustrator at Tabloid Altternatif Pualiggoubat Mentawai in his hometown. Gusmen has been actively exhibiting his work over the past two decades. He won an award in Indonesia for Space and Image, that is exhibited at Ciputra World Marketing Gallery. He has also been a finalist of both the Philip Morris and Indofood Art Awards (2000 and 2002), and has been honoured with a Special Appreciation at the Jakarta Art Awards in 2006. The objects featured in his paintings are often metaphors of his feelings and inner debates about the issues of culture and tradition in a modern society. Most of his works are products of his dreams, his responses to life, and his philosophical views. These philosophical and critical thoughts are the result of cultural development and family habits, as well as influences from the breadth of his artistic life and pursuits

Zhuang Shengtao 庄聲濤 (b.1944)

Zhuang Shengtao was born in Chaozhou, China. He moved to Singapore in 1955 where he enrolled in Nanyang Academy Of Fine Arts later in 1964. Zhuang also studied Chinese painting and calligraphy under the tutelage of renowned Singaporean calligrapher, See Hiang To. Being exposed to many years of education in the Chinese classics gave him a steadfast grounding in Chinese literature, brushwork and the philosophy of Taoism. He excelled in his academic studies and majored in Chinese Literature at the Nanyang University in Singapore, where he obtained both a Bachelor’s degree in 1974 and a Master’s degree in 1977. In 1981, Zhuang travelled to France to study French at the University of Nice (Nice, France) and the Alliance Francoise (Paris, France). Zhuang also studied printmaking at the Cornish College of the Arts  (Seattle, Washington, USA) in 1988 and achieved a Master of Fine Arts from the University of Washington (Seattle, USA) in 1990. During his sojourns to Europe and the USA, he visited various museums and galleries, immersing himself in the rich histories and cultural offerings of the respective countries. The experience gained from travelling broadened his perspectives and inspired him to seek new ways to contemporize traditional Chinese calligraphy and ink painting. He felt compelled to experiment with unconventional methods of expression after his return to Singapore. The crucial period that Zhuang spent travelling to Europe and the USA was to become a deep influence on his creative practice, even till this day. Hence, between the period of 1984 to 2010, there is a significant development in his artistic pursuit from one of tradition to that of the contemporary. The abstract and organic compositions of his ink paintings from the past decade or so are reminiscent of the dynamic, raw and sweeping aesthetics of post-war Western art, yet maintain the elegance and symbolism of Chinese calligraphy and ink painting. Zhuang has participated in solo and group exhibitions in Singapore and other countries, including ‘Journey of Ink’, (1993, Singapore National Museum Art Gallery), ‘Power and Poetry – Monuments and Meditations in Chinese Contemporary Ink Paintings’ (1998, Singapore Art Museum), ‘5th International Ink Painting Biennial of Shenzhen’ (1999, Shenzhen, China) BenSe Art Museum, (2009, Suzhou, China) and ‘The Ink Art of Zhuang Shengtao’ (2017, iPreciation Gallery, Singapore).

Selected Solo Exhibitions

  • 1979   1st one-man show, Hilton Hotel, Singapore
  • 1980   2nd one-man show, Alliance Françoise, Singapore
  • 1982   3rd One-Man Show, Work in Paris, Gallery of James Tan, Singapore
  • 1985   Zhuang Shengtao: New Work, National Museum Art Gallery, Singapore
  • 1986   Shengtao’s Way, Alpha Gallery, Singapore
  • 1994   Autumn Poems, Shenn’s Fine Art, Singapore

Selected  Group Exhibitions

  • 1982  Participated in the 3rd ASEAN Travelling Exhibition of Visual Art
  • 1983    Participated in Three Singaporean Artists in Australia, organized by the Raya Gallery, Melbourne
  • 1984    Participated in the 4th ASEAN Travelling Exhibition of Visual Art
  • 1987    Participated in New Direction­ – Singapore Contemporary Art in the 80s and The National Museum Centennial Art Exhibition, Singapore National Museum Art Gallery
  • 1990    Participated in the MFA Shows, Henry Gallery, University of Washington, Seattle Washington, USA
  • 1993    Participated in Journey of Ink, Singapore National Museum Art Gallery. Represented Singapore in the 2nd ASEAN Workshop, Symposium, and Exhibition on Aesthetics at the Cultural Centre Philippines, Manila, Philippines
  • 1995  Participated in Perception – Drawings by 6 Singaporean Artists, Cicada Gallery, Singapore
  • 1998    Participated in Power and Poetry – Monuments and Meditations in Chinese Contemporary Ink Paintings, Singapore Art Museum
  • 1999    Participated in Exposition of Arts, Shanghai, China
  • Participated in the 5th International Ink Painting Biennial of Shenzhen, Shenzhen, China Participated in the Exploration: New Ink Art, Shanghai. China
  • 2009  Participated in the A Florid Movement of Harmony, in celebration of the 15th anniversary of the Suzhou Industrial Project
  • 2009     Studio and show in BenSe Art Museum, Suzhou, China

Images of artworks

Undertone – A Group Exhibition

Undertone – A Group Exhibition by Yeo Tze Yang, Goh Jian Hong & Bess Chan

Preview Date: 6th July 2017, Thursday, 6.30pm – 8.30pm

Exhibition Period: 7th July 2017 – 22nd July 2017

 

 

 

iPRECIATION is pleased to present “Undertone”, an exhibition featuring the works of three talented emerging artists from Singapore – Yeo Tze Yang, Bess Chan and Goh Jian Hong. Armed with a critical awareness of the rapidly changing world, these artists represent a burgeoning new generation of thinkers, dreamers and image-makers. Akin to the underlying, initial layers of paint on a blank canvas which may seem unassuming on first glance, each of them play an essential and inextricable role in the structure of a bigger picture. As artists just beginning to make their mark in the local arts scene, they signify a multitude of possibilities. Unified by a mutual desire to express their interpretations of the social issues and dysfunctions that arise from the urban environment they are situated in, they employ different tangents of painting practices to create works that are sincere, insightful and thought-provoking.

Yeo Tze Yang (b. 1994, Singapore) is a painter of everyday life. His paintings often depict the unnoticed and by-passed places and objects of his immediate surroundings. Avoiding contemporary conceptual approaches to art, he instead reverts back to a more direct and emotive artistic direction. He believes in the unity of life and art, and envisions his works to speak for themselves to viewers of any background. The result of such a process is an accumulation of images, thoughts, emotions, stories and memories that in turn become allegories of his life. Yeo was awarded the Silver Prize under the Established Artist Category for the UOB Painting of the Year competition in 2016. He has exhibited widely in venues such as Shophouse 5, Goodman Arts Centre, Institute of Contemporary Art, Art Apart Fair and the Affordable Art Fair in Singapore. His works are part of private collections in Singapore, Australia, the UK and the USA. His first solo exhibition, A Place Behind My Eyes, was held at ION Art by Utterly Art in 2015. Yeo is currently pursuing his Bachelor’s Degree in Southeast Asian Studies at the National University of Singapore.

Bess Chan (b. 1996, Singapore) is currently pursuing her Bachelor of Fine Arts (Honours) at Central Saint Martins, University of the Arts, London. Being born in Singapore, brought up in Hong Kong, and having studied in the UK ever since she was 14, her practice revolves around a continuous documentation of her constant shuffle between these places. Thus, her artistic interest lies in the uncertain nature of the concept of “home” and the ephemerality of contemporary life. Her paintings are drawn from momentary encounters on the streets that are archived and accumulated as photographs over time. Fragmented and distant memories are pieced together on the canvas into scenes constructed from imagination. Portraying the subtle, quiet things and fleeting moments in her immediate surroundings, the paintings essentially become visual reconstructions of the artist’s personal experiences, memories and interior states of being.

Goh Jian Hong (b. 1992, Singapore) is a visual artist who works with a range of media including oil and acrylic painting, sculpture, drawing and mixed media. He is currently pursuing his studies in Art Education at the National Institute of Education (Singapore) and holds a Diploma in Art Teaching from the Nanyang Academy of Fine Arts (Singapore). Goh has been a member of both the Modern Art Society (Singapore) and the Singapore Watercolor Society since 2016. He has attended various art and academic symposiums and workshops in Asia. His work has been exhibited both locally and internationally, including the “Fleuve De Vie, River of Life – Group Exhibition”, Society Kentridge Guild House Gallery, National University Singapore (2016) and “Baum des Lebens: Trajectory of Civilisation, Nanyang Academy of Fine Arts, Singapore (2016).

Featured Artwork Partial Images (Left to Right):  Bess Chan – Five to Ten, 117 x 290 cm (Diptych), Oil on Canvas, 2017   |  Yeo Tze Yang – Queue, 91 x 61 cm, Oil on Canvas, 2017   |  Goh Jian Hong – Telok Kurau Primary to Telok Kurau Studios, 60 x 80 cm, Oil on Canvas, 2017

iPreciation at Art New York 2017

Art New York 2017 – Ju Ming, Tang Da Wu, Irene Chou, Oh Chai Hoo,
Tay Bak Chiang, Milenko Prvacki, Jin Jie and Zhuang Shengtao

VIP Preview Date (By invitation only):
3rd May 2017, Wednesday, 2pm – 5pm

Fair Dates & Opening Hours:
Wednesday May 3 : 5pm-8pm
Thursday May 4 : 12pm-8pm
Friday May 5 : 12pm-8pm
Saturday May 6 : 12pm-8pm
Sunday May 7 : 12pm-6pm
Location: Pier 94  |  12th Avenue at 55th Street New York, NY 10019

 

iPreciation is proud to announce that the gallery will be participating in Art New York 2017, presenting a group exhibition featuring sculptures from Ju Ming’s Living World Series, ink paintings by Tang Da Wu, Oh Chai Hoo, Irene Chou, Tay Bak Chiang and Zhuang Shengtao, oil paintings by Jin Jie and acrylic paintings by Milenko Prvacki.

Ju Ming 朱銘 (b. 1938, Taiwan) was trained under the apprenticeship of Lee Chinchuan, where he mastered woodcarving and later under Yuyu Yang, a significant sculptor and pioneer of modern art. The maturity of his sculptural language and aesthetic style incorporates the free expression and embraces values of simplicity and environmentalism. Ju presents to an international audience, modern sculptures imbued with Chinese ideas; with the major works in his Taichi Series emphasizing abstract forms encompassing the spirit of Chinese taiji. He simplified Chinese sculpturing forms by incorporating Chinese freehand 写意 calligraphic strokes to mould his sculptures, creating semi-abstract and subsequently abstract sculptures; such a style as rarely seen anywhere else. Ju’s works are in many private and public places including the public collection of National Museum of Singapore, Williams College, USA, City Garden, USA, University of Kansas, USA, Tel Aviv Museum of Art, University of Cambridge, Ashmolean Museum Oxford University, St Catherine’s College Oxford, and Canada Botanical Gardens.

Irene Chou 周綠雲 (b. 1924, Shanghai) received a modern education from St. John’s University in 1945. Leaving Shanghai to settle in Hong Kong in 1949, she began to study Chinese painting under Zhao Shao’ang (1905-1998), an artist of the Lingnan School. Chou later studied under the tutelage of Lu Shou-Kun (1919-1975), whose theories of New Ink Painting inspired her to move away from conventional Chinese styles towards abstract forms. She explored through her paintings, the inner workings of the mind and its relationship to the mysteries of the universe. Her abstract paintings from the 1980s onwards exploded with a stunning energy; these powerful works have rendered her as one of the most innovative artists of the New Ink Painting movement in Hong Kong.After a stroke in 1991, Irene relocated to Brisbane, Australia, where she continued to paint more determinedly than ever. Today, her works are collected by the British Museum, the Chinese University Museum, the Fung Ping Shan Museum and the Hong Kong Museum of Arts, the University of Hong Kong, the City Gallery in Manila, the Boston Museum of Fine Arts, the National Arts Centre, the National Museum of History in Taipei, the Queensland Art Gallery and the Melbourne Raya Gallery in Australia. (Irene Chou passed away in Brisbane, Australia, in 2011)

Jin Jie 金捷 (b. 1965, China) holds a PhD in Fine Art from Nanjing University of Arts in Jiangsu province. A faithful proponent of the foundation and techniques of orthodox Western oil painting, he has adeptly mastered critical skills in western oil painting. While his works seem to resonate with Western modern art’s impressionistic tones, the soul of the subject is very much Chinese, reflecting the ideas and essence of the depth of Chinese culture. He strongly believes that an oil painting by a Chinese painter needs to be created and identifiable as a Chinese oil painting, not a Western one. Hence the style of his work is based on Chinese ink’s expressive painting写意 (xieyi, meaning expressive, freehand) style, where the focus is not on the detailed rendition of the subject but on its essence. Jin Jie has exhibited extensively in China and is a member of the prestigious China Artists Association amongst many other notable appointments in China. His works are collected by many privates, corporates and institutions.

Oh Chai Hoo 胡财和 (b. 1960, Singapore) is a local artist who works extensively with various mediums. He started his artistic creations at the age of 14, and holding his first group exhibition at 15 with respected artists such as Chen Wen Hsi. His mastery of the brush is as admired as his fearless experimentation with the medium. With his constant development of new techniques for ink on paper, he pushes the boundaries of the art form’s rich heritage to create works that are powerful fusions of Eastern and Western traditions of fine art. Oh graduated from Nanyang Academy of Fine Arts, Singapore in 1982 and is a full time artist who is actively involved in the local arts scene. He is a member of various arts groups including the Singapore Sculpture Society and Nanyang Clay Group, and has had various solo and group exhibitions. He has exhibited in Singapore, Taiwan, China, U.K., Korea and Japan, and has won prestigious awards including the Highly Commendable Award for Abstract Medium in the 18th UOB Painting Competition, Singapore.

Tang Da Wu 唐大霧 (b. 1943, Singapore) received a BA in sculpture from the School of Fine Art, Birmingham Polytechnic (now Birmingham Institute of Art and Design) in 1974 and pursued advanced studies in sculpture at Saint Martins School of Art (now Central Saint Martins) from 1974–75. In 1985, he received an MFA from Goldsmith’s College, University of London. After returning to Singapore in 1979, Tang began to work in performance art, and in 1988, cofounded the Artists Village, a collective committed to promoting experimental art through the provision of studio and exhibition space.  Through performance, installation, painting, and drawing, Tang explores social and environmental themes including deforestation, animal endangerment, and urban transformation. Tang was the recipient of the Visual Arts Award from the Arts Council of Great Britain in 1978, as well as the Artist Award from the Greater London Arts Council in 1983. In 1999, he was awarded the 10th Fukuoka Asian Culture Prize in Arts and Culture. He has had solo exhibitions at ACME Gallery, London (1978), National Museum Art Gallery, Singapore (1980), Your Mother Gallery, Singapore (2005), Valentine Willie Fine Art, Kuala Lumpur (2006), and Goodman Arts Centre, Singapore (2011). Important performances include Five Days at NAFA and Five Days in Museum, Nanyang Academy of Fine Arts and National Museum, Singapore (1982), They Poach the Rhino, Chop Off His Horn and Make This Drink, National Museum Art Gallery, National University of Singapore, and Singapore Zoo (1989), and Don’t Give Money to the Arts, Singapore Art exhibition and fair (1995). He has participated in group exhibitions including the Asian Art Show, Fukuoka Art Museum, Japan (1989), Art in Asia: Traditions/Tensions, Art Gallery of Western Australia, Perth (1998), Fukuoka Asian Art Triennial (1999), and Singapore Biennial (2006). He was featured in the Singapore Pavilion at the Venice Biennale in 2007. Tang lives and works in Singapore.

Milenko Prvacki (b. 1951, Yugoslavia / Singapore) graduated with a Master of Fine Arts (Painting) from the Institute of Fine Arts in Bucharest, Romania. He is one of the city’s foremost Art educators, having commenced teaching at LASALLE College of the Arts since 1994. He was Dean of the Faculty of Fine Arts for 17 years, and currently holds the position of Senior Fellow. Milenko has exhibited extensively in Europe since 1971, with numerous showcases in public spaces and galleries in Singapore since 1993. With recent solo shows held in Singapore, Kuala Lumpur, Sydney, and Jakarta, Milenko also participated in recent group shows held at the Museum of Modern Art in Antwerp, Belgium, the Torrance Art Museum in Los Angeles, the NUS (National University of Singapore) Museum, and the Biennale of Sydney. He has also participated in numerous symposiums and art workshops worldwide, including a panel discussion on Southeast Asian art held at the Singapore Art Museum in 2011, an artist talk at the Istanbul Biennale in 2007, a discussion on Southeast Asian art in Belgrade, Yugoslavia in 2001, and acted as visiting professor at Musashino Art University in Tokyo, and Sabanchi University in Istanbul. His works are in the permanent collection of the Gallery of New South Wales, Sydney Australia; Museum of Contemporary Art, Belgrade, Serbia; Singapore Art Museum, Singapore; Museum of Contemporary Drawing, Nurnberg, Germany among others. Milenko became a Singapore citizen in 2002 and is the recipient of the prestigious Cultural Medallion Award for Visual Arts in 2012.

Tay Bak Chiang 郑木彰 (b. 1973, Singapore) graduated from the Nanyang Academy of Fine Arts in Singapore in 1995 and studied at the China Academy of Art in Hangzhou, China, in 1997. He was awarded the First Prize in the Chinese Painting category in the 19th and 22nd United Overseas Bank Painting of the Year Competitions (2000 and 2003 respectively). In 2002 he received the Young Artist Award from the National Arts Council of Singapore. He has had five solo exhibitions to date: Fa Zi Hua Sheng《法自画生》(2003), Between Breaths《呼吸之间》(2010), Ingenuity《天工》(2011), Hear the Wind Sing《且听风吟》(2012) and The Breath of A Blade《剑气》(2013). Bak Chiang has always been inspired by nature. To him, nature is perfection, balance and harmony. He also believes his work should bear the imprint of his environment and reflect the spirit of contemporary times, even if it is rooted in Chinese ink painting. Hence, he often interprets anew nature themes familiar in Southeast Asia, such as heliconias, banana and palm trees, stones and lotus ponds. Earlier in his practice, he experimented with deconstructing and reconfiguring nature motifs. More recently, he has attempted to move away from representational forms, abandoning motifs that may bear his feelings and points of view. He interprets lotus flowers as minimalist forms; stalks as thick, unembellished strokes; and stones as aloof, silent silhouettes, creating vistas that invite viewers to imagine and discover nature for themselves, just as nature intends for us to do.

Zhuang Shengtao 庄声涛 (b. 1944, China / Singapore) came to Singapore in 1955 with his parents. He enrolled in a part-time art program at the Nanyang Academy Of Fine arts in 1964, studying Chinese painting and calligraphy under the tutelage of renowned ink artist, Shi Xiang Tuo. He graduated with his bachelor’s degree in 1974, and a Master’s degree in 1977, both obtained from Nanyang University, Singapore. He later went on to study French in Singapore, at the University of Nice (Nice, France) and the Alliance Francoise (Paris, France) in 1981. He moved to the USA in 1987 and enrolled in an Advanced English program at the Monterey Institute of International Studies, California. Zhuang also studied print making at the Cornish College of the Arts  (Seattle, Washington, USA) in 1988, and achieved a Master of Fine Art in the University of Washington, (Seattle, USA) in 1990. He has participated in many solo and group exhibitions in Singapore and other countries, including the ‘Three Singaporean Artists’  (1983, Raya Gallery, Australia), ‘New Direction – Singapore Contemporary Art in the 80s and The National Museum Centennial Art Exhibition’ (1987, Singapore National Museum Art Gallery), ‘Journey of Ink’, (1993, Singapore National Museum Art Gallery), ‘Power and Poetry – Monuments and Meditations in Chinese Contemporary Ink Paintings’ (1998, Singapore Art Museum), ‘5thInternational Ink Painting Biennial of Shenzhen’ (1999, Shenzhen, China) and in BenSe Art Museum, (2009, Suzhou, China). Zhuang now lives and works in Suzhou, China.

For more information on ticketing, please contact the gallery at
brian.foong@ipreciation.com or audrey.tay@ipreciation.com

When Space Dissolves into Luminosity; Where Flowers Bloom Amidst Rocks

When Space Dissolves into Luminosity; Where Flowers Bloom Amidst Rocks – A group exhibition by Chng Seok Tin, Han Sai Por, Chiew Sien Kuan, Oh Chai Hoo, Chua Chon Hee,  Lim Soo Ngee, Ng Siok Hoon, Terence Tan, Lynn Lim, Yang Zhong Da

Private Preview: 13th April 2017, 6.30pm – 8.30pm

Exhibition Opens to Public: 15th April  – 25th April 2017

Artwork Collage (When space dissolves)

 

iPreciation is proud to present “When Space Dissolves into Luminosity; Where Flowers Bloom Amidst Rocks”, a group exhibition comprising works by 10 Singaporean artists. This exhibition coalesces the rich diversity and talent of these unique individuals, some of whom are young and emerging artists and the others, established art practitioners with a wealth of experience in the local and international cultural scene. The works on view spans across different mediums; ranging from sculptures, paintings, prints and mixed media. This exhibition examines how artists of today approach questions of authenticity while navigating the ever complex world. This common pursuit for authenticity reflects a desire to be free, autonomous and true to oneself, in a bid to achieve a sense of fulfillment and harmony in life. In light of this sentiment, the artists selected for this exhibition present works that have been informed by inspiring situations. These diverging works are imbued with a critical awareness of the everyday environment and the dilemmas and discontent that arises from progress.

In the visual imageries of Chiew Sien Kuan, Oh Chai Hoo, Ng Siok Hoon and Terence Tan, lies a burgeoning sense of detachment from the physical world, where space seems to dissolve into luminosity and manifest into a utopian state. Other works in this exhibition explore notions of desire, limitations and how one relates to the material world. Both Lim Soo Ngee and Yang Zhong Da highlight subtle details by bringing seemingly incompatible worlds together to create compositions with a streak of odd humor and curiosity. On the other hand, the works of Chng Seok Tin, Han Sai Por, Chua Chon Hee and Lynn Lim are deeply rooted in nature and its inextricable connection to the very essence of life. Each of their creations linger between the fictional and the experiential, suggesting perhaps, within the intersections and between the realm of the real and the imagined is where the authentic lies.

Supported by NAC

The Ink Art of Zhuang Shengtao 庄声涛

Private Preview: 16th March 2017, 6.30pm – 8.30pm

Exhibition Opens to Public: 17th March – 1 April 2017

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iPreciation is honoured to present a solo exhibition by Singaporean artist and Ink master, Zhuang Shengtao. This exhibition brings together a selection of 34 works created between the years 1984 to 2010, a period marked by his significant artistic development from one of tradition to that of the contemporary. These works are a synthesis of traditional and modern themes, where bold brush strokes and abstract characters meet, reminiscent of the aesthetics of modern Western art, yet retaining the fundamentals and symbolism of Chinese calligraphy. They reflect Zhuang’s roots in Chinese Ink painting and calligraphy and his desire to incorporate the free-spirited and expressive quality of the Western art he encountered during his travels to Europe and the USA in the 1980s.

 

Born in China in 1944, Zhuang came to Singapore in 1955 with his parents. He enrolled in a part-time art program at the Nanyang Academy Of Fine arts in 1964, studying Chinese painting and calligraphy under the tutelage of renowned ink artist, Shi Xiang Tuo. He graduated with his bachelor’s degree in 1974, and a Master’s degree in 1977, both obtained from Nanyang University, Singapore. He later went on to study French in Singapore, at the University of Nice (Nice, France) and the Alliance Francoise (Paris, France) in 1981. He moved to the USA in 1987 and enrolled in an Advanced English program at the Monterey Institute of International Studies, California. Zhuang also studied print making at the Cornish College of the Arts  (Seattle, Washington, USA) in 1988, and achieved a Master of Fine Art in the University of Washington, (Seattle, USA) in 1990. He has participated in many solo and group exhibitions in Singapore and other countries, including the ‘Three Singaporean Artists’  (1983, Raya Gallery, Australia), ‘New Direction – Singapore Contemporary Art in the 80s and The National Museum Centennial Art Exhibition’ (1987, Singapore National Museum Art Gallery), ‘Journey of Ink’, (1993, Singapore National Museum Art Gallery), ‘Power and Poetry – Monuments and Meditations in Chinese Contemporary Ink Paintings’ (1998, Singapore Art Museum), ‘5th International Ink Painting Biennial of Shenzhen’ (1999, Shenzhen, China) and in BenSe Art Museum, (2009, Suzhou, China). Zhuang now lives and works in Suzhou, China.

Supported by NAC

 

Irene Chou’s Universe of Ink at Art Basel Hong Kong 2017

 

Art Basel Hong Kong 2017 – Irene Chou’s Universe of Ink

VIP Preview Date: 21 – 22 March 2017 (By Invitation Only)
Exhibition Dates: 23 – 25 March 2017

 

 

Location: Hong Kong Convention & Exhibition Centre 1 Harbour Road Wan Chai (Hong Kong, China)

OPENING HOURS

Tuesday, March 21, 2017
3.00 PM – 8.00 PM VIP Preview

Wednesday, March 22, 2017
1.00 PM – 5.00 PM VIP Preview

5.00 PM – 9.00 PM Vernissage

Thursday, March 23, 2017
1.00 PM – 8.00 PM

Friday, March 24, 2017
1.00 PM – 9.00 PM

Saturday, March 25, 2017
11.00 AM – 6.00 PM

iPreciation will be participating in Art Basel Hong Kong 2017, presenting a solo exhibition of works by Irene Chou (b. 1924 – 2011).

Chou was a leading pioneer of the New Ink Painting Movement in Hong Kong during the 1960s, known for her unique blend of traditional Chinese ink painting together with the aesthetics of modern and abstract Western art. The works that will be presented at Art Basel Hong Kong 2017 for the solo exhibition are special and poignant – they were mostly created over a period of time after she suffered from a stroke in 1991 and before she passed on in 2011. They reflected her strong and unwavering artistic spirit in redefining the boundaries of conventional Chinese painting, even in difficult times. Her art took a more introspective turn to the metaphysical contemplations of life and the universe –  the art of her inner world. Her works are collected by the British Museum, the Chinese University Museum, the Fung Ping Shan Museum and the Hong Kong Museum of Arts, the University of Hong Kong, the City Gallery in Manila, the Boston Museum of Fine Arts, the National Arts Centre, the National Museum of History in Taipei, the Queensland Art Gallery, the Melbourne Raya Gallery in Australia, GIC Singapore, Jurong Town Corporation, Harbour View, Keppel Land and the Museum of Brisbane.Chou’s works have been collected by the British Museum, the Chinese University Museum,  the Hong Kong Museum of Arts, the City Gallery in Manila, the Boston Museum of Fine Arts, the National Museum of History in Taipei, the Queensland Art Gallery and the Melbourne Raya Gallery in Australia.

For more information, please contact us at brian.foong@ipreciation.com or audrey.tay@ipreciation.com

Jon Chan Weiwen (b. 1982 )

Jon Chan is a Singaporean painter who explores the dimensions between unsolicited real-time performances and their meditation and circulation as images, attenuating any parallels between these two domains. His works in this exhibition will draw inspiration from his interest in comics as well as real-time situations. He attained his Diploma in Fine Art (Painting), Bachelor of Arts (First Class Honours) and Masters of Fine Arts in Lasalle College of the Arts Singapore, and has been awarded the Winston Oh Travel Award in both 2003 and 2007. He has also been a recipient of the JCCI Arts Awards in 2007.

Selected Solo Exhibitions

  • Paraphernalia, 2016, Grey Projects, Singapore

Selected  Group Exhibitions

  • Tourist, 2002, Earl Lu Gallery II, Singapore
  • Travelogue (Winston Oh Travel Award) 2003, Earl Lu Gallery II, Singapore
  • Honey Mercury, 2003, LASALLE-SIA Gallery, Singapore
  • Bilateral Bonds, 2003, Taksu Gallery, Singapore, Kuala Lumpur
  • Miniature, 2006, LASALLE-SIA, Project Space, Singapore
  • Visual Rage, 2007, Institute of Contemporary Arts Singapore, Singapore
  • Feast, 2007, Institute of Contemporary Arts Singapore, Singapore/ LASALLE-SIA Project Space, Singapore
  • The Stone Soup Story, 2007, tickleart, CityLink Mall
  • Black Is Not the Darkest Colour, 2007, La Libreria, Singapore
  • LASALLE Degree Show 07, 2007, LASALLE College of the Arts
  • Viza, Viza, Vizualize, 2008, LASALLE College of the Arts Praxis Space, Singapore
  • An Assault Against Affection, 2009,  tickleart, CityLink Mall
  • Finding Humor, 2013, Merely Ice Cream, Sunshine Plaza, Singapore
  • Modern Love,2014, LASALLE College of the Arts

 Published works

  • An Assault Against Affection (Self Published Comic), 2014

Images of artworks

Jon Chan, Rhemial's Passing, 2016

Ashley Yeo (b. 1990)

Ashley’s practice is founded from drawing. Her works have been reflections from the epidemics of visual culture and the complexity of human condition. They stem from private thoughts and ontological questioning. Encompassing drawings, installation, sculpture and writing, she displays and deconstructs weariness and heaviness from a modern world.

In her recent practice she considers inarticulation (the absence of conventional dialogue, the concept of a loss for words) and softness, in an effort to bring back what was becoming less visible in the human condition. Her shift to biocentrism also centers on her interest towards axiology and morality, questioning value, ethics and beauty.

Ashley’s work discusses the limitation of spoken words, underlining pain and longing within a highly dense population and its increasing reliance of technology for distractions and its results of producing disaffection, alienation and depression.
Within her art practice, she attempts to communicate and push forth kindness and equanimity, introducing lightness and encouraging slowness amidst the world of instant gratification and increasing pressure. She works within a construct of creating depth and curiosity.

Ashley completed her Masters Degree in Fine Arts at Chelsea College of Art & Design, London. She attained her BA (Hons) from LASALLE College of Arts, Singapore with first class honors. She has been the recipient of the Lasalle Award of Academic Excellence(2011), Winston Oh Travel Award(2010) and NAC scholarship (Local) in 2010. She has participated in numerous group shows in London, Singapore, Turkey, and Thailand and artist residencies with Elsewhere Museum (North Carolina, USA), Eastside (Los Angeles, USA), Vermont Studio Center (Vermont, USA) and School of Visual Arts (New York, USA).

Selected Solo Exhibitions

  • 2016, The haze in their eyes, Becky Art Space, Jeonju, South Korea
  • 2015, You must imagine Sisyphus happy, FOST Gallery, SIngapore
  • 2012, The Lost Children Gallery du Monde, London
  • 2012, Room, Foxriver Gallery, Singapore
  • 2011, A Thousand Words and more Orchard Central Kartestudios, Singapore
  • 2011, Silent Infatuations Trispace, Singapore

Selected Group Exhibitions

  • 2019, On/ Out of Paper, Mizuma Gallery, Singapore
  • 2019, Loewe Craft Prize, Finalists from the east, ESH Gallery, Milan, Italy
  • 2018, Loewe Craft Prize, London Design Museum, London, UK
  • 2017, Finding Tenderness, Waterlon Galarie, Chicago, USA
  • 2017, Mokuhanga Lab, CfSHE Gallery, Tokyo, Japan
  • 2016, Imaginarium: An Odyssey Singapore Art Museum, Singapore
  • 2016, SCOUT Gillman Barracks, Singapore
  • 2016, In their Oceans Esplanade, Singapore
  • 2015, The Measure of your Dwelling: Singapore as Unhomed, Ifa Gallery, Berlin, Germany
  • 2015, Economy, LATENT SPACES, Art Stage Singapore
  • 2014, The Affordable Art Fair, F1 Pit Building, Singapore
  • 2014, Echoes of Anticipation, FOST Gallery, Singapore
  • 2014, Art on Paper Biennial Weatherspoon Museum, North Carolina USA
  • 2014, Smallness FASS Gallery Sabanci University, Istanbul Turkey
  • 2014, (Machines) Contemplating the bodies Singapore General Hospital, Singapore
  • 2013, Found Museum of Contemporary Art (MoCA@Loewen), Singapore
  • 2013, Dialogue, the promise CMU Art Center, Chiang Mai, Thailand
  • 2013, Night as Mine Institute of Contemporary Art Singapore, Singapore
  • 2013, Looking for Time The Private Museum, Singapore
  • 2013, Future Map Lethaby Gallery, London UK
  • 2012, The Affordable Art Fair London UK
  • 2012, project:showcase {ART} Push!, UK, London
  • 2012, Xhibit 2012 UAL UK , London
  • 2012, Without boats, dreams dry up, Cape Farewell @ Triangle Space Chelsea College,UK,London
  • 2010, The Affordable Art Fair F1 Pit Building, Singapore
  • 2010, The Sustainable Shop Singapore Management University Li Ka Shing Library, Singapore
  • 2010, The Winston Oh Travel Award 2010 Praxis Space, Singapore
  • 2010, France + Singapore New Generation Artists Aliance Francaise, Singapore
  • 2010, I AM WHAT I AM Sculpture Square, Singapore

Public Commissions 

  • 2011, Cessation Singapore Art Museum 8Q, Singapore
  • 2011, Butterflies Din Tai Fung @ Marina Bay Link Mall, Singapore
  • 2011, Small Worlds Esplanade, Singapore
  • 2011, Bottom of the World Explanade, Singapore

Awards

  • 2011, Recipient of Lasalle College of the Arts Academic Excellence Award
  • 2010, National Arts Council Scholarship
  • 2010, WINSTON OH Travel Award Travelogue Practice

Images of artworks

Ling Ting @ Gillman Barracks

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Singapore monumental sculpture, Ling Ting, by Singapore contemporary artist Chen Sai Hua Kuan is currently exhibiting in Gillman Barracks. Presented by our gallery and sponsored by National Arts Council, this interactive artwork hopes to create awareness of listening to one’s heart in a stressful society. Exhibition runs till early October.

Afterimage…

 

Afterimage… – A group exhibition by Hilmi Johandi, Jon Chan, Khairulddin Wahab, Kenichiro Fukumoto & Allan Balisi

Preview Date: 16th February 2017
Exhibition Period: 17th February 2017 – 4th March 2017
Artist Talk: 18th February 2017, 2pm

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iPRECIATION will be presenting a group exhibition titled “Afterimage…” featuring five emerging artists from Asia. They are Hilmi Johandi (Singapore), Khairulddin Wahab (Singapore), Jon Chan (Singapore), Kenichiro Fukumoto (Japan) and Allan Balisi (Philippines). The exhibition will include a weekend artists’ talk. The five artists featured in this exhibition work primarily with the medium of paint; the common thread that runs through their practice is the individual inquiry into the hyper visual culture they are situated in. The works on showcase were created in light of this position and offer diverging perspectives on the afterimage.

Hilmi Johandi (b. 1987, Singapore) graduated from Lasalle College of the Arts, Singapore, with a Bachelor’s degree (Honours) in Fine Arts in 2013. He uses cinematic language to develop methods of compressing temporal and physical spaces into non-linear narratives in his paintings. He composes and synthesises images from films, archival footages and photographs into fragmented montages that often hint at the social effects of rapid development, and the conflicts between traditional and modern ways of living. He has been involved in solo and group exhibitions including Framing Camellia (Affordable Art Fair Young Talent Programme 2013/14 Winner’s Solo Exhibition, SIngapore, 2014), Dusk to Dawn | Fajar ke Senja (Galerie Steph, OCBC Art Space, Singapore, 2014), Primavera 4 (Galerie Frédéric Lacroix, Paris (2015), Portraits in Verses (Fred Torres Gallery, New York, 2015) and A Figment of Film  (ADM Gallery, National Technological University, Singapore, 2016)

Khairulddin Wahab (b. 1990, Singapore) graduated from Lasalle College of the Arts, in 2014, with a Bachelor of Arts (Honours) in Fine Arts. His artistic practice is informed by his interest in the politics of representation and the philosophy of photography. His interest in the photographic image stems from its significance as a site for memory, history and the emergence of a hyper visual culture in the digital age. His paintings inquire on the authenticity of representation and the construction of its meaning. He has participated in many group exhibitions, including “Art of ASEAN: Our Exhibition” (Bank Negara Malaysia Museum and Art Gallery, 2015), “Grass is Greener on the Other Side” (Winston Oh Research Award, Project Space, Singapore, 2014) and the Arte Laguna Prize Exhibition (Romanian Institute, Venice, Italy, 2013).

Jon Chan (b. 1982, Singapore) graduated with a Bachelor of Arts (First Class Honours) in 2007, and a Masters of Fine Arts from LASALLE College of the Arts, Singapore, in 2008. Chan is the winner of the 2003 and 2007 Winston Oh Travel Award. He was also the winner of the Japanese Chamber of Commerce and Industry Arts award in 2007. In 2016, he presented a series of works in “Paraphernalia”, a solo exhibition at Grey Projects, Singapore. He has also participated in group exhibitions including “Visual Rage” (Institute of Contemporary Arts, Singapore, 2007) and “Departure 2” (iPreciation Gallery, Singapore, 2016). In his body of work for this exhibition, there is a dichotomy between mediated images and how they either intrude or merge with everyday vicissitudes. He is interested in focusing on narratives without the presence of figures. By doing so, he hopes to highlight the unseen structures and borders that govern space both physically and metaphorically.

Allan Balisi (b. 1982, Philippines) holds a Bachelor of Fine Arts (Major in Advertising) from the Far Eastern University, Manila, Philippines (2005). His works often possess a strong narrative undercurrent, despite its fragmentary albeit figural nature. He extracts and isolates his subjects from their original contexts and re-encodes them with new ones, mostly as surrogate experiences and borrowed memories, with which he attempts to decrypt and mitigate his personal confusions on matters such as memory and history. His solo and group exhibitions include “Five Paintings” (Blanc Gallery, Manila, 2013), “We are Awake Elsewhere” (Richard Koh Fine Art, Singapore, 2012) and “End Result” (Light & Space Contemporary, Manila). He has also previously been short-listed for the Ateneo Art Awards in 2009 and 2013.

Kenichiro Fukumoto (b. 1986, Hiroshima, Japan) studied at Lasalle College of the Arts, Singapore, as an exchange student in 2013. In 2014, he graduated with a Masters of Fine Arts (Painting) from Tokyo National University of the Arts. He was also awarded the Tokyo Wonder Wall Prize and Art Award Tokyo Marunouchi in 2014. He has exhibited in solo and group exhibitions, including the “TWS Emerging – Open Call Exhibition” (Tokyo Metropolitan Government Building, 2014) and “Cross Encounters” (Japan Creative Center – Japan Embassy, Singapore, 2013). His works frequently explore self-created forms and images among the various shapes found in the realms of fine arts, industrial art, folk crafts and decorative art. Since 2013, he has been influenced by tropical plants and other elements of nature he encounters while travelling around South East Asia.

 

Supported by NAC

 

Juxtaposition

(Left) Howl, 243 x 121.9 cm, 2016, Mixed Media on Aluminium Panel, by Chng Nai Wee (Right) Memorable Recollection – King and Elephants 2, 2015, 50 x 60 cm, Oil on canvas, by Baet Yeok Kuan

(Left) Chng Nai Wee – Howl (Partial Image), 2016, 243 x 121.9 cm, Mixed Media on Aluminium Panel
(Right) Baet Yeok Kuan – Memorable Recollection – King and Elephants 2, 2015, 50 x 60 cm, Oil on canvas

Private Preview: 12th Jan 2017, 6.30pm – 8.30pm

Exhibition Opens to Public: 13th – 26th Jan 2017                                                            

iPreciation presents “Juxtaposition”, an exhibition by Singaporean artists, Baet Yeok Kuen and Chng Nai Wee.  This exhibition features the latest selection of paintings from both artists. The works reflect personal narratives from both of their lives and their mutual interests in exploring new possibilities in the medium of painting. Symbolic objects from Baet’s childhood encounters appear in his oil paintings, such as a set of colonial era coinage, a yellow lemon and an elephant. These objects spark a tender wave of recall for him, as they gave him an insight to the workings and relationships of the world. With his background as both an artist and ophthalmologist, Chng fleshes out compartments of the human body in his new series of works, showing how our energies course through arteries and veins. Through the depiction of organ and tissue dissections, he shows how the fragility and weakness of our bodies echo the sense of helplessness and desolation of the individual.

Both Baet and Chng explore the duality of the subconscious and unconscious mind in their mixed media paintings, creating a many-layered effect that is free to be interpreted differently by viewers. Though different in choice of subjects, they both push boundaries with their experimental fusing of traditional media and new technology, such as aluminium panels, mixed media materials and oil painting. “Juxtaposition” is part of Singapore Art Week (11 – 22 January 2017). A joint initiative by the National Arts Council, the Singapore Tourism Board and the Singapore Economic Development Board, Singapore Art Week reinforces Singapore’s position as Asia’s leading arts destination. The twelve-day celebration of the visual arts offers a myriad of quality art experiences, from art fairs, gallery openings, exhibitions, lifestyle events and public art walks, to enriching discussions on art and culture. For more information, please visit www.artweek.sg.

Baet Yeok Kuan (b.1961, Singapore).

Baet holds a Diploma in Fine Art (Painting) from the Nanyang Academy of Fine Arts (1987) and a Masters in Fine Art from the University of Central England, Birmingham (1992).  In 1995, he was conferred the Young Artist Award by the National Arts Council Singapore. He has represented Singapore in several international symposiums including the New Generation Contemporary Singapore Art Exhibition and Symposium, Japan (1990) and Second ASEAN Artist Creative Interaction, Indonesia (1997), Singapore-India Artists Exchange Programme, India (1999) and Artist-in-Residence in University of Philippines (2003). He has also won several awards such as the Grand Prize of the UOB Painting of the Year Competition (1987), Second Prize in the Contemporary Art Competition (Sculpture), Area Prize and Judge Prize in the Third Tokyo Urbanart Competition (1994).

He was President of the Modern Art Society Singapore from 2003 to 2004. He has also completed many local public art projects, including Singapore Changi Airport Terminal 3, National Museum and National Library Board. He recently completed a site-specific installation “24 Hours in Singapore” on the Asian Civilisations Museum lawn, in commemoration of SG50, an inaugural commission by the Public Art Trust. He is currently the Vice President of Federation of Art Societies and Modern Art society Singapore. To date, he has held six solo exhibitions and participated in numerous group exhibitions locally and overseas, including Asia, Australia, Canada, France, United Kingdom and United States. Baet’s works have been collected by museums and notable private collections, including Fukuoka Art Museum in Japan, National Museum of Singapore, National Arts Council, National Art Museum, NUS Museum, St. Regis Hotel and Mapletree business city.Museum, St. Regis Hotel and Mapletree business city.

Chng Nai Wee (b. 1969, Singapore)

Chng graduated with an Honors in Medicine and Surgery from the Royal College of Surgeons in Ireland (1993) and Ophthalmology from the National University of Singapore (1999). He attended Nanyang Academy of Fine Arts classes from 1986 to 1987. He also studied in Yale University School of Architecture (1999, 2004 & 2014) as a graduate student. He has delivered lectures on Art and Technology, Art and Dot-Com Resources, and received Hitwise Online Performance Awards for his comprehensive documentation of Singapore Art. His works draw inspiration from his unique background in Biomedical Sciences, Design, and Information Technology. He has also served as a speaker for the inaugural Creativity in the Arts, Sciences and Technology seminar at the National University of Singapore, a judge for the Singapore Sculpture Competition, and a member of the Arts Education Council. Among the awards that he has received are the Young Artist Award, National Arts Council (1999), Tan Tse Chor Art Award, Singapore Art Society (1995), and Double Honorable Mentions, Philip Morris Asean Art Awards (1994).

In his wide repertoire of works, he displays a deep understanding of Anatomy and Histology, as seen in his solo show, Biotechnics, at the Substation, Singapore (1998). His outdoor light art installation, Moleculux – Luminsecent Bodies in Hyperspace, in his solo show at Sculpture Square, Singapore (2001), displayed his profound interest in the intersection of geometric modular construction and optics. Other solo shows include Recent Works (1994), and New Works (1991) at the National Museum Art Gallery. Chng has also exhibited at the inaugural show of Sculpture Square (1999) and Esplanade (2002) with his work “Biotics”, which posits a future of pharmaceutical enhancements of the Human race, and “Like or Not?”, large scale pneumatic sculptures at the latter venue, that question the relationship between perceptual affinity and biomimetic architectural forms. His public works include Panthenon – Innards of Consciousness (Biopolis, Singapore, 2003), and Techgenesis (National Arts Council lobby (1999), a fusion of the innards of computer circuitry and raw construction materials. His works have also been permanently acquired by the Singapore Art Museum. 

 

                  Supported by:        In Conjunction With:

     nac-logo       saw-logo

Sri Astari Rasjid at Bazaar Art Jakarta 2016

Slideshows

 

Bazaar Art Jakarta – Sri Astari Rasjid
VIP Preview Date: 25th August 2016 (By Invitation Only)
Exhibition Dates: 26th August 2016 – 28th August 2016
Location: The Ritz-Carlton Jakarta Pacific Place

Sudirman Central Business District (SCBD) Jalan Jenderal Sudirman No. 52-53, Jakarta Selatan, DKI Jakarta 12190, Indonesia
Booth B7

OPENING HOURS

Thursday, August 25, 2016
3.00 PM – 5.00 PM VIP Preview
7.00 PM – 10.00 PM Vernissage

Friday, August 26, 2016
12.00 noon – 10.00 PM

Saturday, August 27, 2016
12.00 noon – 10.00 PM

Sunday, August 28, 2016
12.00 noon – 10.00 PM

 

 

iPreciation will be participating in Bazaar Art Jakarta this August, presenting a solo exhibition of works by Sri Astari Rasjid.

Born in 1953 in Jakarta, Indonesia, Sri Astari Rasjid briefly studied English Literature at the University of Indonesia (1973). She went on to study fashion in London in 1976 and subsequently became a fashion journalist and fashion designer. In 1987, Sri Astari honed her art education and technical skills at the University of Minnesota, USA and the Royal College of Art in London in 1998.

Sri Astari’s works often incorporate paradoxes, akin to traditional Javanese cultural expressions which have a unique and sophisticated way of managing paradoxes. Javanese courts have had a long history of brutal and bloody struggles of power, yet the Javanese are known for their fine and delicate artistic expressions. Direct encounters of conflicts, complexities and contradictions are avoided and instead arranged excellently in metaphors to subdue explosive possibilities. As the Javanese cultural expressions predicate gentleness over violence, Sri Astari’s works are characteristically gentle yet powerful in communicating their ideas. .

In this exhibition, we will be featuring ‘Armor for Change’ previously exhibited in our outdoor exhibition in Singapore, ENVISION: Sculptures @ The Garden City. The artwork features a 2.5 metre kebaya made of aluminium. This work shares the same inspiration as Sri Astari’s previous work, the ‘Kebaya’ – an esoteric metaphor she employs to contemplate feminine and masculine issues. ‘Armor For Change’ follows the trajectory of Sri Astari’s artistic interrogation on the detrimental impact of traditional concepts on women’s lives. We will also be presenting ‘Armors For the Soul’ which demonstrates Sri Astari’s work of paradox, where the cascading ripples of the garment flows in an elegant, soft, artistic rhythm, contrasting against the shine of the cast aluminum and stainless steel, a reminder of the sturdiness behind the elegance.

Other works featured are ‘Still Strong In My Memory’, ‘Eling’, ‘Contestants’, ‘La Vie En Rose’, ‘Drunken Bag’ and ’50 Years Barbie Lethal Venture’ where the last 3 mentioned artworks features the ‘bag’, another metaphor often used by Sri Astari to convey her ideas and criticisms. Like two sides of a coin, her bags carry two opposing ideas, such as La Vie en Rose (‘Life in pink’) carved on one side, and La Vie en Noire (‘Life in black’) on the other side. These works demonstrate the artist’s bold criticisms on her own social environment, of its tendencies for consumerism; highlighting ideas on society’s contemporary fetishism and prevailing social insecurity.

Besides being an artist, Sri Astari has been an active player in the arts world. As the executive director of the 9th Jakarta Biennale, she realized curator Jim Supangkat’s suggestion to introduce installation forks for the first time, and was an important mover as executive committee for the seminal exhibition of contemporary art of the Non-aligned countries in 1995. As a member of the Indonesia Art Foundation (Yayasan Seni Rupa Indonesia), Sri Astari also actively contributes to the education of young artists and the development of art in Indonesia. She was recently appointed as Indonesia’s ambassador to Bulgaria in January 2016.

For VIP tickets to visit the fair, please contact the gallery at
june.ong@ipreciation.com or brian.foong@ipreciation.com

Kumari Nahappan – Private Viewing

Kumari Nahappan – Private Viewing Of Important Paintings

Date: 1 – 29 December 2016 (By Invitation Only)

iPreciation is honoured to present 10 important paintings by Singaporean artist, Kumari Nahappan. The selection of acrylic paintings are boldly adorned with the artist’s signature use of vibrant shades of red, a colour that is also frequently seen in her sculptural and installation work. These paintings are available for private acquisition. These works were previously exhibited in the Museum der Kulteren in Basel, Switzerland (2007-2008), the Tropenmuseum in Amsterdam, Netherlands (2010-2012) and Art Science Museum in Singapore (2015). Inspired by Hindu rituals, offerings and philosophy, Kumari’s abstract paintings often reflect on life, power and energy, evident in her use of rich colors and minimal yet bold compositions. This exclusive viewing will allow invited viewers to experience the enigmatic quality of her paintings up-close.

Born in 1953 in Malaysia, Kumari Nahappan is a prominent artist in the region of Southeast Asia; Kumari lives and works in Singapore and her practice encompasses inter-disciplinary genres, painting, sculpture and installations. Trained in interior design in Willesdon College of Technology in London UK in the mid-1970s, she pursued a successful interior design career before studying fine art at the LASALLE College of the Arts, Singapore, securing a Masters of Fine Art from the RMIT University, Melbourne.

Kumari is celebrated for her iconic sculptures in landmark locations in Singapore including Saga for Changi Airport, Nutmeg & Mace for the ION Orchard, Pedas-Pedas for the National Museum and Pembungaan for OUE Bayfront (the largest bronze mural in Singapore at over 45m) and other sculptures for corporate developments.  Her sculptures have graced sites overseas including the G Tower in Kuala Lumpur (Malaysia), the J.Y. Campos Centre in Manila (the Philippines), and the Chengdu International Finance Square (China) in 2014.

Kumari was invited to show at the Museum der Kulturen in Basel in [2007/8] and at the Tropenmuseum in Amsterdam [2010]. More recently, she has enjoyed critical and popular acclaim for her installation Anahata, a monumental work comprising of 4000kg of saga seeds for the Singapore Biennale 2013. Her works have been exhibited at the Mori Art Museum, Tokyo and Singapore Art Museum, Seoul Art Centre in Korea, Museum Rudana in Indonesia as well as in gallery exhibitions in Sweden, Germany, London, Italy, New York, Australia, Hong Kong and China. As an acclaimed artist, her works have also been collected by Singapore Art Museum, Art Bank, Ken Tyler Collection, New York, Rudana Museum in Bali, Ritz-Carlton, Singapore, Rolex, Thailand, Changi Airport, Singapore High Commission, Japan and Thailand and various other important public and private collections across the world.

This showcase is not open to the public. Please contact us at 6339 0678 or enquiry@ipreciation.com to arrange for a private viewing appointment

Oh Chai Hoo 胡財和 (b. 1960)

Oh Chai Hoo is a local artist who works extensively with various medium. He started his artistic creations at the age of 14, and holding his first group exhibition at 15 with respected artists like Chen Wen Hsi and others. His mastery of the brush is as admired as his fearless experimentation with the medium. However, despite all experimentations, he remains committed to the use of ink. He believes in the honesty and truthfulness of working with the medium. Unlike other types of paint, ink is temporary, instant, honest and sincere. The moment the brush is laid on the paper surface, the strokes are irreversible, and every trace of movement is captured by the ink, leaving no chance for correction. The honesty and sincerity of the medium captures everything about the artist – the mood and personality, as well as the familiarity and mastery of the artist in his use of the medium.

His recent works feature his unique method of using self-ground pigments on rice paper to create images inspired by Zen Buddhism and nature. His works are a reflection of both the physical and the spiritual. The series of rocks created for his solo exhibition, 《物换星移》Lifetime of Change entails the artist’s fondness for nature, in particular the natural formation of rock structures. As he is inspired by the natural accumulation of sediments in the formation of rocks over time, his rocks highlight the beauty of the imperfections of rock forms. In the artist’s own words, he asserts that “我的石头都会说话的。(All my rocks speak for themselves.)” Each of his works tells its own story.

Oh graduated from Nanyang Academy of Fine Arts, Singapore in 1982 and is a full time artist who is actively involved in the local arts scene. He is also a member of various arts groups including the Singapore Sculpture Society and Nanyang Clay Group, and has had various solo and group exhibitions. He has exhibited in Singapore, Taiwan, China, U.K., Korea and Japan, and has won prestigious awards including the Highly Commendable Award for Abstract Medium in the 18th UOB Painting Competition, Singapore.

Selected Solo Exhibitions
• Tropical Zen Garden, 2014, Esplanade, Singapore
• Mu – Wood, 2003, Galleri Stockhard, Finland

Selected Group Exhibitions
• These Sacred Thing – Jendela (Visual Art Space), 2015, Esplanade, Singapore
• Singapore Sculpture Society, Woodcarving Symposium, 2013
• 3rd Singapore Seal Engraving Art Exhibition, 2006, Paragon, Singapore
• Modern Calligraphy Exhibition (Travelling Exhibition), 2005, China
• GAM Art Exhibition (ceramic), 2003, Toyota City Art Museum, Japan
• San, Exhibition by Singaporean Artists, 1999, King’s Road Gallery, London, UK
• V’Spartio (Travelling Exhibition) at Asian and Pacific VSA Festival in Osaka ’99, 1998 Osaka, Japan
• International Watercolour Exhibition, 1992, Korea and Taiwan

Selected Permanent Collections
Changi Airport, Singapore
DBS Bank, Singapore
DBS Finance, Singapore
National Museum Art Gallery, Singapore
Regent Hotel, Singapore
Saloman Brothers, Singapore
Shell Eastern Petroleum (Pte) Ltd, Singapore
Singapore Workforce Development Agency, Singapore
Wong Partnership, Singapore
Hyatt Regency, Surabaya, Indonesia
Four Seasons Bali, Indonesia
Matsushita, Japan
Imperial Hotel, Taipei, Taiwan
Shangri-La Hotel, Qingdao, China
Munich Management Pte Ltd
Singapore Heritage Board


Images of artworks

The Space of a Memory 记忆的空间,2015,48x70cm,Pigments on Rice Paper

Oh Chai Hoo 胡財和: Lifetime of Change《物换星移》

 

iPreciation is pleased to present Singaporean artist Oh Chai Hoo’s solo exhibition from 1st July 2016 to 16th July 2016. This exhibition will feature the artist’s most recent series of ink paintings inspired by rock structures, ceramic seal carvings, as well as his experimental ceramic sculpture work on rock forms (akin to the classical scholarly tradition).

Entitled “Lifetime of Change《物换星移》”, the exhibition entails the artist’s fondness for nature, in particular the natural formation of rock structures. As he is inspired by the natural accumulation of sediments in the formation of rocks over time, his rocks highlight the beauty of the imperfections of rock forms. In the artist’s own words, he asserts that “我的石头都有说话的。(All my rocks speak for themselves.)” Each of his works tells its own story.

Oh Chai Hoo (b. 1960) is a local artist who works extensively with various medium. He started his artistic creations at the age of 14, and holding his first group exhibition at 15 with respected artists like Chen Wen Hsi and others. His mastery of the brush is as admired as his fearless experimentation with the medium. The works in this exhibition will feature his unique use of self-ground pigments on rice paper. With his constant development of new techniques for ink on paper, he pushes the boundaries of the art form’s rich heritage to create works that are powerful fusions of Eastern and Western traditions of fine art. This exhibition will witness yet another leap in the bold aesthetics of his ink work, as seen in the truly maturing, confidently-executed works as he enters this phase of his artistic practice.

Oh graduated from Nanyang Academy of Fine Arts, Singapore in 1982 and is a full time artist who is actively involved in the local arts scene. He is a member of various arts groups including the Singapore Sculpture Society and Nanyang Clay Group, and has had various solo and group exhibitions. He has exhibited in Singapore, Taiwan, China, U.K., Korea and Japan, and has won prestigious awards including the Highly Commendable Award for Abstract Medium in the 18th UOB Painting Competition, Singapore.


Image of artwork

March – April 2016 Gallery Exhibits

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Greetings from iPreciation! This March, while focusing on our upcoming exposition at Art Basel Hong Kong, we are continuing to represent our local artists in the gallery. Works exhibited by our local artists include Milenko Prvacki, Luke Heng and Tay Bak Chiang.

Also on display are Cheung Yee’s paper mache paintings and early works by Indonesian artists Edo Pop and Budi Ubrux. At the far end of the gallery, we are showcasing black and white photographs by Gao Xingjian, these were taken from his second film “Apres Le Deluge” (After the Flood), a 28min long film that will be shown in the FIlm section at Art Basel Hong Kong 2016.

At the window display and inner galleries, we are exhibiting rarely seen stainless steel Living World Series sculptures by Ju Ming, which are also a part of current ENVISION: Sculptures @ the Garden City in the heart of Singapore’s civic district.

Follow us on Facebook and Instagram for more updates on our gallery related happenings.

Interviewed for “On the Red Dot”

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Lookout for ENVISION and Ms Helina Chan to be featured on Channel News Asia programme “On the Red Dot” broadcast on Friday 8 April at 9.30pm, report on Wednesday 13th Apr at 2.30pm.

On the Red Dot is is a half-hour current affairs series that is aired on Channel 5 and Channel News Asia, the show focuses on the little red dot: Singapore and seeks to showcase the people and the communities that make up Singapore. Watch this space for more updates!

“Trail of Heart” a solo exhibition by Jin Jie

51. 2016,200x200cm(diptych), Oil on canvas

Trail of Heart – A solo exhibition of recent oil paintings by Jin Jie

Exhibition period: 22nd April – 7th May 2016

iPreciation is pleased to debut a solo exhibition of recent oil paintings titled “Trail of Heart” by Chinese contemporary painter Jin Jie at the gallery. This is the artist’s first solo exhibition outside of China.

Jin Jie 金捷 was born in 1965 in Jiangsu province, China, he graduated from Oil painting studies in Nanjing University of Arts in 1991, and went on to achieve an M.A. in Western Arts and Lecture in 1997. In 2008, he obtained a Ph.D in Fine Art from his alma mater Nanjing University of Arts in Jiangsu province.  In this exhibition, we are presenting his oil paintings from 2011 – 2016.

 


Images of artworks

 


Installation Views

ENVISION Time-lapse video

TODAY Newspaper created a fun upbeat time-lapse video, covering all 14 sets of sculpture as part of ENVISION. The scenic walk started from the Arts House across Empress Place to the Fullerton Hotel, over to  Clifford Square, the Fullerton Bay Hotel and eventually finishing up at Marina Bay City Gallery. To view video, click here.

Date: 27 Feb 2016

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Gao Xingjian at Art New York 2016

 

iPreciation is pleased to announce that the gallery will be taking part for the first time at Art Miami New York, Pier 94 in early May 2016.

We will be presenting a solo exhibition of Gao Xingjian’s early and recent ink paintings. Please click here for more information.

Gao Xing Jian (b. 1940, China/France) is an important leading cultural figure who is not only a painter but an accomplished and internationally recognised writer, playwright, director, painter and photographer who is the first Chinese to be awarded the Nobel Prize for Literature in 2000.

Art Miami New York 2016 is presented by the ownership team of Art Miami which debut last year at Pier 94 in early May 2015. This upcoming fair is the 2nd edition of Art Miami New York, happening in the same week alongside other important art events such as the Spring auctions and Frieze Week.


Images of artworks

 


Installation View

Channel News Asia exclusive interview with Gu Wenda

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Gu Wenda, internationally recognised contemporary artist from Shanghai/New York gave Channel News Asia an exclusive interview during his recent trip to Singapore in mid Jan 2016. Mr Gu was in town during the launch of ENVISION: Sculpture @ the Garden City in Singapore, a large scale outdoor public art exhibition ongoing till 15 April 2016.

The 8-min interview was broadcast on 18th Feb 2016 in the FIRST LOOK ASIA morning programme. To view the video, click here.

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ENVISION 16 Jan – 23 Apr 2016

ENVISION

Envision Map

 

Announcement 04 April 2016: The exhibition will be extended till 23 April 2016

Download Press Release at:  Envision Press Release_5th Jan,  Annex A_ENVISION_List of Artists and Artworks_7thJanv2

Weekly guided tours every Sat at 5pm till 9th Apr. Sign-up for tours at:  http://tinyurl.com/jxjmeo3

Public Talk – The first talk about was held on 22nd Jan, click here for more details.

Share and Follow us on Facebook @ipreciation, tag us at #EnvisionSg

iPreciation is proud to present ENVISION: Sculptures @ the Garden City –  a new platform to exhibit a group exhibition of monumental sculptures by Singapore and internationally renowned Asian artists. For the inaugural exhibition in 2016, ENVISION will present 13 sets of works by 11 artists namely Baet Yeok Kuan (b. 1961, Singapore), Chen Sai Hua Kuan (b. 1976, Singapore), Gu Wenda (b. 1955, China/USA), Ju Ming (b. 1938, Taiwan), Kumari Nahappan (b. 1953, Singapore), Lim Soo Ngee (b. 1962, Singapore), Shen Lieyi (b. 1969, China), Sri Astari Rasjid (b. 1953, Indonesia), Yuyu Yang (b. 1926 – d. 1997, Taiwan), Zhan Wang (b. 1962, China) and Zhang Huan (b. 1965, China) from China, Indonesia, Singapore and Taiwan,

ENVISION is part of iPreciation’s mission to promote, exhibit and integrate  public art in Asia; our recent project in Singapore was Ju Ming’s monumental Taichi Series held at Singapore Botanic Gardens from Jan – May 2015. In 2016, ENVISION will take place in key urban and cultural zones in the heart of the city, the exhibition trail starts from Arts House, Asian Civilisations Museum, Empress Place, The Fullerton Hotel, Clifford Square, The Fullerton Bay Hotel  and along the Marina Bay Boulevard (near City Gallery).

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ENVISION is the international debut platform for Gu Wenda‘s Tian Xiang (above), an important work that took him more than 20 years to conceptualise. Tian Xiang is an installation of 24 ‘ru’ stones in different shapes and sizes, weighing from 500 – 8000KG. These huge pieces of natural stones come from the sea bed, billions of year old lime stone corroded by the sea water. Each stone is inscribed with a simplified stroke of a Chinese calligraphic character that reinforces Chinese solar terms. Inspired by philosophical theories and stories of our celestial universe, Gu sets out to bring man and nature closer. Creating this ‘stone forest’ in the heart of Singapore’s civic district, one has the opportunity to experience, immerse and get up close with these significant relics and artefacts; a product of nature’s powerful forces. Image caption below: Tian Xiang, 2014, Stone and ink (24 individual stones).

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Ju Ming‘s bronze and stainless steel sculptures from the Living World Series, (1999-2011) aims to capture everyday scenes of people coming together, playing and going about their daily lives. Ju Ming says “The language and essence of the sculptures are drawn and inspired by crowds that I see, people in the market, people queuing as well as those standing, sitting or walking around. They are constantly happening and constantly ending, which is why the works are named as the Living World. This is the issue and spirit I want to interpret.”

     

    

    

      

Baet Yeok Kuan created an assemblage of abstract geometric forms welded together, perfecetly balanced in mid air supported by a singular base. The sheer scale and rich textural qualities lends gravitas to the work, powerful, striking and beautiful at the same time. Image Caption below: O What a Flower, 2015, Colten steel

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Kumari Nahappan has been collecting saga seeds since she was a child, using them as a reference in her work. Saga seeds are commonly found across Southeast Asia, sometimes they are called “love seeds” because of their vivid red colour and round heart-like shape. By arranging the works in clusters, Kumari aspires to harness their collective energy and transmit positivity and joy to the viewer. Image Caption below: Road to Fifty, 2015, Painted fiber glass (50 editions)

    

Lim Soo Ngee‘s local Myna birds are identified by their brown body and yellow patch behind the eyes. The artist was inspired to make this work when he discovered that the dominant species of migrant Javan Myna birds has led to the demise and near extinction of the local species. This work raises awareness on man’s relationship with the environment to highlight how migratory patterns or external factors can leave an indelible impact on the local population. Image Caption belowLocal Mynas, 2015, Bronze and paint (set of 3)

     

Chen Sai Hua Kuan created an interactive sound sculpture that encourages participation and contemplation from the audience. Many city-dwellers have become too busy to listen, this playful work was conceptualised by the artist to create a conducive space to inspire an act of listening. The shape of the structure appears to be unusual, where the curved lines and organic form creates a sense of curiousity for the viewer, inviting one to come up close to interact with it. This sculpture premiered on the steps of the Grand Palais in Paris in March 2015, and was featured in the International New York Times. Image Caption below: Ling Ting 2, 2015, Steel with paint

Chen Sai Hua Kuan_Lingting2_bgrd (1)_credit iPreciation  side view2  side view3  close up

Zhan Wang‘s most celebrated work to date is this series of “artificial rocks” – stainless steel replicas of rocks and boulders. The beaten and irregular surface of this monumental rock is a site of abstraction, pulling the viewer and the surrounding environment into a distorted reality. The undulating surface and choice of material questions the authenticity of thee work, whether it’s man-made or natural occurring. Image caption below:Artificial Rock No.133, 2007, Stainless steel (4 editions) 

   

Shen Lieyi shares that “Man, universe, sky, water, natural forms, all our cultural emotions and existential experiences stem from nature. I think it is my duty as a sculptor to transform the invisible emotions into visible imageries, which are not merely shadows of the thoughts.” In traditional Chinese culture, water is symbolic of the yin factor and stone is symbolic of the yang factor. The surfaces of these sculptures look as if rain drops are falling with ripples frozen in time; these lines are permanently etched on the black granite stones. The juxtaposition of hardness and softness creates a strong visual impact, echoing the laws of nature and emphasizes man’s relationship with Heaven and Earth. Image Caption Below: Rain, 2001, Black granite stone (set of 3)

   

Zhang Huan‘s work features two pandas names “Hehe” and “Xiexie”, where in Chinese it means harmony. The pandas embody ideals of righteousness, perseverance, optimism and generosity, to extol the virtues of peace and harmony amongst mankind. Made of stainless steel, these works were first exhibited at the Shanghai World Expo in 2013. The artist is deeply influenced by Buddhist philosophy, and this work encourages one and all to be at peace with oneself and contribute towards a more harmonious society. Image Caption below: Hehe Xiexie (set of 2), 2010, Stainless steel (15 editions)

    

Throughout his life, Yuyu Yang sought to create works that shared his love for nature and embodied the ideals of peace and harmony between man and nation. He is considered to be a pioneering Asian artist who worked primarily in stainless steel since the 1960s, where the smooth flawless quality of these mirror-like surfaces lends favourably to the sculptures to sit well within the environment. The balance of the natural world and his sculptures had become a central theme or philosophy in his life’s work. Image caption below: Mirror of the Soul, Stainless steel, 1971 (9 editions)

    

For the past 30 years, Sri Astari Rasjid has been creating work that deals with Javanese cultural issues within a modern cultural framework. An important part of her oeuvre has been the detrimental impact of traditional concepts on women’s lives, visualized amongst others, through the kebaya the traditional blouse for women, and its related accessories. In retrospect, the kebaya was initially viewed as repressive to women, but over the course of time this perspective has changed into one of protection of the inner being. Today, it is transcending the issue of gender, as evident in this work, where the butterfly featured prominently on the sculpture as a brooch is a metaphor for change. Image caption below: Armor for Change, 2015, Aluminum (5 editions)

      

“ENVISION: Sculptures @ The Garden City” is part of Singapore Art Week (16 – 24 January 2016). An initiative by the National Arts Council, in partnership with the Singapore Tourism Board and Singapore Economic Development Board, Singapore Art Week reinforces Singapore’s position as Asia’s leading arts destination. It is a nine-day celebration of the visual arts, offering a myriad of quality art experiences, from art fairs,  gallery openings, exhibitions, lifestyle events and public art walks, to enriching discussions on art and culture. www.artweek.sg

Tay Bak Chiang at Art Basel Hong Kong 2016

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To view all the exhibits, browse through our E-catalogue!

After a successful solo exhibition at iPreciation in 2014,  Tay Bak Chiang (b. 1973, Malaysia/Singapore) continues to push boundaries and contemporize the genre of Chinese painting through the use of acrylic and pigments on canvas.

In this body of new paintings, Tay’s progressive attempts have borne fruit; experimenting with mineral-rich tones that range from brilliant blues to opalescent greens and shimmering yellows. In this exhibition we observe an extension of the rock series and his foray portraying the ancient Chinese instrument guqin as a new exploratory subject matter.

The inspiration behind his stone paintings stem from his walks in Bukit Timah Nature Reserve in Singapore some years back. He was inspired by the hulking forms in nature, though inanimate, they appeared full of life and personality. To achieve three dimensionality and character for the stones, Tay manipulates colour and shades to achieve subtle gradations and ink-like translucency using acrylic paint, a technique forged and refined by the artist since his encounter in the nature reserve.

In this exhibition Tay also explores the depiction of one of China’s oldest stringed instrument; the guqin a seven-stringed zither, viewed as a symbol of Chinese high culture and the most expressive of the essence of Chinese music. In Chinese, “gu” means ancient and “qin” means musical instrument. Symbology characterizes this instrument, for example, it measures 3’6.5” (Chinese feet and inches) to symbolize 365 days of the year; the upper surface is rounded representing the sky and the bottom is flat representing the earth. The first 5 strings represent the elements: Metal, Wood, Water, Fire and Earth. The 6th string is sorrowful and the 7th string represents strength. The thirteen mother-of-pearl inlays along the outer edge represents the 13 months of the lunar year. The guqin has been frequently referred to as the preferred instrument of the sages and literati. In imperial China’s past, monks, scholars and ladies of the elite society were supposed to master the four traditional arts, and one of them is qin, for the purposes of enriching the heart and elevating the human spirit.

Tay’s minimalist compositions are not about representing minimalistic images or technical skills, but to evoke a sense of poetry and inner emotion, a nod to the values of Chinese literati painting rendered with a contemporary sensibility. Before the works are exhibited in Art Basel Hong Kong in March 2016, the paintings were previewed at iPreciation.

To view all the exhibits, PLEASE browse through our E-catalogue (top of page).

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Art New York 2016 Press Release – Gao Xingjian

17. GXJ, Intérieur et exterieur, 2011, 114x146cm, Ink on canvas (LR)

 

(above) Gao Xingjian,Intérieur et exterieur, 2011, 114x146cm, Ink on canvas

Gao Xingjian a solo exhibition of Gao’s ink paintings, presented in a dedicated booth at Art Miami New York in May 2016, represented by iPreciation. Art Miami New York Art Fair opens to public from 3 – 8 May at Pier 94, New York City.

For press queries related to artists or images, please email enquiry@ipreciation.com 

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iPreciation is pleased to announce that the gallery will be taking part for the first time at Art Miami New York, Pier 94 in early May 2016. We are proud to present a solo exhibition of Gao Xingjian’s early and recent ink paintings. Gao Xing Jian (b. 1940, China/France) is an important leading cultural figure who is much more than a painter as an accomplished and internationally recognised writer, playwright, director, painter and photographer who is the first Chinese to be awarded the Nobel Prize for Literature in 2000. In 1989, he was awarded the Asian Cultural Council Fellowship from the United States. In 1992, he was awarded the Chevalier de l’Ordre des Arts et des Lettres and in 2002 the Legion of Honor by the French government. In 2006, he was conferred the Lions Award by the New York Public Library (NYPL) at Library Lions Benefit event.

Art Miami New York 2016 is presented by the ownership team of Art Miami which debut last year at Pier 94 in early May 2015. This upcoming fair is the 2nd edition of Art Miami New York, happening in the same week alongside other important art events such as the Spring auctions and Frieze Week.

Managing Director Ms Helina Chan, shares “We are excited to present Gao’s ink paintings to the American audience. He is truly a unique Renaissance man of today, his intellectual rigour and strong sensibility as both a writer and painter really comes forth in these paintings. I hope the American museums and collectors will recognize his talents; Gao is not only a Chinese artist, he is an international artist who deals with the human condition and expresses his state of mind in a language that can be universally understood .”

Art Basel HK 2016 Press Release – Tay Bak Chiang and Gao Xingjian

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(above left) Tay Bak Chiang, Stringless Qin 无弦琴, 2015;  (above right) Tay Bak Chiang, After the Feast  盛宴过后, 2015. Each is 140x140cm, Pigments & acrylic on canvas

Tay Bak Chiang a solo exhibition of recent paintings, presented in a dedicated solo booth at Art Basel Hong Kong 2016.

Gao XingjianApres le Deluge (After The Flood) 洪荒之后 has been selected for inclusion in the Film sector at Art Basel Hong Kong 2016.

Art Basel Hong Kong 2016 opens to public from 24 – 26 March; the VIP Preview takes place from 22 – 23 March. The fair will be held at Hong Kong Convention and Exhibition Centre.

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iPreciation is pleased to announce that the gallery will return to Art Basel Hong Kong 2016, with a solo exhibition of Singaporean painter Tay Bak Chiang’s new body of paintings under the Insights section and a film screening by Nobel Prize Laureate Gao Xingjian under the Film section at Art Basel Hong Kong 2016.

For press queries related to artists or images, please email enquiry@ipreciation.com

Tay Bak Chiang

After a successful solo exhibition at iPreciation in 2014, Tay Bak Chiang (b. 1973, Malaysia/Singapore) continues to push boundaries and contemporize the genre of Chinese painting through the use of acrylic and pigments on canvas.

In this body of new paintings, Tay’s progressive attempts have borne fruit; experimenting with mineral-rich tones that range from brilliant blues to opalescent greens and shimmering yellows. In this exhibition we observe an extension of the rock series and his foray portraying the ancient Chinese instrument guqin as a new exploratory subject matter.

The inspiration behind his stone paintings stem from his walks in Bukit Timah Nature Reserve in Singapore some years back. He was inspired by the hulking forms in nature, though inanimate, they appeared full of life and personality. To achieve three dimensionality and character for the stones, Tay manipulates colour and shades to achieve subtle gradations and ink-like translucency using acrylic paint, a technique forged and refined by the artist since his encounter in the nature reserve.

In this exhibition Tay also explores the depiction of one of China’s oldest stringed instrument; the guqin a seven-stringed zither, viewed as a symbol of Chinese high culture and the most expressive of the essence of Chinese music. In Chinese, “gu” means ancient and “qin” means musical instrument. Symbology characterizes this instrument, for example, it measures 3’6.5” (Chinese feet and inches) to symbolize 365 days of the year; the upper surface is rounded representing the sky and the bottom is flat representing the earth. The first 5 strings represent the elements: Metal, Wood, Water, Fire and Earth. The 6th string is sorrowful and the 7th string represents strength. The thirteen mother-of-pearl inlays along the outer edge represents the 13 months of the lunar year. The guqin has been frequently referred to as the preferred instrument of the sages and literati. In imperial China’s past, monks, scholars and ladies of the elite society were supposed to master the four traditional arts, and one of them is qin, for the purposes of enriching the heart and elevating the human spirit.

Tay’s minimalist compositions are not about representing minimalistic images or technical skills, but to evoke a sense of poetry and inner emotion, a nod to the values of Chinese literati painting rendered with a contemporary sensibility. Before the works are exhibited in Art Basel Hong Kong in March 2016, there will be a preview of his latest works at iPreciation.

 Gao Xingjian

Gao Xing Jian (b. 1940, China/France) is an important leading cultural figure who is much more than a painter also an accomplished and internationally recognised writer, playwright, director, painter and photographer who is the first Chinese to be awarded the Nobel Prize for Literature in 2000. In 1989, he was awarded the Asian Cultural Council Fellowship from the United States. In 1992, he was awarded the Chevalier de l’Ordre des Arts et des Lettres and in 2002 the Legion of Honor by the French government. In 2006, he was conferred the Lions Award by the New York Public Library (NYPL) at Library Lions Benefit event.

Gao Xingjian is the epitome of a well-rounded scholar, or as described by the 2008 Milan Arts Festival – ‘the modern Renaissance man’. Equal to his literary oeuvre, his paintings and film are works of art with a fine level of originality. Gao possesses an insatiable intellectual curiosity; he studied European oil paintings, film, photography which led him to interrogate the aesthetic effect of using different techniques on different medium. Since 1964, Gao has been painting exclusively with various kinds of inks, demonstrating a radical departure in subject matter from traditional Chinese ink painting. Inspired by western paintings’ core idea of light, Gao embodies this ‘light’ presence in his work, fusing a significant aesthetic and critical language in Western painting with Chinese ink painting which traditionally do not portray light. Gao’s ink paintings are never mere black, portray a spectrum of fifty shades of grey. His reflection on this visual genre; the interplay of light, positive and negative space continues to inform and inspire new directions in his paintings.

Gao created 3 films in the 2000’s, the first one is called “Silhouette/Shadow 側影或影子” in 2006, followed by “After the Flood 洪荒之後” in 2008 and “Requiem for Beauty 美的葬禮” in 2013.

Created in 2008, Apres le Deluge (After The Flood) is a short film lasting only twenty-eight minutes. Gao describes this work as a cinematic poem where language is dispensed. This film is similar to his other film Silhouette / Shadow, but language is totally dispensed with, and the six dancers and actors in this film do not utter any words or dialogue. The black-and-white paintings serve as background to the scenes, and the performers perform before a screen onto

which the paintings are projected. Apres le Deluge is essentially a black-and-white film, and it is only at times when a consciousness of life reawakens that a small amount of pale colour is added.

This film was unexpectedly corroborated by the 2008 earthquake (9.00 on the Richter scale) in Japan’s Miyagi County coast; unlike disaster films, Apres le Deluge constitutes painting and performance and is devoid of reality. The narrative structure is abandoned, each scene is viewed either as painting or photograph linked only by movements and/or sounds.

Gao moved to France in 1987 and became a French citizen in 1997. He currently lives and works in Paris.

 

Tian Xiang featured in Pheonix Art.com

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iPreciation is proud to present the international debut of Gu Wenda’s monumental installation of 24 stones titled “Tian Xiang” at the current outdoor exhibition ENVISION: Sculptures @ the Garden City.

“Tian Xiang” is an installation of 24 ‘ru’ rocks in different shapes and sizes. These huge pieces of natural rocks come from the bottom of the sea; billions of year old lime-stones corroded by the sea water and mounted by fossilized aquatic specimens. The rocks are named ‘ru’ as a reference to the Shandong province which is known as the birthplace of Confucianism.

There are 24 rocks, because there are 24 terms that make up the solar calendar. In typical Gu Wenda fashion, he merged the 2 characters of each solar term to create his own unique phrase or a fictional Chinese character.

Inspired by philosophical theories and stories of our celestial universe, Gu Wenda sets out to bring man and nature closer together. Creating a ‘rock forest’ with this dynamic installation of 24 large rocks, one has the opportunity to experience, immerse and get up close to these significant relics and artefacts, a product of nature’s powerful forces. Gu started thinking and planning this project sometime in 1993, with the idea to create 50 stone steles. It has taken him more than 20 years for the project to come to fruition.

Click here for full article and video

Date: 29 January 2016

ENVISION Public Talk, Fri 22 Jan

 

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In conjunction with the opening of ENVISION: Sculptures @ the Garden City and Singapore Art Week 2016, iPreciation organised a public talk titled “Commissioning Public Art in the City” on Friday, 22nd Jan 2016 @ Ngee Ann Auditorium, Asian Civilisations Museum.

Video recording clip is available upon request, please email us at enquiry@ipreciation.com

Speakers:

Gu Wenda is one of the world’s leading international contemporary artist from China. Born in Shanghai in 1955, Gu graduated from Shanghai School of Arts in 1976. In 1981, he received his MFA from the China Academy of Arts and continued to teach in his alma mater from 1981 – 87. Later in the same year in 1987, Gu moved to the USA to study at The Academy of Art College, San Francisco and started his life as an independent artist. To date, he has participated in numerous international solo exhibitions and prestigious platforms such as biennales, art festivals and art fairs across the world. Gu’s work has been included and referenced in many publications and recent art history books. Gu is widely collected by many international museums and public institutions world-wide. He currently lives and works between Shanghai and New York.

Andrew Mead is an internationally experienced architect specialising in the planning, design and construction of rapid transit stations and associated facilities. He graduated from the University of Sheffield in 1985 and is a registered Architect in the U.K. Since 2013, Andrew is currently Chief Architect of the MTR Corporation in Hong Kong managing a team of over 100 people, responsible for design quality and management of all MTR’s rail projects. Andrew has wide technical knowledge of metro design and operations, having 30 years’ experience in the design and construction of over 200 metro and light rail stations in London, Toronto, Singapore, Dubai and Hong Kong. From 2008 – 2013, he was Principal Design Manager, Architect at Land Transport Authority Singapore, responsible for the development of the Downtown line and Thomson Line.                                           

Francis Wong is currently Chief of Art Management in CapitaLand. He studied Architecture in Cambridge University, UK and Conservation Studies in York University, UK.  He has over 20 years of experience working as an architect in the public and private sectors before joining CapitaLand in 2006. Some of his award-winning projects include the Singapore Art Museum at the former St Joseph’s Institution. In CapitaLand, he has held various key positions in design and project management, including Chief Development Officer of The Ascott Limited. Francis writes the “Art @ CapitaLand” column for CapitaLand’s online Inside Different Geographies magazine and is the author of the book CapitaLand: The Art of Building Communities.  He has conducted many art appreciation talks and tours to CapitaLand staff, CapitaLand tenants, and the general public.

Moderated by Dr Kenson Kwok, who is the Founding Director of the Asian Civilisations Museum and the Peranakan Museum in Singapore. Dr Kwok graduated with B. Architecture (Hons) from the University of Sydney in 1972 and went on to obtain his PhD in environmental psychology from University College London in 1983. At the end of 2009 Dr Kwok retired from an eighteen year career with the National Heritage Board of Singapore. He was awarded the Public Administration Medal (silver) by the Singapore government, he was also conferred the Chevalier de l’Ordre des Arts et des Lettres and Chevalier de l’Ordre National de la Légion d’Honneur in 2005 by the French government.  Dr Kwok currently serves on the board of Singapore’s National Gallery, and on committees of the National University of Singapore Museums and the Southeast Asian Ceramic Society.

 

Launch of ENVISION Preview Event

 

On 21st Jan 2016, we organised a private preview event to celebrate the launch of ENVISION: Sculptures @ the Garden City. Held at the Post-Bar, The Fullerton Hotel Singapore, we invited participating artists, international media, collectors and government stakeholders to view the works and meet some of the artists in attendance namely Gu Wenda, Shen Lieyi, Sri Astari Rasjid, Baet Yoke Kuan and Kumari Nahappan,

To view the video recording of the event, click here.

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Sri Astari Rasjid (b. 1953)

Born in 1953 in Jakarta, Indonesia, Sri Astari Rasjid briefly studied English Literature at the University of Indonesia (1973). She went on to study fashion in London in 1976 and subsequently became a fashion journalist and fashion designer. In 1987, Sri Astari honed her art education and technical skills at the University of Minnesota, USA and the Royal College of Art in London in 1988. For the past 30 years, Sri Astari Rasjid has been creating work that deals with Javanese cultural issues within a modern cultural framework. She was one of the recipients of the Philip Morris Indonesia VI awards and was also one of the winners of the Millennium Painting Competition of the Winson and Newton Awards (1999). More recently, Sri Astari was awarded the Kartini Award in 2015.

Having started her career as a professional artist in the early 90s, Sri Astari actively takes part in exhibitions in Indonesia and abroad. Sri Astari has exhibited multiple times in the National Gallery of Indonesia, as a feminist artist, she was also part of the “Kartini, The Power of Women in Art” exhibition in Yogyakarta in 2011. Prior to her shift towards the international art scene, Sri Astari also held solo exhibitions such as Recollections, Bali (1999-2000), Wings & Excursions, Bali (2000-2001) and His/Hers Exhibition in 798 District, Beijing (2008). In 2013 she participated in the Indonesia National Pavilion at the 55th Venice Biennale Arte, 56th Edition of Spoleto International Festival in Italy and “Indonesia National Pavilion 55th International Art Exhibition” also in Italy. In the following year, Sri Astari also exhibited in South Korea, Hong Kong and Art 14 London in UK.

Besides being an artist, Sri Astari has been an active player in the arts world. As the executive director of the 9th Jakarta Biennale, she agreed to curator Jim Supangkat’s suggestion to introduce installation works for the first time, and was an important mover as an executive of the committee for the seminal exhibition of contemporary art of the Non-aligned countries in 1995. As a member of the Indonesia Art Foundation (Yayasan Seni Rupa Indonesia), Sri Astari also dynamically contributes to the education of young artists and the development of art in Indonesia.

In early January 2016, Sri Astari was also appointed the ambassador of Indonesia to Bulgaria.


Images of artworks

     

 

Zhang Huan 張洹 (b. 1965)

Born in 1975 in An Yang, Henan Province, China, Zhang Huan graduated with a Masters from the Central Academy of Fine Arts Beijing in 1993. He is best known for his controversial early works in performance art. He began his career in Beijing and in 1998 he moved to New York where he established his international career with large-scale public performances. Zhang Huan makes art about the human condition, exploring universal aspects of human nature. After spending some years in New York, the artist moved back to China in 2005, and established a studio in an old factory in Shanghai.

In the decade preceding the new millennium, Zhang was featured in exponentially more international exhibitions in places like Tokyo, Chicago, San Francisco, New York, Venice, France, Portugal, Toronto and Mexico. Worthy of mention is his contribution to “Inside Out: Chinese Art at the End of the Twentieth Century” at PS 1 Museum of Modern Art (1998). Following which in the 2000s, he also contributed to numerous exhibitions by esteemed museums such as Daelim Contemporary Art Museum in Seoul, PS 1 Museum of Modern Art in New York, National Gallery of Victoria in Melbourne, San Francisco Museum of Modern Art, Pace Gallery, Center Museum of Contemporary Art in Spain, The Israel Museum in Jerusalem, Museum of Fine Arts in Houston and Center Pompidou in Paris. On his own, he has held several solo exhibitions such as his famous “Family Tree” at Galerie Albert Benamou, Paris (2001), “Zhang Huan: Altered States” in Asia Society, New York (2007), “Zhang Huan: Hope Tunnel” at Ullens Center for Contemporary Art, Beijing (2010) and “Zhang Huan: Amituofo” at Museum of Contemporary Art Taipei (2010). In 2010, Zhang was also featured in “Art for the World, The Sculpture Project of The Expo Boulevard” during the World Expo 2010 which was held in Shanghai. In the same year, he was also part of “Haunted: Contemporary Photography/Video/Performance” by The Guggenheim Museum in New York and “Arts and Cities” during Aichi Triennial 2010 in Aichi. His prominence in the international contemporary art scene quickly led to him being recognized as the Robb Yearly Artist, China in 2010.

Zhang continued to exhibit actively with much critical acclaim, some of his solo shows include, “Zhang Huan: Q Confucius” at Rockbund Art Museum, Shanghai (2011), “Zhang Huan: The Mountain is Still a Mountain” at White Cube, London (2012), “Looking East, Facing West: The World of Zhang Huan” at Frederik Meijer Gardens & Sculpture Park, Michigan (2013) and “Zhang Huan; Soul and Matter” at Palazzo Vecchio and Forte di Belvedere, Florence (2013). Concurrently, he has also contributed to shows by the likes of Palazzo Grassi, Francois Pinault Foundation in Venice (2011), Museum of Science and Art in Lausanne (2011), Minsheng Art Museum in Shanghai (2012), Rubell Family Collection in Miami (2013), Metropolitan Museum of Art in New York (2013), Gwangju Museum of Art in Gwangju (2014), Long Museum in Shanghai (2015), Seattle Art Museum (2015), and Taipei Fine Art Museum (2015). More recently, he was invited to the 55th Venice Art Biennale (2013) and enjoyed solo exhibition like Art Project Salzburg in Austria (2015) and Storm King Art Centre in New York (2014). Consequently, Zhang Huan was awarded the French Legion of Honour in 2014, a prestigious award in recognition of his achievement and significant contribution to contemporary art discourse.

As an acclaimed artist, Zhang’s photography, ash paintings and installations are widely collected by museums and important private collections, such as the Museum of Modern Art, New York, Guggenheim Museum, New York, Metropolitan Museum New York, Fukuoka Art Museum, Japan, Asia Museum of Fukuoka Japan, Museum of Lucern, Switzerland, Museum of Fine Arts in Boston, the Pompidou Center, Paris, Shanghai Art Museum in China, Red Mansion Foundation, London, Charles Saatchi Collection, London, The Cleveland Museum of Art, Ohio, Rubell Family Collection, Miami and Florida and many other important public and private collections.


Images of artworks

      

Shen Lieyi 沈烈毅 (b. 1969)

Born in Hangzhou in 1969, Shen Lieyi graduated from the Department of Sculpture, China Academy of Art in Hangzhou in 1995. Since 2002, he has been working at the China Academy of Art, engaging in the teaching and creation of public art. Currently he is also the director of China Sculpture Institute, Vice-President of Zhejiang Sculptors Association, and the Executive Deputy Director of the Department of Public Space Art at the China Academy of Art.

Since the early 2000s, Shen actively participated in numerous sculpture competitions in China and overseas. In 2010, his work “Water” in West Lake, located in Southern Song Imperial Street, received the “Excellent Prize” in the 2010 National Excellent Urban Sculpture Construction Project held by the National Urban Sculpture Construction Steering Committee. In 2012, he took part in the 4th West Lake International Sculpture Invitational Exhibition in Hangzhou. Within the same year, he won the Example Prize of “Artistic Projects of Public Facilities”, in the 2012 National Excellent Urban Sculpture Construction Project held by National Urban Sculpture Construction Steering Committee for a Public Art Work Design Project in Xiaoshan Airport T3 Terminal. In 2013, he took hom the 3rd Liu Kaiqu Award at the International Sculpture Exhibition Nord Art 2013 in Budelsdorf, Germany. To date, Shen continues to actively participate in public art-related exhibitions, competitions and commission public art projects.

Besides creating work for projects in China, Shen also completed commission projects overseas. In 2012, he was by the Shanghai municipal government to create a work as a gift to Basel Switzerland. The sculpture was titled “Boat” which is currently displayed in Basel St. John Park in Switzerland.

Shen continues to teach at the College of Sculpture and Public Art in the China Academy of Art in Hangzhou.

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Images of Artworks

  

Kumari Nahappan (b. 1953)

Born in 1953, Kumari Nahappan is a prominent artist in the region of Southeast Asia; her practice encompasses inter-disciplinary genres, painting, sculpture and installations. Trained in interior design in Willesdon College of Technology in London UK in the mid-1970s, Kumari pursued a successful interior design career before studying fine art at the LASALLE College of the Arts, Singapore, securing a Masters of Fine Art from the RMIT University, Melbourne.

Kumari is celebrated for her iconic sculptures in landmark locations in Singapore including Saga for Changi Airport, Nutmeg & Mace for the ION Orchard, Pedas-Pedas for the National Museum and Pembungaan for OUE Bayfront (the largest bronze mural in Singapore at over 45m) and other sculptures for corporate developments.  Her sculptures have graced sites overseas including the G Tower in Kuala Lumpur (Malaysia), the J.Y. Campos Centre in Manila (the Philippines), and the Chengdu International Finance Square (China) in 2014.

Kumari was invited to show at the Museum der Kulturen in Basel in [2007/8] and at the Tropenmuseum in Amsterdam [2010]. More recently, she has enjoyed critical and popular acclaim for her installation Anahata, a monumental work comprising of 4000kg of saga seeds for the Singapore Biennale 2013. Her works have been exhibited at the Mori Art Museum, Tokyo and Singapore Art Museum, Seoul Art Centre in Korea, Museum Rudana in Indonesia as well as in gallery exhibitions in Sweden, Germany, London, Italy, New York, Australia, Hong Kong and China.

As an acclaimed artist, Kumari’s works have also been collected by Singapore Art Museum, Art Bank, Ken Tyler Collection, New York, Rudana Museum in Bali, Ritz-Carlton, Singapore, Rolex, Thailand, Changi Airport, Singapore High Commission, Japan and Thailand and various other important public and private collections across the world.


Images of artworks

   

 

Zhan Wang 展望 (b. 1962)

Born in Beijing in 1962, Zhan Wang studied at the Beijing Industrial Arts College for a year from 1995 – 96. He returned to the same college to further his studies from 1978 -81. Two years later, he spent five years studying in the Sculpture Department, Central Academy of Fine Arts Beijing before graduating in 1988.

Zhan Wang is widely recognized as one of China’s leading contemporary artists today.  Working in installation, photography and video, his sculpturally informed practice challenges ideas of landscape and environment, addressing the urban, rural, artificial and industrial. Zhan Wang’s art is a particular perspective fundamentally anchored in his relationship to his own cultural heritage.

Throughout the 1990s, as a young artist, Zhan took part in many group exhibitions and sculpture competitions in China (Beijing, Chongqing, Chengdu, Guilin, Qingdao, Nanjing, Hangzhou, Shenzhen, and Shanghai. In 1996 he began to exhibit overseas, invited to participate in platforms such as the International Sculpture Wild-Open Show in Fukuoka, and “The First Academic Exhibition of Chinese Contemporary Artist” at the Hong Kong Arts Centre. Between 1997 – 99, he was also invited to exhibit at The Watari-um Museum of Contemporary Art in Tokyo, the Hayward Gallery in London and the P.S.1 Contemporary Art Centre in New York, and other exhibitions in Taiwan, Auckland, Chicago, and San Francisco.

In the 2000s, the artist continued to actively participate in many exhibitions and platforms in China such as the National Art Museum of China. For international exhibitions, he has exhibited his work in Asia: Singapore, Tokyo, Fukuoka, Seoul, Busan,; in the USA, San Francisco, Washington D.C and in Europe, Venice, Brussels, Budapest, London, Sweden, and Germany. Notably, in 2000, Zhan took part in the 3rd Shanghai Biennale at the Shanghai Art Museum. Three years later in 2003, Zhan participated in the Chinese Pavilion at the 50th edition of the Venice Biennale.

To date, Zhan Wang has exhibited extensively in major museums and galleries across the world including the National Museum of China (Beijing, China), Williams College Museum of Art (Massachusetts, USA), Kunst Museum (Bern, Switzerland), Mori Art Museum (Tokyo, Japan), International Center of Photography (New York, USA) and the Asia Society Museum (New York, USA) just to name a few.  He has also executed a number of art projects at significant landmarks such as Mount Everest and the Great Wall of China. He currently lives and works in Beijing, China.

Solo Exhibitions

  • 2019 | The Invisible, Eslite Gallery, Taipei, Taiwan
  • 2017 | Forms in Flux, Long Museum West Bund, Shanghai, China
  • 2015 | Space Art Project “One Plus One”, Shanghai Hong Fong,  Shanghai, China / “Nothing for the time being”, OCT Contemporary Art Terminal, Shanghai, China
  • 2014 | Morph, Long March Space, Beijing, China
  • 2012 | Form of Formless, Long March Space, Beijing, China / Universe, Singapore Tyler Print Institute, Singapore
  • 2011 | My Personal Universe, Ullens Center for Contemporary Art, Bejing, China
  • 2010 | Reflection Zhan Wang, ESLITE Gallery, Taipei, Taiwan / Suyuan Stone Generator – 1 Hour Equals 100 Million Years, Today Art Museum, Beijing, China
  • 2008 | Zhan Wang Garden Utopia, National Art Museum of China, Beijing, China / On Gold Mountain: Sculptures from the Sierra, Asian Art Museum of San Francisco, San Francisco, USA / 86 Divinity Figures, Long March Space, Beijing, China / Zhan Wang, Haines Gallery, San Francisco, USA
  • 2006 | Zhan Wang Urban Landscape – Beijing, Williams College Museum of Art, Massachusetts, USA
  • 2005 | Flowers in the Mirror, Han Art Gallery, Hong Kong, China
  • 2004 | Mount Everest Project to the Summit, 8,853.5m Mt. Everest, Tibet, China
  • 2003 | The Now Sky Plan Collection and Display, Xichang Satellite Launch Center, Xichang, China
  • 2002 | From Sweden to Taipei, Taipei/Taichung, Taiwan / Sham Nature – Zhan Wang’s Artificial ‘Jia Shan Shi’, Han Art Gallery, Hong Kong, China
  • 2001 | In & Out Floating Rock on Sweden, Gothenburg, Sweden / Inlay Great Wall, Remnant Great wall of Badaling, Beijing, China
  • 2000 | Beyond Twelve Nautical Miles – Floating Rock Drifts on the Open Sea, Lingshan Island, Jiaonan City, Shandong, China
  • 1994 | Vacant Empty – Seduction Series’ Works of Zhan Wang, CAFA Gallery, Beijing, China

Group Exhibitions

  • 2019 | iPreciation 20th Anniversary: Reverie Collection – 25 Years of Art Collecting Journey, iPreciation Gallery, Singapore
  • 2018 | Speak to the Stones, and the Stars Answer, Haines Gallery, San Francisco / From 1978 to 2018 Shaped By 40 Artists Art History”, Power Long Museum, Shanghai, China / The Road Of Avant-Garde Contemporary Art Exhibition, Nanshan Museum, Shenzhen, China
  • 2017 | Wu Bin: Ten Views of a Lingbi Stone, Los Angeles County Museum of Art, Los Angeles, USA / Art and China after 1989: Theater of the World, Solomon R. Guggenheim Museum, New York, USA / 4th Documentary Exhibition of Fine Arts
  • 2016 | An Instance of Concentration: Reminiscence and Peconstruction, OCT Contemporary Art Center, Shanghai, China / The 3nd Nanjing International Art Festival: Scarcity & Supply, Committee Baijia Lake Museum, Nanjing, China 
  • 2015 | La Chine Ardente – Sculptures Monumentales Contemporaines, Anciens Abattoirs, Mons, Belgium / CHINA 8 – Contemporary Art from China on the Rhine and Ruhr, Foundation for Art and Culture Bonn, Germany / Breaking the Image, Si Shang Art Museum, Beijing, China / The Wondrous All: Leading Edge of Eastern Thought, Taipei Fine Arts Museum, Taipei, Taiwan
  • 2014 | Bloom: ESLITE GALLERY 25th Anniversary, ESLITE GALLERY, Taipei, Taiwan
  • 2013 | Passage to History:20 Years of la Biennale di Venezia and Chinese Contemporary Art Biennale Arte 2013, Venice, Italy / Those Leading Contemporary Art Practices A Juried Invitational Exhibition of AAC (the Award of Art China), Today Art Museum, Beijing, China
  • 2012 | Chinese public Art in Cassell, Cassell, Germany
  • 2011 | Songzhuang Art Festival: If – Chinese Contemporary Sculpture Scenery, Songzhuang, Beijing, China / 3rd Art Changsha, Hunan Provincial Museum, Changsha , China / Shanshui – Chinese Landscape in Chinese Contemporary Art, Museum of Art in Lucerne, Lucerne, Switzerland
  • 2010 | Zaoxing: Artwork from the Faculty of the Central Academy of Fine Arts, CAFA Art Museum, Beijing, China / Great Performances, Pace Beijing, Beijing, China / Crossing Horizons: Contemporary Art From China, National Gallery Chile, Santiago, Chile
  • 2009 | Collision, Experimental Cases of Contemporary Chinese Art, CAFA Art Museum, Beijing, China / Sculpture in Nature, Nature of Sculpture, Foundation de 11 Lijnen, Oudenburg, Belgium / Beijing – Havana: New Contemporary Chinese Art Revolution, National Museum of Fine Arts of Cuba, Havana, Cuba
  • 2008 | Chinese Exhibitions and Events in London, British Museum, London, UK / The Revolution Continues – New Chinese Art, Saatchi Gallery, London, UK / Chinese Gardens for Living: Illusion into Reality, Dresden State Art Collections, Dresden, Germany / Beijing – Athens, Contemporary Art from China, Athens National Contemporary Art Center, Athens, Greece
  • 2007 | Reincarnation, Doris McCarthy Gallery, University of Toronto Scarborough, Canada / Recapture History – Contemporary Chinese Art From the Collection, Guangdong Museum of Fine Arts, Guangzhou, China / Net: Re-Imagining Space, Time and Culture, Chambers Fine Arts, Beijing, China / Art Now Shanghai, Inaugural Exhibition of Beijing Art Now Gallery in Shanghai, Art Now Gallery, Shanghai, China
  • 2006 | New Occidentalism – Chinese Contemporary Art in Beijing, Hongxuan Plaza, Beijing, China / Art in Motion, Museum of Contemporary Art, Shanghai, China / Hyper Design: The 6th Shanghai Biennale, Shanghai Museum of Art, Shanghai, China
  • 2005 | Electrical Scape: International New Media Art Exhibition, Zendai Museum, Shanghai, China / Chinese Avant-garde Sculpture, Museum Sculptures by the Sea, Hague, Netherlands / Universal Experience – Art, Life and the Tourist’s Eye, Museum of Contemporary Art, Chicago, IL, USA; Haywood Gallery, London, UK / The Elegance of Silence, Mori Art Museum, Tokyo, Japan
  • 2004 | Beyond Boundaries, Shanghai Gallery of Art, Shanghai, China / Sightseeing from Beijing: Exchange Exhibition with Central Academy of Fine Arts, Sydney College of Arts and University of Sydney, Sydney, Australia
  • 2003 | Blue Sky Unguarded, Yizhuang, Beijing, China / Dreams and Conflicts – The Dictatorship of the Viewer, Synthi-Scapes: Chinese Pavilion, 50th Venice Biennale, Venice, Italy
  • 2002 | The Long March – A Walking Visual Display, Ruijin, Jiangxi/ Xichang Satellite Launch Center, Xichang, China / Chinese Contemporary Art Touring Exhibition, Museum Küppersmühle, Duisburg, Germany
  • 2001 | Hot Pot: Chinese Contemporary Art, Kunstnemes Hus, Oslo, Norway / New Starting Point, Art Gas Station, Beijing, China / Cross Crossing, Modern Art Gallery, Chengdu, China / Dream: Contemporary Art of China, Atlantic Fine Art, London, UK
  • 2000 | Invitational Exhibition of Contemporary Sculpture from China, Qingdao Sculpture Museum, Qingdao, China / Oriental Plaza Selected Contemporary Sculpture from China, Oriental Plaza, Beijing, China
  • 1999 | Cities on the Move, Louisiana Museum of Modern Art, Copenhagen, Denmark; Hayward Gallery, London, UK; Museum of Contemporary Art, Helsinki, Finland
  • 1998 | Signs of Life: Group Exhibition of Modern Chinese Art, Modern Art Studio, Beijing, China / Cities on the Move, Museum of Contemporary Art, Bordeaux, France; P.S.1 Contemporary Art Center, New York, USA / Autonomous Action – New Chinese Art on Video, Art Space, Auckland, New Zealand 
  • 1997 | Chinese Contemporary Art Exhibition, Watari-um Museum, Tokyo, Japan / Eternal Memory – Nanshan Sculpture Exhibition, Nanshan Sculpture Institute, Shenzhen, China / Cities on the Move – Asian Contemporary Art (Touring Exhibition 1997 –1999)China
  • 1996 | TEDA International Sculpture Competition, Tianjin, China / The First Exhibition in Mountain-Forest Sculpture Park, Huairou, Beijing, China 
  • 1995 | 45 Degrees as a Reason, Art Exchange, Hangzhou/Shanghai/Beijing, China / Development Plan, Triplicate Studio 1st Exhibition, remains of the original Central Academy of Fine Arts, Beijing, China / Women·Site, Triplicate Studio 2nd Exhibition, Contemporary Art Gallery, Beijing, China
  • 1994 | Cleaning Ruins Project, Wang Fujing, Beijing, China / Second National Urban Sculpture Exhibition, National Art Museum of China, Beijing, China / Agree to 11/26 as a Reason, Art Exchange, Hangzhou/Shanghai/Beijing, China
  • 1993 | Taiwan – Beijing Two Sides of the Strait, Sculpture Exchange, Kaohsiung Art Gallery, Taiwan; Yan Huang Art Museum, Beijing, China
  • 1992 | 20th Century China, National Art Museum of China, Beijing, China / Contemporary Youth Sculptor Invitation Exhibition, Gallery of Zhejiang Academy of Fine Arts, Zhejiang, China
  • 1991 | New Generation Art Exhibition, Chinese History Museum, Beijing, China
  • 1990 | The First Studio Art Exhibition, CAFA Gallery, Beijing, China
  • 1987 | Art Academy Student Work Exhibition, Museum of the Central Academy of Fine Arts, Beijing, China
  • 1986 | Beijing Youth Art Exhibition, National Art Museum of China, Beijing, China

For the full list of exhibitions, please contact the gallery at enquiry@ipreciation.com


Images of artworks

     

 

Yuyu Yang (b. 1926 – d. 1997)

Yuyu Yang, also known as Yang Ying-feng, was born in Ilan County, Taiwan, in 1926. Yang received his education from the Tokyo Academy of Fine Arts (now National Tokyo University of Art), Fu Jen Catholic University in Peiping (Beijing today) and the National Taiwan Normal University Fine Arts Department. In the 1960s, he conducted research studies in sculpture at the University of Rome and the National Institute of Design and Mint in the Eternal City. Yang lectured at the National Academy of Arts, Tamkang University and Minchuan College and published more than 20 titles on art. His lifetime career in the arts produced more than a thousand works, ranging from prints, sculpture, laser art, to landscaping and architectural designs, many of which were award winning. Yang was a teacher and mentor to Master sculptor Ju Ming, the Taiwanese artist renowned for his Taichi Series and Living World Series.

Yuyu Yang’s love for nature dates back to his days as a boy in picturesque Ilan where he grew up amidst lush mountains and rivers. With an interest in architecture and 3D-making, he studied the relationship between building materials and environmental science with regional climate and human living environments. In Beijing during his university days, Yang learnt taichi and visited the Yungang Buddhist grottoes, constantly eager to imbibe the essence of Chinese culture.

Three years sojourn in Rome in the 1960’s gave Yang a greater understanding of Western art history and aesthetics, and an appreciation for the differences between the East and the West, historically, culturally and artistically. From 1964–66, Yang actively took part in many exhibitions across different cities in Italy, including Legano, Turin, Rome, Messina, Spa and Venice. One of the notable exhibitions was in 1994, where he participated in a group show titled “Contemporary Chinese Art Exhibition” at the Modern Art Museum in Rome. In 1966, he was awarded a prize for sculpture and painting at the “Olympics of Art and Culture” event in Abano Terme, Italy.

From 1968 to early 1980s, he continued to exhibit extensively overseas including  Tokyo, Osaka, Japan, Hong Kong, Singapore, New York and Seattle. This work “Mirror of the Soul” was displayed at the 2nd Modern International Sculpture Museum in Hakone, Japan.

Upon his return to Taiwan, he cast his focus on the Chinese philosophy of “unity between man and heaven” with its emphasis on man and harmony, co-existence with the natural world. In the 1970s, he worked in a local marble factory and started a series of innovative works called “Lifescape Sculpture”, wherein “life” is the external form of sculpture that must interact with the outside natural environment. Working primarily in stainless steel, Yang favours the smooth, flawless quality of these mirror-like surfaces that lends his sculpture to sit well within the environment. The natural balance or juxtaposition of the natural world and his sculptures has become a central theme or philosophy in his life’s work.

From the mid 1980s to early 1990s, Yang created a few notable public art projects for museums and corporations, some key international examples include the Union Bank of Singapore, Peking Olympic Sports Centre in China and the Sunrider Museum in Los Angeles, USA. In Taiwan, his work has been acquired and installed by Taipei Fine Arts Museum, International Convention Centre in Taipei, Taipei Bank, Kaohsiung World Trade Building, Tinan County Stadium and National Chiao Tung University in Taiwan. During this time, Yang continued to participate in group exhibitions internationally including the National Museum in Singapore, in Paris, Japan, New York and New Jersey.

In 1993, he enjoyed a retrospective exhibition “Yuyu Yang 60-year Retrospective Exhibition” at the Taiwan Museum of Art in Taichung. In 1995, he was the first international Fellow of the Royal Society of British Sculptors. Subsequently in (1996), he was invited by the Royal Society of British Sculptors to hold a six-month special exhibition at Chelsea Harbour, London, U.K.

In 1997, the year before he passed away, Yang completed a public art commission for the Yilan County Government in Taiwan and Hakone Open-Air Museum in Japan organised a solo exhibition titled “Lifescape Sculpture of Yuyu Yang”.

In 1998, the Hong Kong University of Science and Technology Library celebrated his life’s work by organising an exhibition called “Sculpturing Time and Space – Yuyu Yang (1927 – 1997). Yang died in Hsinchu, Taiwan in 1997.


Images of artworks

 

Baet Yeok Kuan 麦毓权 (b. 1961)

Born in 1961, Baet Yeok Kuan graduated with a Diploma in Fine Art (Painting) from the Nanyang Academy of Fine Arts in 1987 and received his MA in Fine Art from the University of Central England, Birmingham in 1992.  In 1995, Baet was conferred the Young Artist Award by the National Arts Council Singapore.

He represented Singapore in several international symposiums including the New Generation Contemporary Singapore Art Exhibition and Symposium, Japan (1990) and Second ASEAN Artist Creative Interaction, Indonesia (1997), Singapore-India Artists Exchange Programme, India (1999) and Artist-in-Residence in University of Philippines (2003).

Baet has won several awards such as the Grand Prize of the UOB Painting of the Year Competition (1987), Second Prize in the Contemporary Art Competition (Sculpture), Area Prize and Judge Prize in the Third Tokyo Urbanart Competition (1994). He was President of the Modern Art Society Singapore from 2003 to 2004.

Baet has completed many local public art projects to date including Singapore Changi Airport Terminal 3, the National Museum and the National Library Board to name a few. He recently completed a site-specific installation “24 Hours in Singapore” on the Asian Civilisations Museum lawn, in commemoration of SG50, an inaugural commission by the Public Art Trust.

To date, Beat’s works have been collected by museums and notable private collections, some notable ones include Fukuoka Art Museum in Japan, National Museum of Singapore, National Arts Council, National Art Museum, NUS Museum, St. Regis Hotel and Mapletree business city.


Images of artworks

 

Gu Wenda 谷文达 (b. 1955)

Born in Shanghai in 1955, Gu Wenda graduated from Shanghai School of Arts in 1976. In 1981, he received his MFA from the China Academy of Arts where he studied classical landscape painting and continued to teach in his alma mater from 1981–87. Later in the same year in 1987, Gu moved to the USA to study at The Academy of Art College, San Francisco and started his life as an independent artist. To date, he has participated in numerous international solo exhibitions and prestigious platforms such as biennales and art fairs across the world. Gu’s work has been included and referenced in many publications and recent art history books. He currently lives and works between Shanghai and New York.

Gu’s international artistic career took off since he moved to the United States in 1987. Over the last twenty-seven years, he has been actively and extensively taking part in numerous exhibitions worldwide, including prestigious biennales, international festivals (Brussels, Los Angeles, the Hague), site-specific commissions and installations in various indoor and outdoor settings within museums, universities, corporate and private spaces.

Gu Wenda is widely recognised for his conceptual and formal alterations of Chinese character to create fake and miswritten symbols to create large scale ink paintings, installations and performances; sometimes using ink made from natural human hair. Gu’s work represents a new form of mysticism, with his installations as the temples where these mysteries can be contemplated. Gu’s artistic practice attempts to extend the boundaries of human perception, feeling, thought and expression of humanity’s deepest wishes and most powerful dreams.

Since 1981, Gu has participated in numerous international solo and group exhibitions and biennales. The countries and regions that have shown his work include China, Hong Kong, Taiwan, Singapore, Japan, Korea, Indonesia, Malaria, Israel, Australia, Germany, Norway, France, Russia, the Netherlands, Italy, Britain, Mexico, Switzerland, Sweden, south Africa, Poland, Brazil, Canada, Turkey, Chile, Denmark, Belgium, Croatia, Romania, Hungary, Argentina and the United States. He has also been invited to lecture at various art academies, universities and institutions worldwide, including San Francisco Art Institute; Maine College of Art; Art Institute of Chicago; School of Visual Art, New York; Stanford University; Harvard University; Yale University; Cornell University; University of Chicago; Oslo National College of the Arts, Norway; Royal University College of Fine Arts, Sweden;  Minneapolis College of Art and Design; York University, Toronto; National Gallery of Australia; San Francisco Museum of Modern Art and Asian Art Museum of San Francisco and among others.

Gu Wenda was an associate professor of studio art at the University of Minnesota from 1989 to 1990 and received the title of Honorary Minnesotan from the Governor of Minnesota. In 2000, Gu became a candidate for an honorary doctorate from the Maine College of Art. He is a guest artist and adjunct faculty member of Cooper Union in New York, a panel member of the international artists residence of PS1 Museum of Modern Art in New York in 1995, a panel member of the student scholarship committee of the Chicago Art Institute in 1998, and a jurist for the Macao Arts Festival for the application of United Nations world heritage in 2003.

Gu’s work is widely collected by many international museums and public institutions, some notable ones in Asia include Shanghai Museum of Art, China Academy of Art in Hangzhou, National Museum of Art in Beijing, Hong Kong Museum of Art, Fukuoka Art Museum Japan. In Europe, they include the British Museum, Ashmolean Museum in Oxford, Royal Hapsburg Collection Germany, Origo Foundation in Switzerland, Olenska Foundation in Geneva, the Uli Sigg Collection in Geneva; in the USA, they include San Francisco Museum of Modern Art, Asian Art Museum of San Francisco, Asian Art Museum San Francisco, Museum of Modern Art New York, Guggenheim Museum New York, Metropolitan Museum of Art New York, Denver Museum of Art, Boston Museum of Fine Arts, Seattle Art Museum, University of Princeton and the Smith College Museum of Art.


Images of artworks