Echoes and Reverberations: The Interconnectedness of Being and Becoming

E-Catalogue

Echoes and Reverberations – E-Catalogue Download

Private Preview:

Saturday, Aug 3^rd, 2024, 2 – 6pm (By Invitation Only)

Kindly RSVP by calling +65 6339 0678 or email enquiry@ipreciation.com

Exhibition Opens to Public:

5^th – 24^th Aug, 2024

10am – 7pm (Mon – Fri)

11am – 6pm (Sat)

Closed on Sundays and Public Holidays

Venue:

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

Tel: + 65 6339 0678 Fax: + 65 6438 2080

www.ipreciation.com

iPRECIATION is delighted to announce our upcoming exhibition, “ Echoes and Reverberations: The Interconnectedness of Being and Becoming,” featuring over 30 artworks by five eminent artists— Milenko Prvački (b. 1951, Yugoslavia/Singapore), Oh Chai Hoo (b. 1960, Singapore), Chiew Sien Kuan (b. 1965, Singapore), Boo Sze Yang (b. 1965, Singapore), and Raymond Yap (b. 1966, Malaysia / Singapore) — providing a profound opportunity to explore the intricate relationship between life, meaning, and art. Drawing from diverse sources of inspiration, including nature and urban landscapes, the exhibition invites contemplation on themes of memory, belonging, self-actualization, and transformation. The creative processes and artistic concerns of these artists reflect the philosophical idea of the interconnectedness of being and becoming, capturing the dynamic interplay between existence and change, the individual and the environment, and the subjective and the collective.

About the Exhibition:

Interconnected Worlds: Navigating the Layers of Visual Experience

The exhibition “Echoes and Reverberations” draws an interesting parallel between Eastern philosophy and contemporary artistic expression. The Buddhist concept that “Form is not different from emptiness; emptiness is not different from form” resonates deeply with the approaches taken by the artists in this exhibition. This idea, emphasizing the interconnectedness and mutual dependency of material existence and voids, is reflected in how these artists treat the traditional figure-ground relationship within their works.

Much like how traditional Chinese ink painting leaves parts of the rice paper unpainted to suggest natural elements such as water, skies, or land, these artists use the figure-ground relationship to explore the fluid boundaries between presence and absence. In Chinese ink painting, the blank spaces are not mere voids but integral parts of the composition that evoke the vastness of nature and the continuity of the environment. This allows the viewer to imagine the unseen and appreciate the balance between what is depicted and what is left to the imagination.

Similarly, in “Echoes and Reverberations,” the artists challenge traditional approaches by creating layered, non-linear visual experiences. Their paintings feature a rich tapestry of dots, lines, shapes, and colors that float, overlap, and clash in ways that defy straightforward interpretation. These elements do not follow a sequential or hierarchical order but instead interact in ways that create a sense of chaos and multiplicity. This approach suggests that reality is a complex web of interconnected elements rather than a series of discrete objects.

Viewing the paintings can be likened to surfing through the internet, where each mark, shape, and symbol represents a node in a vast network of visual data. The viewer is invited to navigate this network, discovering connections and meanings that may not be immediately apparent but emerge through deeper engagement. The overlapping windows and interwoven visual elements suggest a universe of possibilities, echoing the concept of multiple universes or dimensions coexisting and interacting.

Together, the artists in “Echoes and Reverberations” offer a meditation on the nature of existence, perception, and reality. Their works encourage viewers to contemplate the fluid boundaries between form and emptiness, the real and the illusory, and to find beauty and meaning in their interplay. This exhibition is not just a visual experience but an invitation to a philosophical journey, where viewing becomes a meditation on the interconnectedness of all things.

Art as a Mirror: The Subjective Nature of Interpretation

At its core, all art is abstract. Art transcends literal representation to convey ideas, emotions, and experiences through various mediums, whether it be painting, sculpture, music, or literature. Even realistic or figurative art embodies abstract elements such as symbolism, metaphor, or subjective perspectives. The essence of art lies in its ability to evoke deeper meanings beyond the surface, engaging viewers in a process of interpretation that reflects their own experiences and thoughts.

This exhibition “Echoes and Reverberations” invites viewers to engage with the artworks on a personal level, emphasizing the subjective nature of interpretation. This approach aligns with Friedrich Nietzsche’s notion that meaning is created through our own experiences, not given to us. Nietzsche’s concept of the “Übermensch” or “Overman” suggests that individuals must transcend traditional values to create their own meaning. Similarly, in the context of art, viewers bring their own experiences, thoughts, and emotions to their interpretation, creating personal meanings that reflect their unique perspectives.

The viewer’s engagement with art is a co-creative process where the artwork acts as both a mirror reflecting personal desires and fears, and a bridge connecting them to new perspectives and experiences. Art offers a space for introspection and self-discovery, inviting viewers to explore their own inner landscapes while also engaging with the artist’s vision and broader human experiences. Through this dynamic and reciprocal relationship, art reveals its depth and significance, transforming the artistic experience into a meaningful journey of personal growth and universal connection.

Ultimately, the exhibition underscores the idea that meaning is not something to be discovered but something we create through our engagement with art and the world around us. As we navigate the complexities of existence, art remains a crucial medium for exploring, understanding, and expressing the multifaceted nature of our lives.

In an interview for Milenko’s monograph, artist Ian Woo asked what keeps him returning to painting with such fervor. Milenko replied, ‘The unfinished, endless job! The painting process is never finished. To be engaged again and again is a perpetual motivation. Every evening when I leave my studio, I am a genius. The next morning, when I step into my studio, I feel dissatisfied and unhappy with what I did. All my life I am attempting to touch a truth. And when I am almost there it will move away again and again. It is an exciting exercise. It is a journey without destination.’

About the Artists:

Milenko Prvački (b. 1951, Yugoslavia/Singapore): Abstraction as a Cultural Language

Milenko Prvački has embarked on his “Abstraction for Beginners” series since 2017, exploring painting as a language and cultural system, reflecting Ludwig Wittgenstein’s philosophy that meaning arises from context and use. His work harmoniously integrates geometric, expressionist, and associative elements to invite reflections on the coexistence of diverse ideas and cultures.

Emerging from the fractured political landscape of the former Yugoslavia, Milenko Prvački’s artistic journey is deeply influenced by his experiences of political turmoil and cultural transition. His paintings seek visual equilibrium through the interaction of form and color, symbolizing a metaphorical journey toward reconciliation and understanding on both personal and universal levels. By juxtaposing contrasting elements, his art embodies the notion that balance and order can emerge from chaos, reflecting a broader philosophical exploration of unity and diversity.

Chaos is represented through abstract forms, unpredictable patterns, and dynamic compositions that evoke a sense of movement and instability, serving as fertile ground for new meanings and reflecting life’s unpredictability. In contrast, order is depicted through deliberate compositions, harmonious color schemes, and geometric shapes that provide stability. The interplay between these chaotic and orderly elements reflects a philosophical view that true balance is achieved not through the elimination of chaos but through its integration into a cohesive whole.

Oh Chai Hoo (b. 1960, Singapore): Philosophical Meditations through Ink Paintings

Oh Chai Hoo’s ink paintings are deeply influenced by Chinese philosophy, capturing the essence of natural rock formations and the cyclical patterns of existence. Taoism, as expressed by Laozi in the “Tao Te Ching,” emphasizes harmony with the Tao (the Way), the fundamental principle underlying and unifying the universe. Oh’s art serves as a visual meditation on life’s interconnectedness and nature’s impermanence, aligning with the Taoist concept of wu wei, or effortless action, where one harmonizes with life’s natural flow.

Oh reflects on Eastern thought’s view that nothing has eternal, substantial existence, and that truth exists between the real and the illusory. He also draws on Buddhism’s idea that “Form is not different from emptiness; emptiness is not different from form,” suggesting that material things and voids are inseparable. Oh’s work is guided by the pursuit of spiritual existence beyond appearances, as illustrated by a Zen koan he shares: Three practitioners see a flag fluttering in the wind. One says the flag is moving, another says the wind is moving, and the third says neither; it is the mind that moves. Oh believes that all forms of expression depend on inner needs, with art being a means to achieve balance and fulfilment.

For the paintings in this exhibition, Oh introduces a new element of disruption to his traditionally serene visual renditions of natural rock formations. While Oh’s previous work captured the tranquil beauty of these structures through soft, flowing forms, this series explores a provocative contrast between the organic and the artificial. In these paintings, sharp-edged, blade-like geometric shapes intrude upon and cut through the naturally rendered rock forms. These geometric elements, defined by precise lines and stark edges, stand in striking contrast to the fluidity of the rocks. Despite this discord, Oh creates moments of harmony where sharp lines and soft curves meet, inviting viewers to reflect on the complex relationship between human intervention and the natural world. His work suggests that beauty and meaning can be found in the interplay between contrasting elements.

Chiew Sien Kuan (b. 1965, Singapore): Introspection in the Urban Landscape

Chiew Sien Kuan explores the subconscious response to urbanization and modernity through introspective mixed media works and assemblage. His art resonates with the Christian tradition of self-examination, akin to Augustinian inner reflection, exploring transformative changes in urban environments and their impact on inner lives.

As both a Christian and artist, Chiew grapples with imitation, creation, and purpose in art, drawing inspiration from Makoto Fujimura’s exploration of Christian doctrine. Fujimura views the tension between creation and brokenness not as a barrier but as integral to life’s rhythm. In “Culture Care,” he advocates for nurturing culture through creative generosity to foster healing in a fractured world, challenging art’s role beyond escapism to a transformative force engaging human suffering and seeking redemption. Fujimura’s philosophy underscores how art can mirror divine creativity, aiming to restore all to intended wholeness.

Conceptually, Chiew draws from Duchamp’s ‘contra-venture,’ James Hyde’s exploration of ‘places of painting,’ and El Lissitzky’s concept of the ‘interchange station between painting and architecture,’ moving from isolation towards integration. These influences evoke reflections on presence and absence, exploring one’s connection to place, time, space, and thought within the urban ‘city machine.’

Inspired by the historical significance of Singapore’s Ulu Pandan Railway Bridge, his ‘Bridges Assemblages’ series symbolizes both past and potential connectivity, blending physical and spiritual dimensions. Chiew’s mixed media works on paper also feature bridge-like structures integrating wood or aluminum pieces into their surfaces, resembling trusses, and one piece includes a miniature train atop. Interestingly, despite the presence of bridges throughout history, bridges are not mentioned in the Bible.

Boo Sze Yang (b. 1965, Singapore): Urban Transformation and Environmental Reflection

Boo Sze Yang’s exploration of the tension between human progress and environmental conservation resonates with existential responsibility. His semi-abstract paintings of urban spaces—like shopping malls and construction sites—reflect the complex relationship between human development and the natural world. By juxtaposing the tangible and the imaginary, Boo’s works compel viewers to confront the consequences of unchecked progress and to find personal meaning in balancing urbanization and nature.

Central to Boo’s work is the theme of transience and transformation, exploring reality’s fleeting and ever-changing nature. His technique of using thin, translucent oil paint washes creates an ephemeral quality in his subjects, reminiscent of reflections on modern glass buildings that offer both transparency and reflection. In his series on water reflections, Boo examines life’s aspirations—both visible and elusive, tangible and intangible—inviting viewers into a space where reality and fantasy merge in a harmonious and imaginative disarray. His paintings transcend mere depictions of moments or memories, offering glimpses into alternate realities and transforming perceptions through light and movement.

Chiew and Boo both explore urban transformation and its impact on the human experience, though they do so from distinct perspectives. Despite their different methods, both artists use their work to prompt viewers to consider the deeper implications of urban transformation, highlighting its effects on personal identity and environmental sustainability.

Raymond Yap (b. 1966, Malaysia / Singapore): Chance and Intent in Artistic Expression

Raymond Yap, born in Kuala Lumpur, Malaysia, studied and lived in London for 18 years before settling in Singapore, where he holds both UK and Singapore permanent residency. As an artist with extensive travel and diverse experiences, Yap believes that art is boundless. He recognizes that any concept can be expressed in many ways depending on one’s background and location. This understanding of art’s endless possibilities drives Yap to pursue his own artistic path and contribute his unique perspective to the vast field of art.

Central to Yap’s exploration is the interplay between intentionality and unpredictability. His textured paintings examine nature’s patterns and the role of chance in the creative process. This approach aligns with Gestalt psychology’s emphasis on holistic perception, inviting viewers to perceive his artworks as cohesive wholes rather than mere collections of textures. Each layer of paint contributes to the overall composition, encouraging viewers to discover familiar shapes and forms within the abstract textures and colours. Yap’s approach highlights the human tendency to seek patterns and experiment with the unfamiliar, blending structured methods with the spontaneity of chance. His creative process integrates the conscious and unconscious aspects of the self, resulting in multi-layered paintings inspired by natural forms and landscapes. These works serve as a meditation on the subconscious mind’s potential and the evolving nature of artistic expression in an age increasingly shaped by artificial intelligence.

The common thread between Milenko Prvački, Oh Chai Hoo and Raymond Yap is their exploration of the dynamic interplay between chaos and order through their art. Each artist approaches this theme through unique philosophical and aesthetic lenses, yet all reflect on how diverse elements can create harmony and balance.

Artworks