Thrilled

Cant help feeling thrilled to see my own write up of my art journey posted on the "Artist Illustrated" column of a monthly newsletter, thanks to the generosity of recognition at MyArtSpace

http://www.myartspace.com.sg/Pages/Newsletter/09sepnewslettercontent.html

Article

"In as far back as I can recall, I have always
somehow been inspired and awed by the
dramatic beauty of the human figure, in stasis and
motion, as portrayed in traditional mythological and classical
paintings, stylized in modern cinema, or recorded in
photographic detail.
This visual empathy with the contours and planes of the
human body, especially the face, compels me to capture and
document the image pictorially, which translated into myriad
portrait drawings, from the sketchy to the detailed. However, I
felt that these self studies of the human form were somehow
lacking and could not give full expression to the invisible pulse
and rhythm of life that emanate from human existence.
To extend my visual vocabulary to better articulate such
visceral sensibilities, I took up an introductory course in
drawing at My Art Space in October 2007. At the studio, I was
taught how to see objects differently, which helped me
delineate the complexities of transferring reality into two
dimensional images, through tonal charcoal drawings of clay
figurines and still life.
To infuse my art with vitality, I decided to continue my art
exploration with the studio in oil painting. The oil painting
classes opened up a multitude of exciting possibilities for my
art as I learnt color interaction, appreciation of brushstrokes
and the textural richness of the medium that help me to
recreate and distill the essence of the human form on the
canvas."
"My Art Space also encourages self learning through
browsing groundbreaking artwork of eminent contemporary
artists to find a personal idiom. Also art critique sessions
are held regularly to share artwork and opinions in a
convivial setting, which can be immensely insightful .
Having practiced at the studio for over a year, its
significance for me in my art exploration journey has
transformed from being a mere classroom to a community
of like-minded individuals seeking self expression
collectively.
I have been working in the finance industry for the past 4
years, pertaining to trade settlement and asset servicing
aspects of banking operations. For me, art helps to open up
new horizons in my visual experience of life and cultivate a
sensitivity for the aesthetic, as I learn to see and distill the
essence of things rather than focuson their utility. This
helps me learn to empathize with my peers better as a
result, which is important in building rapport at work.
Also, the many art movements created throughout the
history of art, and the resulting myriad of variations on the
same subject matter, opened up new possibilities of
seeing and this has a liberating effect on my approach
towards problem solving at work, as I continuously
challenge myself to exhaust all possible angles."

Where is my art going?

It seems a strange question to ask, but is not art a process, a vehicle of ideals unattained and the promise of greater images unmaterialized? It is impossible or perhaps wrong to try to define art, be it in terms of manifestation or purpose....
But I cant help feeling lost after looking back at my year's work thus far and perhaps feel a tinge of regret that I have not been pushing myself hard enough as an artist. (this was further corroborated by another's observation at a studio I paint); I was merely indulging my sensual preferences. 
Perhaps I have been too enamoured of the myriad of images that life and nature around had to offer, I was obsessively seeking proprietorship of those fleeting moments, trying to capture their essence in paint and transpose them on canvas that would make dainty decorative elements for my walls. I was being a documentarist, my oils were still too faithful to nature, nothing much new was created, merely reflective, perhaps slightly distilled, imperceptibly amplified...perhaps sporadically worthy of beauty, but only beauty outlined and observed, not beauty created from within into infinity...it annoys me to know that I have capitulated to photographic behavior instead of heeding the call for the triumph of painting...the truth hurts and the truth is I havent been a creator of much, instead, mucking around in craft apprenticeship.
But this new found awareness breathes new purpose in me. I have a goal to work towards, I feel reinvigorated, a little daunted perhaps, but I have my work cut out for me next year. My images will be less mimetic, more seeing will be done with my mind's eye, trimmed of illustrative elements, greater emphasis on sensation. I shall strive for the right equilibrium between the figurative and the abstract for emotive impact, to remain truer to my statement of finding form for these invisible pulses of life, the rhythm and cadence that nature has imprisoned or neglected in Man but thankfully equipped Him with the devices to resurface these energies...I aspire to an authorship of a new visual syntax, my works will try to be no mere image-emotion associations, but as if they exist on their own accord, as if they have assumed a life and right in our world to be seen...only thus would I come nearer to the notion of what creation is...

Michaelangelo - The creation of Adam

Oil Portrait # 10 : Lady in green

(H) 60cm X (B) 50cm

Year 2009


Artist's Inspiration : This is a piece of painting that I am personally proud of, as it is one of the few works that seem to come off on its own and command its own presence and seem to have a life of its own, as most figure painters might aspire to, with everything sort of falling into place as my brush would dictate, and where it doesnt, the accidental results harmonize with my intentions. It truly feels like a creation, and not mere illustration, as I have successfully painted her as I "see and feel" her to be, rather than mimetic portrayal of physical appearance. In trying to paint her as a royalty, my admiration for her finds itself encapsulated in her sideway glance, as if reciprocating the viewer's gaze is disdainful to her taste and beneath her. I like it that the picture seems to imbue in her a matriarchal-like attitude, reassured  and comfortable in her own being, as signified by the relaxed manner with which her left hand rests loosely on the armchair, suggesting a life that asks only to be served. (Although, this is most certainly untrue, being a fiercely independent woman who would insist on doing anything on her own where possible, I had deliberately painted the hand in the manner to signify a parallel life that she is more deserving of, after all the hardship that she's been through. Yes, I am being a sentimental maudlin here..guffaws).
The fabric that she dons is painted loosely and forcefully, to enhance the vigor of her image, by infusing it with an elemental like form, not unlike the aura of optimism she wears in real.
The color scheme and transition also seemed to work on my senses alot better than my previous works and I hope this is a precursor of better paintings to come.
I am especially grateful for how chance has assisted me in painting the face so that it seems to have assumed a life of its own and comes closer to what I aspire to try and paint "the invisible rythm and impulses" of nature in Man. (See detail below)
 

Face Detail of Lady in Green

 

UE Square Wall of Fame : "You and Me" Exhibition

My Self Portrait 2 selected for the Exhibition

My creation amongst others

It was exhilirating to have my self portrait exhibited. Seeing a portrait of myself hung on a public wall evoked self congratulatory sensations of celebrity status. The surrealistic experience was made all the sweeter knowing that my work would be steal a private moment from someone elses' routine and precipitate an emotional dialogue through quiet contemplation.....

Oil Portrait #9: Man and Child

(H) 60cm X (B) 50cm

Year 2009

Artist's Inspiration: This picture is motivated by a compelling need to paint my fascination with the myriad interpretations of "Adoration of the Magi" and "Virign and child" by the Old masters; the beatific images of Mother Mary looking dutifully and compassionately upon her blessed child.
It was a chance occasion where I had the opportunity to snap a picture of my uncle holding another's child, and caught them in a pose that had that timeless verisimilitude to the old masterpieces.
I decided to do a contemporary take on the subject matter, which allowed me to  confront my intrigue on canvas, with how a gentle tilt of the head and a slight upturn of the lips that belie a shy smile could summarize so powerfully and eloquently an emotion such as compassion. The picture was set up as an index of contrasts, of old age vs youth, where dark brown colors don the Man's face, to resemble the barky sturdiness of a tree trunk, from which the fruit of youth hangs delicately in its vibrant and robust peachy colors, of strength vs vulnerability, of awareness vs oblivion, framed in the adult's focused obsession with the beauty of the young child in his perambulator's brace, while the infant takes in greedily the visual feast offered by his new found world, unaware of the meaning of unconditional love that has yet to touch his conscience.
The halo is added on as I thought it might help to give the painting that traditionalist, timeless sheen...
Perhaps only time will tell if it is justified..

Oil Portrait# 8: Sleeping Man

(H) 50cm X (B) 60cm




Year 2009


Artist's Inspiration: As a fledging artist with limited resources, there is little original material to work with, hence another document of a familial relation. My father deep in slumber, head rested on his convenient pillow which he uses for his siestas. However, on this occasion, the expression that his visage countenanced seems to animate his lifeless body with frightful urgency, as if fending off some imagined disturbance. It affected me profoundly that sleep was not merely a restful pastime but also a redemption activity through which one's suppressed difficult emotions are purged. I felt it necessary to document this visual fact and painted the picture as a still life practice, finishing it from a photo reference.
However, quite strangely, by some mysterious alchemy of oil painting, the finished painting had a different effect from my original intention. It was a glorious beast of Nature, deep in sleep, yet self aware of its power. And by virtue of the painting's perspective, it sets up a predator-prey relationship in the world of imagery, and it had the double effect of transforming the mighty animal into one held in captivity...empowering the stature of the artist in the relationship with the painted. This helped for me to appreciate coiled tension inherent in the picture, like a carousel spinning on the axis of the predator/prey argument, an unexpected endowment, but certainly pleasant for my appreciation of the work.

“BREAKTHROUGH ART: CREATIONS II GROUP EXHIBITION

Me and My Exhibit

It was fantastic to be part of this group exhibition, hosted by "fill your walls" art gallery, which was held in conjunction with the Singapore Art Show organized by National Arts Council.
This was an affirmative result that I have been seeking as a fledging artist, as the exhibition showcased only works selected by experienced advocates in the industry, from more than 200 hopeful submissions.
I definitely relished the acknowledgement of my work being displayed along with established artists such as Rosihan Dahim (Surrealist) and award-winning local artist Sarah Choo.
I certainly hope this would be the first of many more opportunities for my works to be exhibited.

Opening Night