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volume four . two thousand FIFteen
volumefour.twothousandFIFteen

GALLERY & STUDIO 4 GALLERY & STUDIO 5
Happy Anniversary
Jonathan Tan, Deputy Editor
facilitators, with the responsibility to share our experiences
in colour, shape and form with you.
To celebrate the progress we’ve made, we toast the
men and women who have made the conscious decision
to pursue their burning passions. In this issue, we spoke
with master sculptors Johan Cretan and Jedd Novatt,
mixed-media magician Ysabel LeMay, human chameleon
Liu Bolin and portrait specialist Sandro Miller. In
particular, we cast the spotlight on some of the leading
ladies in Singapore’s art scene (page XX) and spent some
time with art consultants Cheryl Ho and Veronica Howe,
gallery owner Rasina Rubin, and artists Dawn Ng and
Donna Ong. At the same time, we’ve been swept up by
the excitement of the Singapore Art Week, headlined by
Art Stage and the Prudential Singapore Eye Awards and
Exhibition. Read all about them in our feature, Fair Game
(page XX). Addressing the business side of art, we took
up conversation with Nigel Hurst, chief executive of the
Saatchi Gallery and Daniel Komala, chief executive of
auction house Larasati. Last, but by no means the least,
we’ve also introduced a new series on art investment (page
xx) to offer both seasoned and first-time buyers alike an
alternative perspective.
Thank you for your continuous support and as always,
we trust that you’ll enjoy this issue.
Issue #4.
The volume you now hold in hand marks a year since
Gallery & Studio forayed into the art world. And while
every issue is a challenge in itself, we’ve been fortunate to
have never found inspiration lacking.
Why would we? Having started out with the intention
to explore the art world, and share that experience in a
personable voice with engaging visuals, we’ve found
ourselves privileged visitors to a magical world—an
immensely storied one, full of colour, vigour, struggle,
passion and beauty.
Collaborating with our dedicated team of writers,
photographers and designers over the last four issues,
we’ve developed a profound respect for artists and
the marvellous work they create. Be they pleasing,
mesmerising, inspirational, controversial, or just plain
confusing, it’s very much a matter of personal tastes.
Hence the golden rule of an art collection: Buy what you
like. That way, you’d always be able to enjoy the aesthetic
of your purchase.
At the same time, we’ve been honing our eye for
appreciating art as we’ve meandered along this fascinating
journey of discovery. While our presentation remains
stimulating, we’ve become more incisive as our knowledge
deepens. We’ll never be critics, but we see ourselves as
All rights reserved. This publication may not be reproduced in any form in whole or part without
the written permission of the publishers.
Editor
Tim McIntyre
tim@bigtime.com.sg
DEPUTY Editor
Jonathan Tan
jonathan@bigtime.com.sg
Art Director
Edroos Alsagoff
Designer
Shahrul Azmi, Diana Chwee
Photography
Albert Tan | Olive Tree Studio
Contributors
Aly Chong
Kayti Denham
Rossara Jamil
Nina Starr
Kok Hui Fen
Melissa Cheng
Mark Teo
Eddie Teo
Advertising
Jacqueline Wong
jacqueline@boldink.com.sg
Circulation and Production
Aisha Sabile
published by
Big Time Publishing Pte Ltd
220 Tagore Lane, 03-01
Singapore 787 600
Tel: +65 6836 2216
Fax: +65 6836 2872
Printing
Printed in Singapore by
KHL Printing Co Pte Ltd
MCI (P) 115/08/2013

GALLERY & STUDIO 8
No Man’s Land
Art On A Mission
The Body Canvas
La Maison Du Pastel
Adrenaline, On Canvas
A Multi-Sensory Experience
A Toolbox Of Expression
Art And Everything Else
Fly On The Wall
The Fabric Of Culture
Draw Of The Unfamiliar
Finders, Weavers
Basic Instinct
Action Man
Art Basel 2014
Best Of Basel In Hong Kong
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56
120
86
14
60
124
146
92
20
64
136
96
One East Asia
Shaking Up The Art World
Bernar Venet
Audemars Piguet
A Life In Art
Ong Kim Seng
A Photo Essay
Creative Medley
Canvas Singapore
Crayon Making
A Labour Of Love
TK Quek: Collector
Paul Oz
Ritz-Carlton’s Art Tour
Made Bayak Muliana
Milan Image Art & Design Fair
Sarah Choo
Milica Bravacic
Caratoes
Norberto Roldan
Karla Marchesi
The Colour Of Expression
Justin Y
Mark Teo
an Eye for appraisal
Bonhams Singapore
Art Basel
New Art Hotspots
Five to know
Art Basel Hong Kong
Picture Perfect
Alive Museum Singapore
Art Branding
Art X Brand Collaborations
26 38 44
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140
70
112
142
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118
144
80

A Patient Explosion
Jedd Novatt might be 14 years into his visceral Chaos series of sculptures but to
the American sculptor, this is just the beginning as the possibilities are limitless
words jonathan Tan Photos Art Plural Gallery
“Think of it as a drawing, where you take a white piece
of paper and a pencil and you start somewhere. Let’s
say that you can’t put the pencil down; you’ll go wher-
ever it goes and you’ll decide where it goes. But to a cer-
tain degree, you don’t really know where, and it doesn’t
matter,” says American sculptor Jedd Novatt, when asked
to describe the creative process behind his Chaos series
sculptures.
Likening the experience to life’s journey, Novatt says,
“it (sculpting) leads you in different directions. What I
look for, is trusting that I’m following a line of thought,
but not limited in what direction it goes. I’m very rigorous
about working very hard, and making work that feels
fresh to me. I trust my road, and I recognise that it might
go off in any direction.”
Intrinsically, creating his sculptures is a very organic,
emotional process for the artist, despite their ‘structured’
form. The distinctive shapes identify them as a Novatt
piece of work, but that’s where the similarities end.
“If you look at this exhibition, and you look at every
sculpture, you’ll know that they are my works and that
they are part of my Chaos series. But if you really look at
them, they’re entirely different. Each one of them is an
entirely different experience.”
Taking time out from a hectic exhibition schedule
during his recent solo at Art Plural Gallery at 38
Armenian Street, the 56-year-old tells us about the highs
and lows of his 35-year career as a sculptor following
graduation from the Lacoste School of the Arts in France
and from the Sarah Lawrence College in New York. “I’m
following something that I started 35 years ago and I’m
seeing where it goes. It’s always part of a process of the
sculptures before,” he says.
You’ve been working on your Chaos series for the
last 14 years. How did you get started on it?
It was somewhat accidental. I had been working in
my studio in Manhattan on a series of wall-mounted
sculptures in steel. They were essentially an earlier
version of my Chaos series but inside of the skeleton
were heavily painted steel elements.
One day, an artist friend stopped by and said, ‘You’re
not trusting enough what you’ve already created.’ And
I thought, ‘You’re right.’ I removed one from the wall,
eliminated the elements on the inside, and arrived at the
very first of these works. It began a radical change in my
work.
How did the series develop since then?
Much of it is indescribable. I started making sculpture 35
years ago, and each sculpture would lead to the next and
then to the next. I’ve been working with the Chaos series
for the last 14 years, which is much longer than any series
of work I’ve done. I’m not even close to completing it. I
find that exciting — limitless.
Tell us more about the unique prints which you’ve
made for this solo.
The seven prints you see here in the exhibition are
monotypes, and each work is unique. For many years I’ve
worked with collage and of course done drawings. I’ve
always been interested in the print-making process. There
ChaosFrenetico
spotlight

was a teacher at my university named Ansei Uchima, a
Japanese master printmaker. I never took his class, but
I remember going to his class and observing him work.
There was something about it that I was emotionally
touched by. This idea of working with such delicacy. But
I never created a print until this year. These are the first
prints I’ve created and I don’t know why it took me 35
years, but it did. This is the first series of prints I’ve made.
Would you consider various other shapes for your
sculptures?
I’m not focused on the forms, I’m thinking about
redefining a particular space. I’m considering how to
reorganise, or crack, break, or alter a space. The shape
becomes much less relevant to me than what I’m doing
with the space.
How do you know when each sculpture is complete?
Generally you just know, although it’s not always
immediately obvious. I’ve had works in my studio that
initially I thought were done. But I could be having a
glass of wine looking at it, and I’d realise that it’s not
done.
What happens then?
I continue working. This is why I must have enough time
in my studio to observe the work and know whether it is
completed.
Tell us more about the ‘faith’ you keep in the process
of creating your work.
There is an organic and mysterious aspect to the process
of creating art that requires a certain amount of faith …
for example, faith in judging whether a work is complete.
And importantly, faith that the work will be good 10 years
from now, or 100 years from now.
What’s the difference in the way you approach
your smaller ‘home’ sized works and the larger
monumental pieces?
There is an experiential difference with each sculpture.
It doesn’t matter if it’s 2 feet high or 25 feet high. My goal
is that each sculpture is distinct. I feel the same tension
when creating a work regardless of the size — it’s the
scale that matters most.
Many of your works involve industrial materials like
steel, stainless steel and bronze. What influenced
this preference?
When I started out I had very limited resources, so I
used materials that were easy to find. And when I was in
college (university), there was a large pile of steel in the
studio. My professor, a very knowledgeable craftsman,
taught me to weld. I appreciated the strength of a weld,
which allows you to work with steel in a way that you
can’t with wood or plaster. Steel has a tensile strength
that gives me a certain freedom to make works that are
able to support the weight of the material and at the same
time, appear weightless. I also enjoy working with plaster
for the opposite reason — it’s easy to sculpt. And working
in plaster lead me to bronze. Plaster has a very appealing
aesthetic —delicate and yet strong.
Much of the metalwork is cut and finished by hand,
but what are some of the technological processes
used to create your work?
The foundry uses a more sophisticated technique for
welding. When I weld, I use raw steel and the most
unsophisticated welding method called arc welding. I like
the simplicity of it. It is very direct. When I work in the
foundry I have assistants because the process of working
in bronze or stainless steel is much more complicated.
“My works generally take a long time, and I think of them as very patient
explosions. And I think that contradiction ends up being a very significant
part of the process, of constantly recognising the contradiction.”
GALLERY & STUDIO 13
spotlight

GALLERY & STUDIO 14
How long does it take you to work on each sculpture?
It depends. Some monumental works take more than
two years to complete. But I don’t think about time, only
timelessness.
How do you hope your sculptures interact with
audiences?
What you hope for isn’t something that you necessarily
get. I’m glad when people take the time to look, and
that they’re open to looking long enough to maybe see
something they have not observed before.
Having done this for 35 years, what would you
regard as the highlight of your career?
It’s gratifying when your works get placed in important
public collections, such as in major cities or in museums
because people who are not necessarily in the position to
collect art have a chance to experience the work. They’ll
have the ability to live with your work without collecting
it.
In the end, what’s most important to me is that I have
the opportunity to continue working without having too
many restrictions.
What are some of the expectations you have of
yourself, given your depth of experience?
I would say that I don’t want to lose any of the rigour in
which I approach my work. I want to be very disciplined
and rigorous in pushing myself as far as I can go, and not
worrying about how the work is judged.
Do you have a particular way your studios are set
up, so that you can work in this way?
Obviously in the studio, there’s a certain way of
organisation. In sculpture, since there’s a physical process
you have to adhere to, it slows down the process to some
degree, and it’s not necessarily immediate. In my case,
my works generally take a long time, and I think of them
as very patient explosions. And I think that contradiction
ends up being a very significant part of the process, of
constantly recognising the contradiction.
Predominantly, in the last few years, I’ve had two
major studios—one in our country home in Normandy,
the one in the Basque region in Spain, between Bilbao
and San Sebastian, where there is a foundry where they
essentially created a studio for me to work at. It just
depends on the project and there is no logic to it. I like
the idea by being constantly surrounded by different
cultures; to be an American artist leaving France to work
in Spain.
LXXXI
GALLERY & STUDIO 15
spotlight

Star Appeal
The recent Prudential EyeAwards show may have thrown the spotlight on some of
Asia’s best emerging artists, but it was the exhibition of the nominees’work and on-going
showcase of Singaporean contemporary art at theArtScience Museum that really stood out
words Jonathan Tan Photos Prudential Singapore Eye; Marina Bay Sands
W
ith the glitz and glamour befitting an
awards show you’d find on television,
18 of Asia’s most promising artists were
recognised at the Prudential Eye Awards on January
20 at Marina Bay Sands. In its second iteration, this
year’s Prudential Eye Awards, saw 13 awards given out
with six categories recognising the Best Emerging Artist
using mediums like digital/video, drawing, installation,
painting, photography and sculpture.
A total of 18 artists from around Asia had been
nominated for each of the six artist categories, with each
winner taking home a trophy and US$20,000 in prize
money. An overall Best Emerging Artist prize, which
yielded a US$50,000 prize in addition to a solo exhibition
at the Saatchi Gallery in London, went to the colourful
Japanese collective, Chim↑Pom. The group had also taken
the prize for Best Emerging Artist using Digital/Video.
Comprising six members, Ushiro Ryuta, Hayashi
Yasutaka, Ellie, Okada Masatake, Inaoka Motumo
and Mizuno Toshinori, Chim↑Pom had come into
prominence for their performances and interventions
made in response to the Fukushima Daiichi nuclear
plant disaster in 2011. Much of their work comments
on Japanese society with humour, wit and melancholy.
Niru Ratnam, director of the Prudential Eye Programme
described Chim↑Pom’s work as “relevant, bucking
tradition, transcending national boundaries and relevant
both in and beyond Asia,” while Serenella Ciclitira,
founder of the Prudential Eye Programme said, “the
judging process generated a healthy debate and we had a
great set of winners.” For the full list of winners, please
read the sidebar story.
1. Overall Emerging Artist of the Year
Chim Pom (Japan)
2. Installation
Donna Ong (Singapore)
3. Digital/Video
Chim Pom (Japan)
4. Drawing
Mithu Sen (India)
5. Painting
ChristineAy Tjoe (Indonesia)
6. Photography
Sherman Ong (Malaysia)
7. Sculpture
Meekyoung Shin (South Korea)
Prudential Eye Award 2015 Winners:
8. Lifetime Achievement Award for Asian
Contemporary Art
Gu Wenda
9. Best Gallery Supporting Emerging Asian
Contemporary Art
FuturePerfect
10. Best Writing on Asian Contemporary Art
Viet Le
11. Best Asian Contemporary Art Institution
AsiaArtArchive
12. Best Exhibition of Asian Contemporary Art
‘No Country: ContemporaryArt for South and
SoutheastAsia’
13. Award for Visual Culture
South Korea
Beyond The Blue by Jane Lee, 2012
in detailin detail

Seeing Is Believing
The awards might have come and gone, but the stellar work by the 18
nominees is still on display at the ArtScience Museum from now till
March 31. Walking around the Prudential Eye Awards exhibition, one
can expect to experience an immersive sensory bonanza that showcases
the talent here in Asia. As you enter the exhibition space, Indonesian
sculptor Ichwan Noor’s ‘Beetle Sphere’ greets you, hinting at the scope of
what’s to come. From subtle works like Mithu Sen’s watercolour drawings
around the exhibition space, to Donna Ong’s eerie installation ‘Sing O
Barren Woman’, and Iranian artist Amir Hossein Zanjani’s diptych,
‘Submission to Power’, you’d find yourself suitably entertained.
The Singapore Eye
Adjacent to the Awards exhibition, the Prudential Singapore Eye
exhibition offers a survey of Singapore’s contemporary visual arts scene
with 40 artworks by 17 local artists displayed. Curated by Serenella
Ciclitira (founder, the Prudential Eye Programme), Honor Harger
(executive director of the ArtScience Museum), Nigel Hurst (CEO of the
Saatchi Gallery) and Tan Boon Hui (curator and festival programmer),
the exhibition features artwork in mediums like installation, photography,
painting and interactive media. Most notably, the urban vibrancy that
characterises Singapore’s culture and landscape finds itself coming to
the forefront. Don’t miss out on Lee Wen’s ‘Ping Pong Go-Round’, Chen
Sai Hua Kuan’s ‘Bottles and Fans’ sound installation, Angela Chong’s ‘3D
Tic-Tac-Toe’ interactive light sculpture, Mintio’s ‘Concrete Euphoria’
series of photographs and Jane Lee’s ‘Beyond the Blue’ and ‘Turned Out’
paintings.
The exhibition might be limited by space, but those keen on a more
detailed look at the Singapore contemporary visual arts scene would
find the book, Singapore Eye: Contemporary Singapore Art very useful.
Edited by Serenella Ciclitira, the book traces the development of the
local contemporary art scene with profiles and artwork images for the
60 Singaporean artists featured. It is available at the ArtSciene museum
shop and at leading bookstores.
The Singapore Eye exhibition will be running from now till June 28. With
support from Prudential, visitors can enjoy free entry to the exhibition every first
Monday of each month. For more information, please visit Singaporeeye.com
JaneLee,TurnedOut
Ping Pong Go-Round by Lee Wen, 2013
in detail in detail

Breaking New Ground
Instrumental in getting ceramics accepted as a contemporary art form, Paris-
based Belgian artist Johan Creten continues to be the willing wanderer, travelling
far and wide to turn clay and bronze into art
words NINA STARR Photos Galerie Perrotin
GALLERY & STUDIO 21

Raptors, roosters, rays, squid, squirrels, monkeys,
butterflies, bees – Johan Creten’s world is pop-
ulated by a veritable menagerie of mythical wild
creatures. Instead of imitating nature’s realism, he’s fo-
cused on capturing the qualities with which they’re com-
monly associated and linking them to his oeuvre’s central
themes – nature, the female form, human relationships,
power, politics and spirituality – such as the monumental
owls in The Vivisector that face one another in all their
wisdom like an assembly of Egyptian gods about to pass
judgment.
Creten’s sculptures are veritable shape-shifters in
terms of form, medium and meaning depending on the
viewing angle, light or context in which they’re exhibited.
Take for example his 4.5-metre-high bronze Pliny’s
Sorrow that metamorphoses from eagle to cormorant,
detailing the complex relationship between power and
vulnerability; it hints at ecological disaster as the bird
with outspread, broken wings appears soaked in oil.
His works are hardly literal, encouraging audiences to
look deeper to uncover hidden meanings and complex
metaphors about man and the human condition.
Born in 1963 in Sint-Truiden, Belgium, Creten saw
art as a way to escape from the narrow-mindedness of
provincial life. He recalls, “When I was a kid, it was clear
I was an artist and an outsider in that community. I was
a skinny, small boy who loved classical music, books
and art, so at school I got beaten up until the moment I
understood that I could make things. At one point, when
a bully was going to hit me, I took this thing and I said,
‘Watch out or it is going to haunt you tonight in your
dreams.’ And it worked. So art became a way to survive.
It’s still a way to survive and to express myself.”
In the 1980s, he studied painting at the Fine Arts
Academy in Ghent. Being non-conformist, Creten
gravitated to the school’s unpopular ceramics atelier
(as conceptual and minimal art was preferred at the
time) where he discovered clay—a damp and dirty, yet
sensual material that connected with him. He explains.
“Clay is a very loaded material because it’s the earth we
walk on. In many cultures, it’s called Mother Earth. It’s
a sacred material but, at the same time, it’s the poorest
of materials. It’s basically human waste, so normally the
people who work with clay are the dumbest and poorest
people: labourers, farmers, road workers and potters.
God took clay and turned it into the first human being,
and when you put this material through fire, it turns by
magic into something very resistant and beautiful.”
Paving the way for younger artists, perhaps Creten’s
greatest achievement has been to elevate the status of
ceramics from craft to fine art. He was among the first to
have deliberately eliminated the boundaries between the
disciplines of sculpture and ceramics, choosing instead
to make a name as an artist instead of a ceramicist, and
exhibiting in art galleries and museums. “In Europe when
I started, ceramics in art was considered taboo,” he notes.
“It was something for women or for applied arts, and
you couldn’t make a sculpture using ceramics because
that wasn’t done, so, for years, I was in a very difficult
position because nobody wanted to show my work. From
the beginning, I’ve always said, ‘I’m not a ceramicist – I
don’t know anything about clay. I’m a sculptor.’ So I’ve
always only accepted shows that were about sculpture.
But in the last 10 years, there’s been a lot of change: lots
of young artists now use ceramics.”
Creten’s studio in northeast Paris overlooks the
Ourcq canal. Littered with his clay and bronze models
and sculptures, ancient art pieces, books and furniture
from places like Japan, Indonesia, India, Afghanistan,
the studio is like a sanctuary which he escapes to work
alone with his thoughts, rarely welcoming visitors. It’s
small and impractical, but he loves watching the boats
ply the waterway as if in Venice or Amsterdam and out
of Paris. He asks me to take a seat on an artwork, Les
Amants, l’Oeil Argent, a 80-kilogramme patinated and
polished bronze sculpture mounted on wheels, depicting
intertwining animals, shaped like lovers. Discussing his
most recent solo show entitled Fireworks that ended
last November at Galerie Perrotin in Hong Kong, he
compares his sculptures made from fire to the explosions
inside each one of us and in society at large like the
pro-democracy protests that raged on in the city, forcing
visitors to traverse barricades to see his exhibition.
Paris may be a base, but Creten has worked on the
move for 25 years (earning him the moniker of “clay
gypsy”), moving from one atelier to another, be it artist
GALLERY & STUDIO 23
spotlight

residencies or exhibitions, each time adding to his
knowledge as he explores new clays, glazes and types of
firing. His work absorbs the essence of each location as
he learns from the people he meets. He’s worked out of
studios in New York, Mexico, the Netherlands, Nice and
the Villa Medici in Rome, staying anywhere from three
months to three years. In each place, he rediscovered
and reused techniques that had fallen out of favour or
materials forgotten for centuries like the glazes at the
Sèvres national porcelain factory near Paris (the cleaning
lady had led him to untouched boxes of glaze samples
through a hole in the wall under the manufacture’s roof),
and even invented new ones.
Creten makes it a point to form his art himself to
exploit its potential so that each clay sculpture carries his
fingerprints. Each glaze is done personally by hand with
Creten diligently following through the different stages
of creation. The standout feature? Works that embrace
“all the things that you shouldn’t do in ceramics.” His
finished pieces incorporate all the imperfections –
hairline cracks, fractures and deformations – that occur
during the firing process. Being self-taught allowed him
to “do forbidden things” considered sacrilege in terms of
classical ceramics: his glazes crawl, shiver, blister, drip,
scar and can be rough and messy.
Now after popularising ceramics as an art form, Creten
has turned his attention to bronze as a way to counter
the current appetite for ceramics. Take for instance his
ambitious solo exhibition of mainly bronze using the
lost wax technique, which took place last summer at
the Middelheim Museum sculpture park in Antwerp,
Belgium. Bronze was fashionable until the 1980s when
it became taboo, deemed too expensive, bourgeois,
historical and physically and symbolically heavy.
In recent years, it’s experienced a revival, and Creten
swears upon a foundry in Flanders, Belgium, that he
scoured the world to find and wishes to keep anonymous,
its artisans able to combine an ancestral savoir-faire
with state-of-the-art technology. He does, however, let
me in on a secret: he’s working on the final stages of a
1.30-metre-tall cast and patinated bronze sculpture of a
monkey called God is a Stranger, the latest addition to his
modern day menagerie.

GALLERY & STUDIO 29
spotlight
GALLERY & STUDIO 28
An Eye FOR BEAUTY
Making a quick pit-stop in town ahead of the Prudential Singapore Eye Awards,
Nigel Hurst, gallery director and chief executive of the Saatchi Gallery, talks to
Gallery & Studio about contemporary art’s growing popularity, art as investment
and how Singaporean artists have got him excited
words Jonathan Tan Photos Saatchi Gallery
Art is rapidly growing in prominence worldwide.
What do you think is driving its popularity?
To tell the truth, the reasons don’t interest me
too much. The most important thing is that
people collect it. If you ask most artists if they’re
concerned about what collectors collect, they’re
not. The most important thing now is that there’s
a broad spectrum of people collecting art for all
kinds of different reasons. That’s why there is a
global art industry now; because art has become
a legitimate career choice. And if there’s one
thing that Saatchi Gallery has always wanted to
do, through our partnership with the partnership
with Parallel Contemporary art and Prudential
Group and the Eye programme with initiatives
like the Singapore Eye, is to legitimise, for a wider
audience, the creation and collecting of art.
That said, a lot of the work the artists are
making now is a lot more accessible because the
artists are dealing with motifs and issues that the
general public is aware of and having their own
thoughts about.
Saatchi Gallery is well known as a platform for
emerging artists from around the world. What are
the qualities you look out for when exhibiting an
artist, and how do you decide whether or not to
exhibit them?
I think there’s a responsibility, primarily to the
exhibition and to the audience. I think primarily,
we do art, not artists. I don’t mean that to sound
dismissive or cruel in any way. You need a very
clear idea why you’re having an exhibition, why
you’re working out how artworks will work
together, and how artists will work together in
terms of forming the exhibition.
The point is really looking at the work that’s
being made and thinking, first of all, how best
to create an exhibition that serves as a broad
introduction to the work that’s being made;
Nigel Hurst

What would happen when this art bubble bursts?
Well the bubble used to pop quite regularly. In the
West, the art market was always the litmus test if
you’re going to go into a recession or not because
it was always the first thing to go. Whereas now,
despite the global (economic) downturn and
recession we’ve had in Europe and America since
2008, the one market that’s remained very strong
throughout, particularly the high-end, it’s been
art. That’s the first time it’s happened. Now, I
can’t say for sure.

Contemporary art is so diverse, appealing to
different people on so many levels. Does this make
the art pieces harder to collect?
Yes and no. There are far more artists now than
there used to be and there’s far more interest now
than there used to be. But that’s what creates the
buzz around it. Artists are also being increasingly
concerned with their immediate landscape,
which is usually urban. So references, icons,
source material are very familiar with the people
that they’re living in the same city as.
What tips would you offer to someone keen on
starting a contemporary art collection?
Buy art you like. The wonderful thing about buying
contemporary art is that you could collect it for
all kinds of different reasons. Generally, you’re
buying something that you’d want to live with and
and how to bring that work to a wider audience
comprising both art enthusiasts and hopefully
international collectors as well.
How do you find these emerging artists?
We reach out to a large network of individuals
who are individuals who are familiar with the
art scene. It really makes sure you got a broad
introduction to all the possibility and also the
diversity of the practice within a particular region.
And then we select from there.
At the Saatchi Gallery, people understand
fairly quickly that you’re part of an organisation
that’s either buying contemporary art or showing
contemporary art. So a lot of the work comes
to you. It’s not so much about trawling through
studios because you’ve already seen a lot of the
work when it gets sent to you. I’m not suggesting
that it takes the place of seeing the work in the
flesh, but it’s a really useful filtering process.
What is your opinion on Asia in the global
contemporary art scene?
Asia’s an interesting region. I never come to an
area thinking about how art in Korea compares to
art in China, or how art in Indonesia compares to
art in Singapore and Malaysia.
If I look at all the regions we’ve been to with
the Eye programme, there seems to be the least
number of paintings here in Singapore, which is
interesting. And I think that’s because students
here probably have a less formal education
whereas in Malaysia, for example, they have
quite a traditional schooling in terms of drawing,
painting and sculpture.
Artists in Singapore seem to be engaging in
digital far more early in their career and finding
different ways of expressing themselves. There
may be a genuine international dialogue with
the Internet as artists can see each other’s work
and communicate, but these different regions
still keep their unique flavours in terms of scale,
interest and preoccupation.
One thing that’s quite volatile for artists is that
while there are active art scenes in Singapore,
Malaysia and Indonesia, a lot of the collecting is
very local. So when you have any kind of economic
difficulty within a particular zone, those artists
can go from feast to famine very quickly.
What are your thoughts on art as the new blue chip
commodity for the wealthy to invest in?
People collect art for very different reasons. If you
look at most art collectors, they’re usually people
who have made their wealth through something
else. Anybody going into collecting art as a way
of making a living would have to be a very brave
person indeed.
maybe see as a result of your travels. Some of the
most interesting collections are the ones people
live with. It forms part of your personality. That
seems to be the most sensible way of collecting,
rather than hoarding and sticking it into storage.
Some collectors collect in a rigorous way, for
others, it becomes a habit.

What were some of the highlights of the Prudential
Eye Awards and exhibition?
I’ve been excited learning more about Singapore
art and impressed by the diversity of the work. A
lot of it is media focused, reflecting the digital
age which we live in. Interesting cross-overs
between sculpture and installation whereby a
lot of the work isn’t necessarily site-specific, yet
it isn’t necessarily formal sculpture. It seems to
be sculpture made out of different elements that
change each time it’s shown.
As a curator for the Prudential Singapore Eye
Awards and exhibition, what were some of the
narratives/themes/qualities you were looking out
for?
We always come to this with a very open mind
and we never quite know what we’re going to find.
Wherever you go, there’s always work that’s worth
seeing and there’s always more of it worth seeing
than you think there’s going to be. It’s always a
very pleasant voyage of discovery.

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Leading LadiesGallery & Studio throws the spotlight on 6 women in
Singapore’s bustling art scene
words jonathan tan Photos Eddie teo & artists

“I enjoy psychology and sociology, and I like to see
how people respond to art,” answers Cheryl Ho, the
head of her own art consultancy business, Articulate
Consulting, when asked what drew her into the
mesmerising world of art. “It’s a really big draw because
everybody reacts so differently. They see what they want
to see and that’s really interesting to me.”
And it’s been more than 10 years since the jovial
Singaporean first started working in the arts, cutting
her teeth right from the beginning so as to learn as
much as she could from different perspectives while
in school. “I took on as many roles as possible within
auction houses, commercial galleries, museums and
independent art projects. This proved to be immensely
helpful in learning to understand how the industry
works!” she explains.
Among her many roles, she recalls picking up
valuable skills working with notable names in the art
world, like Sotheby’s and Opera Gallery. “One of my
very first jobs was as an auction assistant in Sotheby’s
during my early school years, and I could not have asked
for a better start. I spent several years with the auction
team, and learnt the importance of what it meant to be
professional, efficient and discreet. I also experienced
first-hand how crucial it was to build long-lasting
relationships with collectors, and this was a quality
which I later continued to develop during the 6 years I
spent in Opera Gallery,” she shares.
Taking time off a hectic year end schedule to meet us
at home, the jovial 33-year-old reveals her role as an art
consultant, the challenges of the job and what it’s like
working with new emerging artists.
Tell us more about how your role as an art
consultant?
I think of art consulting as being a form of facilitation.
My primary role is to assist clients with collection
management. This means that I help them to acquire
and sell works based on their needs. For example, if
a young collector is interested in building a portfolio
consisting of emerging and investment-worthy artists, I
would make suitable recommendations based on his/her
preferences, and keep him/her updated about trends
and movements within the industry. Many collectors I
work with have a deep interest in art, but very simply
do not have the time to navigate the art world. As a
consultant, my role is to do all the due diligence and
help them to source for works which would ultimately
lead to a strong and coherent collection which increases
in value over time. Very often, I will also have access to
art which is only available in the private market, which
is very exciting for collectors.
What’s been the most satisfying aspect about your
job?
Helping a client build a collection that truly
means something to them. Every art collection is a
small reflection of someone’s personal journey, so it’s
really lovely when they develop their own style and
preferences.
Cheryl HoArt Consultant
GALLERY & STUDIO 35
focus

Sometimes you never really know how the collector
is going to react when you present something for
consideration. It is truly a beautiful moment when you
see a connection between the collector and the work,
and for me, that’s always been really satisfying.
What’s the most challenging part of your job?
I travel extensively, but it’s difficult to try and do
everything and be everywhere all the time. Time is
such a limited resource, and as much as I would like
to attend every international art fair and exhibition, and
meet every artist, it’s just not going to happen. I have to
be very selective about how I spend my time.
How do you judge an artist’s work to be good
enough to recommend to your clients?
A lot of it is based on instinct and experience. When
you spend as much time as I do around art in every way,
shape and form, you start to develop an “eye”. A lot of
recommendations are also made based on how well you
understand your client’s taste and preferences.
It’s important to develop a sense of what the
collector might like, but it’s also just as crucial to
them occasionally. Art is such a fluid subject, and by
introducing selections which might not always be
immediately obvious choices, it creates greater dialogue
and conversation between the consultant and collector,
ultimately leading to a better partnership.
What do you look out for when deciding which
artists to work with?
Over the years, I have gravitated towards working
with modern and contemporary art and this continues
to be a key market for me. But one of the most exciting
genres is undoubtedly the emerging market: there is
so much energy and potential here which remains
untapped.
I do not have a physical gallery space, so I don’t
represent artists or work with them in a conventional
way. I do however work with several galleries to help
them to decide which artists to represent. I spend a lot
of time sourcing for dynamic artists, so it’s always lovely
to get to know them and start a conversation about
how I could help to increase their visibility through a
steady platform. Many artists have also approached me
to help with managing their portfolios and to assist with
organising exhibitions, and I hope that this will take
place soon.
“Every art collection is a small reflection of someone’s personal journey, so it’s
really lovely when they develop their own style and preferences”
focus
GALLERY & STUDIO 36

“
This career in art began out of love,” shares Veronica
Howe, the chief art consultant at One East Asia, as
she recounts how her decision to leave a successful
corporate career, with a French luxury cosmetics brand,
to pursue a second degree in art history had been against
her parents’ wishes. “They had said no as my career had
been going well. I remember that my dad had not even
sent me off when I first left, although they’ve come to
realise that art isn’t fashionable, and that it should be
cultural.” Interestingly, Howe credits her interest in the
arts to her businessman father’s influence, sharing fond
memories of him playing the piano and teaching her
how to paint.
It might have been a leap of faith into what was then
uncharted territory, but Howe has since established
herself well. The affable 51-year-old shares that her
niche lies in Southeast Asian art. A personal interest that
had been nurtured by her experiences with it. “Being
Singaporean, I’ve lived here and I grew up being exposed
to art and I studied it at the University of California in
America.” To her, “appreciating art is about listening,
loving and learning,” and she often travels to visit artists
in their studios, “to understand and know what makes
this artist tick,” she explains. Given that much of her
work involves promoting Southeast Asian art overseas in
cities like London, a deeper understanding of the artists
she works with definitely helps. That said, she does
admit that whether or not an artist has that X-factor
to succeed remains intuitive, “It’s hard to describe this
essence. Sometimes it’s just a feeling, that this guy is
special. And after monitoring him for one to three years,
you’d be able to see his style, his tenacity and then you’d
know there’s something special about him.”
Ahead of a busy travelling schedule, Howe shares
with us what got her hooked on the arts, what she looks
out for when deciding which artists to work with and
how magical her journey has been.
How did you fall in love with art?
I was nine-years-old when my dad taught me how to
draw and paint. I was very fascinated by the stroke of
his pen and how easily he could transfer objects onto
a plain piece of paper and the spectrum of colours he
used were so psychedelic! I remember him saying: ‘You
must always draw what you see, and paint (or colour)
only what you feel’.
Can you tell us more about how your role at One
East Asia?
Since the inception of One East Asia in 2010, I had
spearheaded the gallery’s programmes and produced
exhibitions with interesting and unforgettable stories to
tell. I also help the organisation to foster professional
relationships with different partners, institutions
and companies, particularly in London, to promote
Southeast Asian art internationally.
How did you get started in this role?
Mr. Daniel Komala, founder and non-executive
chairman of One East Asia shared his vision of an art
Veronica HoweArt Consultant
Make-up: Laura Mercier
GALLERY & STUDIO 39
focus

I will always ask the artists what success means to them.
Because to me, success is not always just monetary. For new
artists, it’s best to have a firm foundation.
With so much exposure to art works from around
the world, what kind of art are you particularly
drawn to?
Appreciating art, any kind of art, is an on-going, exciting
journey. I am drawn into paintings that go beyond joy.
So in five, perhaps ten years, they still give a sense of
timeless contentment.
Who are your top 3 favourite artists at the moment
and why?
I have four. American Peter Steinhauer. A true social
documentary photographer who does not compromise on
standards or production. He is very meticulous and even
produces all the prints personally. I know he selflessly waits
over days to capture a moment, climbs a mountain just to
look at a view. No one documents culture inAsia like he does.
Singaporean Jane Lee. An amazing artist who has
stretched the boundaries of abstract art into 3-D
sculptural forms.
Filipino Andres Barrioquinto. A rising star who is so
humble – with an ability to tell so many stories in one
painting.
Japanese Mai Miyake. Mai is most well-known for
her kakejuku scroll work. She juxtaposes contemporary
subject matter on these traditional scrolls and the result
is rather intriguing. I enjoy the way she uniquely blends
and translates the spirit and humour of the Japanese
people/culture past into the language of the present.
If there could be one word to sum up your journey
in art, what would it be? Why?
Magical. When you are running out of words, then you
turn to art. Art connects and expands the dots. It opens
up doors to new possibilities for it’s the only universal
(unspoken) language!
gallery that encompasses education on a fun learning
curve to make collectors or heart-landers alike to enjoy art
through experience. I was wowed by that unconventional
way of telling a story.
What’s been the most satisfying aspect about your
work as a consultant?
To see my Western collectors collecting Southeast Asian
art confidently.
What’s the most challenging part of your job?
To let people understand and see the differences between
decorative art, handicrafts, what is art for investment’s
sake and what is art for collecting. Fine art collecting, art
with a capital letter ‘A’, has a value to it.
How do you decide which artists to work with?
Whether established or newbie artists, there are three factors:
Enthusiasm. Besides the work, the artist must also have the
desire to go beyond his kampong. If an artist settles in a comfort
zone, he or she will always just be a champion in his kampong
and won’t desire to travel overseas.
Faith. There must be faith in the platform, One East Asia,
thathewillbeabletoreachouttoanewaudiencelikecollectors.
This is because artists can’t just rely on just one collector to
sustain them.
Running the extra mile. When an artist is not afraid to fail.
You’d be able to run the extra mile with them. When an artist is
willing to do more, and they say ‘I can do this, money is not the
main priority here’, they show a certain zest for what they do and
that’s when you’d really be able to push things forward.
“Appreciating art is about listening, loving and learning”

“
I think naturally, I’m a very boring person. I’m
okay with going to the same cafes and having the
same kind of food every day. Art has forced me to
be a more well-rounded, a better person than I would
have normally been,” explains 36-year-old installation
artist Donna Ong when asked how art has influenced
her life. The journey into art might have been a giant
leap of faith, but it was a choice that Ong knew she’d
wanted. “I had an epiphany in Australia and realised
that art came a lot easier to me than architecture did,”
she shares when Gallery & Studio caught up with her
in her studio at the Goodman Arts Centre. “It was
scary to move across (from Architecture to Art) but I
was thinking about what would it be like when I was 40
years old and I meet my friends on the street. I didn’t
want to be the sort of person who’d give a blasé response
when asked about my work. I wanted to be able to say
that I love what I do.”
If that decision had been regarded as a gamble,
it was one that has since paid off as Ong had been a
National Arts Council Young Artist Award winner back
in 2009. At press time, Ong had just picked up the
Best Emerging Artist using Installation at Prudential
Singapore Eye Awards, which saw her take home a cool
US$20,000. “I think they’re really helpful, a certain way
to measure your progress or your career as an artist.
They’re also like milestones for various stages in your
career,” quips the cheerful artist. Had she not won, “it
doesn’t really matter. Artists get so many rejections all
the time,” she says candidly.
In between travelling extensively for work and
preparing for her Prudential Singapore Eye exhibition,
we caught up with Ong for a quick chat about what
inspires her creativity, weighs on her mind, and how the
details in her work draw audiences in.
I’ve always been in touch with art because my father
(Michael Ong) was an artist. It’s something that’s
always at the back of my mind as I’ve been surrounded
by artworks. I guess he was always quite the positive
influence on my life. When I went to school, I did art
for my ‘A’Levels and it seemed to be the thing that I
wanted to play and make something out of.
Can you tell us more about your art practice and
the mediums you work with?
I work a lot with found objects in the genre of installation
art. So installation art is fun for me because it’s linked
to sculpture, just bigger. It’s a participatory experience. I
always found that it gave a lot to the audience and that I
was passionate about. I make fantasy environments and
worlds that people can enter into.
Are there any preferences for the kind of materials
you like to work with?
I like to use found objects because I’m a bit of a control
freak and I’m very meticulous. So this forces me to
respond to something that’s outside my comfort zone
because sometimes a found object creates problems
Donna OngArtist
GALLERY & STUDIO 43
focus

that you solve. Sometimes you introduce new elements
that complement the aesthetic. So it’s also a way of
creating aesthetic choices that complement the art
piece. A lot of the work is trial and error.
What are some of the key themes/narratives you
explore in your work?
I work a lot with themes of hope or potential, and
also imagination and childhood. More recently, its
archetypal landscapes, which is linked to childhood. As
a child, I’d imagine things that didn’t exist. Now as an
adult, I still am interested in this theme. When I was
older and first saw landscapes, I guess I was surprised
at how similar they were to what I imagined and yet how
different they were. I was interested in this kind of gap:
where is the similarity and where is the gap? We always
have an idea of what landscapes might be, like what a
cave or forest would look like. And in my work, I try to
make that kind of landscape—almost like an archetypal
one that we can recognise.
Where do you draw your inspiration from?
I used to read a lot of Enid Blyton and about English
landscapes. As children, we don’t get to go out a lot;
so much of our play and activity is around the house.
And I’d imagine the things I read about. We didn’t have
landscapes and we didn’t have gardens, so I’d imagine
these things.
What’s been the most challenging part of your
work as an artist?
I think the toughest thing is the waste and my
conscience. I think art is something that produces a lot
of waste, and that is something that always weighs on
my mind. For example, if you have an exhibition and
you need a black room, they’d provide a black carpet,
Cocoon
The Meeting
GALLERY & STUDIO 44
“It has been a bit of a wander, a bit like going doing into the forest and taking
different paths. That seems to be my experience as an artist. It’s not the
normal, straight yellow brick road”

her work is just so heartfelt. Some of her works make
you feel, ‘Yeah, that’s why there needs to be art’. Pierre
Huyghe is a recent person whom I’ve grown to like. I
think the way he works is very clever, in terms of how
he manages his career. He doesn’t make money from
art itself, but he makes money from exhibitions. He
doesn’t sell anything, which frees you from the pressure
of making work that will last or can be collected.
That sounds like a lot of stress on its own.
It a bit unrealistic, but sometimes collectors expect it
to last for a hundred years. We use new materials, so
we’re not sure how plastic is going to last, or how glue
will last.
If you could sum up your journey in art with one
word, what would it be? Why?
One of my favourite quotations is ‘Not all who wander
are lost’, so I’d say Wandering. I think that it has been a
bit of a wander, a bit like going doing into the forest and
taking different paths. That seems to be my experience
as an artist. It’s not the normal, straight yellow brick road.
Can you tell us more about your upcoming projects?
I’ve an upcoming exhibition in New York where I’ll be
showing ‘The Forest Speaks Back’ and then I’m working
on a new (yet unnamed) piece as well. I’m looking at
showing it in October, although I might push it back
later as I’m feeling a little stressed at the moment. And
I’ll also have to finish up some old projects I owe. With
every artwork, there’s a lot of excess material, so I’d like
to just use them up and clear the stage for new ones.
I’m also working on a film at the moment. It’s like
an art film. I’ve made one using 18th and 19th Century
prints of the forest. I’m interested in exploring where
our images come from, because visually, we don’t
really paint images of our tropical forests, so much of
the images are depicted form the west. I’ve also been
travelling a lot to Europe, taking pictures of greenhouse
forests. That will be another film. It will be shown in
March at the Singapore Art Museum.
a black ceiling and all that. All this becomes waste at
the end of the exhibition. Over the years, I’ve had a lot
of exhibitions, and at the end of them, a lot of waste.
So the guilt becomes so much I just feel like I’m killing
the world and being very irresponsible. Recycling isn’t
a theme of my work, but I just wanted to be bit more
responsible in the things that I do.
What’s been the most satisfying aspect about it?
There’s so many things. I love the way I get to produce
things that I like, and explore any sort of topic. One
time I could pretend to be a scientist and explore
biology. The next time I could be a geologist.
But my favourite part is really the people in the
arts community. They’re very genuine, very kind, very
passionate and very authentic. There are always people
willing to sponsor you with money, or residencies or
trips to go overseas and get inspiration. People seem to
be more open and receptive when it comes to art. It’s
also been really fun getting to know different people as
you work together on installations.
How do you hope audiences interact with your
work?
Books and films were like a way out, an escape from
reality. I want my artworks to be like that. The average
attention span for art ranges from 10 to 20 seconds.
We’re very quick to look at a piece and think we
understand it. I use a lot of detail in my work to draw
people in. So the closer they go, the more they’ll see.
And the more they see, the more they understand. So
I want the artwork to reward them. I’d hide things in
the details or I’d hide things underneath tables so that
if they explore it, they’ll find the little details. They’ll be
rewarded for their time.
Who are your top 3 favourite artists and why?
Sophie Calle, Pierre Huyghe, Ilya Kabakov and Ann
Hamilton. I guess Ann Hamilton and Ilya Kabakov were
the first installation artists that I saw and their works
really moved me. I thought that it was something I’d
like to get into and they’ve been a huge influence on the
way I think about installation. Sophie Calle, because
spotlight

G
alerie Belvedere’s director Rasina Rubin might
have studied law at the University of Bristol,
and at the Inns of Court School of Law,
where she was trained as a barrister and was called
to the English Bar, but she’s always had an affinity
with art. “My mother was instrumental in exposing
my brother and myself to art,” she shares. “We would
read up on artists and spent hours wandering around
in the museums. I suppose you could say that, as an
art historian herself, it was inevitable that she would
influence me.”
Rubin also credits spending part of her childhood
in Belgium (where her parents worked) was a catalyst
for her relationship with art. Upon completing her ‘A’
Levels at the Roedean School in Brighton, Rubin shared
that she had further pursued the interest in culture and
the arts at the University of Paris, Sorbonne, where she
studied Art and French Civilisation. During that time,
she also revealed that many weekends were spent in
museums and visiting galleries.
A passionate advocate for the gallery’s work, Rubin
patiently obliged this writer’s questions about Galerie
Belvedere’s history. And as she shared the details
about the gallery’s establishment in March 1996 by
Mrs Jaya Mohideen, to the many public installations
and corporate collaborations that have become icons
(such as Swiss artist Kurt Laurenz Metzler’s colourful
sculpture, ‘Urban People’, installed outside Orchard
ION), and the ‘Best of Asian Art’ exhibition that was on-
going during our visit, the pride she takes in the gallery’s
work and heritage is unmistakable, after all it is one of
the stalwarts in an increasingly energetic local art scene.
Taking time off her busy schedule ahead of the
Singapore Art Week, Rubin shares with us her journey
with art.
I have always been interested in art from an early age,
quite possibly from the age of 5. My interest in art was
really cultivated when I was 11 years old when I went to
live in Belgium with my parents. There, I started visiting
museums in Belgium and Paris and was immersed in
works by great Flemish and Dutch artists such as
Rubens, Pieter Bruegel and Rembrandt.
Tell us more about your involvement with Galerie
Belvedere. How did you get started?
I have been involved in the gallery business from as early
as 1999. I was living in London at the time and travelled
to Valencia, Spain to meet with renowned Spanish artist
Juan Ripolles whom we represent. The gallery was in
the midst of a corporate commission then and we went
to inspect the sculpture which was in progress. I met a
lot of artists at that time and started to understand the
nature of the business and the mechanics and process
of handling corporate commissions.
I joined the gallery full time towards the end of 2008
after spending some time in London where I attended
the ground-breaking Damien Hirst auction ‘Beautiful
Inside My Head Forever’ and met several prominent
artists including Hirst himself.
Rasina RubinGallerist
focus
GALLERY & STUDIO 49

Can you tell us more about how your role as a
gallery director?
I travel frequently, meeting with established artists
and discovering new talents. We brought Barcelona-
based Lorenzo Quinn (son of Hollywood actor Anthony
Quinn) to Singapore when we installed two of his works
at The Marina Barrage in 2008. We also represent
leading Swiss artists such as Kurt Laurenz Metzler and
we conceptualised and installed the avant garde set of
sculptures “Urban People” at the ION Orchard in 2009.
We represent several leading British artists, including
sculptors from the Royal Academy. We were the first
gallery in Singapore to bring in artists from the RA.
Who are your top 3 favourite artists at the moment
(or all time) and why?
Kurt Laurenz Metzler and Juan Ripolles whom we
represent are my favourite artists at the moment. They
are Maestros. Metzler’s avant garde sculptures are found
throughout Zurich, in private and public collections all
over Europe and in corporate collections. Ripolles has
always had a strong international collector base but
now very excitingly a museum will be established in his
name in Shanghai.
If there could be one word to sum up your journey
in art, what would it be? And why?
Dynamic. Every day is a new day and our gallery has
become such an exciting place to discover new talents,
to rediscover maestros and to meet like-minded
collectors. There is always a sense of dynamism and
vigour. I love that. Art has a pulse and as a gallerist
you are responsible in a way for that energy in the art
market.
“There is always a sense of dynamism and vigour. I love that. Art has a pulse and
as a gallerist you are responsible in a way for that energy in the art market.”
GALLERY & STUDIO 50

C
ontrary to her preference for working with
everyday objects in the creation of her art
pieces, Dawn Ng’s oeuvre of work is anything
but ordinary. Many of us would remember news of a
large white rabbit suddenly appearing in the heart of
Singapore’s urban landscapes. That was Walter, one of
the 32-year-old’s most well-known solo projects. In a
way, the ingredients were simple—a large float sculpture
placed in the city—but the effect had a far deeper
outreach. It made us pause to look and appreciate
our surroundings, and in the process, “discover the
extraordinary in the everyday” with a childlike curiosity.
And come March, Walter will be making its rounds
on an international stage—with stops at two museums
in France to coincide with the Singapore-themed Art
Paris Art Fair that will be taking place in the Grand
Palais in the French capital. There, Ong’s latest body
of work, ‘A Thing of Beauty’, recently exhibited at Chan
Hampe Galleries (see pictures), will be exhibited.
“I think these simple things really form the fabric
of my growing up and my becoming an adult. Quite
naturally, I subconsciously draw from them and use
them in my work. I’m very interested in the everyday
and ordinary. I think there is world beyond worlds in
something that you just take for granted on the surface
and I’m interested in peeling back those layers and
helping people find something beautiful in what would
be the invisible normal,” explains Ng, when asked about
the appeal of simplicity.
In between outbursts of laughter as these photos
were being taken, the cheery artist delves into the
details of her practice, the emotion in colours and how
she finds balance amidst the madness.
I am not sure if I fell in love with it. I chose it; I wanted
it; but mainly because I was interested in telling stories.
I’m drawn to stories are embedded in the truth. I think
that the truth is always interesting and telling it with
simple things helps people look at it in a way that’s
almost like a child again.
Can you tell us more about your art practice and
the medium(s) you work with?
I am a multi-media visual artist. I work with all sorts of
mediums — paper, paint, photography, the list goes on.
When I was in college, I focused only on painting but I
bear no allegiance to any one form today. I think every
artwork or story demands its own means of coming to
life.
Do you have a favourite?
No I don’t. I think that keeps my practice exciting for
me. I’m find myself still young in my practice and in my
career, and I’m excited by having each project as sort of
an adventure with a certain material and what kind of
story that material can tell.
What are some of the key themes/narratives you
explore in your work?
Memory, time and identity.
Dawn NgArtist
GALLERY & STUDIO 53
focus

Where do you draw your inspiration from?
I don’t draw inspiration from any one person or thing,
but I find endless fascination in bits and pieces of
everything. I do travel a lot and when I’m away, I do
meet other artists and look at the work presented in
galleries. I think there’s a certain zeitgeist in an era
that people are interested in, topics that are bubbling
up. Beyond the art world, I do a lot of wandering and a
lot of strange things. I also do a fair bit of art research.
Having done a fine arts and journalism double-major, I
do pick off the back of that and really study the artists
I’m interested in.
How far are you influenced by trends?
I think everyone is, whether they’re conscious of it or
not. You can’t escape the environment you’re in and
everything affects the way you do, what you see, what
you read. We are just a product of our time and I think
it’s interesting that every artist has her own version of
the story.
Tell us more about colours in your latest work.
They’re very colourful, yet very subtle.
Yes, I’m starting to just realise that. It’s funny because
my favourite colour is white, which is a non-colour. But
maybe deep inside me, it’s just like a rainbow. I find
colours interesting to play with. I think people have a
very simplistic understanding of colour. But we always
simplify them, when there is a multitude of shades in a
colour like blue. There are worlds within worlds that I
want to peel back and stare into. The use of colour in
very important in this work (A Thing of Beauty) because
although the images are sort of flat and immediate, it is
an image that keeps on revealing itself in the same way
the colour white has so many shades within it.
Colours are very emotional, they speak to you without
words.
How does space fit into the way you develop your
ideas?
I usually do what I want to do and figure out how it’ll fit
into the space later. But I do like to work with both very
small and very large works.
“I think there is world beyond worlds in something that you just take for granted
on the surface and I’m interested in peeling back those layers and helping people
find something beautiful in what would be the invisible normal”
GALLERY & STUDIO 54
focus

How particular are you about doing everything on
your own?
Very. But as I wanted to concentrate on the
choreography and the building of things for ‘A Thing of
Beauty’, I really didn’t want to fuss too much on being
the one to press the button.
What’s been the most challenging part of your
work as an artist?
Finding any kind of balance. I am just starting to find
my own method in the madness. Projects of a larger
scale demand more than just an idea. It involves a
team of people—assistants, photographers, and other
people—coming together to help you realise what you
thought of. In that management of that bigger system,
to get everyone on the same page, it can be challenging.
And because you know this is not a nine-to-five job,
it can be a very unhealthy lifestyle (sleeping very very
late, waking up at 4am and coming back to the studio
to obsess over things, fixing things) when it’s exhibition
time or when it’s a solo.
How difficult is it to know when a particular piece
is complete?
I actually had a conversation with an architect friend
about it recently. It is the eternal question and for me,
it’s very instinctive. I’d know when it’s not right, and
when it’s not quite done. It’s just that you’re not settled
with it and I keep fussing with it. Sometimes, pieces
complete themselves and I feel like I’m just along for
the ride. It’s something that’s not really in your control.
Sometimes mistakes lead you to a better outcome,
a better form and texture of what you’re working on.
Sometimes it’s just an internal settlement when you
look at a piece, it clicks together.
What’s been the most satisfying?
The next blank page.
work?
I never consider them.
So what do you think about while you’re at work?
A lot of things. When you’re at work, you think about
everything and nothing at the same time. But there
are times when I’m really into something, I lose track
of time and the hours can just fly by and suddenly it’s
night. I don’t even know what I was thinking of. I was
just thinking about how do I make it work, whether
some compositions are better than other, whether some
colours work or not, what is the story, whether things
have an integrity, whether they have a truth in it, does it
seamlessly come together.
It sounds like things can get quite intense.
Yes they do, and sometimes my husband would call me
to make sure that I’ve eaten. He’ll come and drop-off
stuff he ta bao-ed.
Does he stay to keep you company at work?
He doesn’t because he’s tried to, but he says that I’ve not
a single chair in the office and they’re so uncomfortable
so he just leaves me be.
Who are your top 3 favourite artists and why?
Rightnow?Baldessari,Shapiro,Basquiat. Ideas,scale,velocity.
What do you look out for when you observe other
art pieces?
The sense of the sublime. What I mean when I say
that, is something that is immediately moving even if
you may not know why. Something that is bigger than
yourself, something that make your eyes re-calibrate
and understand something that you’ve not seen before.
These are a few things that I find drawn to within other
people’s work.
If you could sum up your journey in art with one
word, what would it be? Why?
Beginning. I like beginnings. Everything is possible at
the beginning.
Can you tell us more about your upcoming
projects?
The next blank page.
Green

Discerning Art Buying for the Uninitiated
words Veronica Howe Photos One East Asia
U
pon embarking upon any new endeavour, it
is always prudent to heed a word of advice.
Especially if you’re planning on joining the
ranks of art buyers, whether for investment or love,
consider the following:
The difference between collection and investment
Art Collection tells a story about a collector. It’s about
buying what one likes. It’s very personal. Art Investment
tells a portfolio of an investor. It’s about one’s strategy
in buying and selling art to make profit. It’s strictly
business or sheer prestige, nothing personal.
Regardless of either intention, how much would you
need to get started on your journey? There’s no formula
that would give u the exact amount to start with as any
amount would do. However, for the sake of discussion
Listen
In order to get a sense of what is available on the
art market, listen to the opinions of other collectors
and connoisseurs. You may do this through attending
exhibition openings, art events and art talks. Who
collects the art or artists could be a good indicator of
the artist’s potential.
When you discover an artist who has piqued your
interest, find out as much as you can about them. For
example, research the track record of the artist. Have
they won any significant art prize awards, national
decorations, or better still, international recognitions?
Speak with their gallerist or representative to learn
more about their future plans for any upcoming solo
or group exhibitions, or international exposure through
participation at art fairs. The answers to these questions
are telling indicators of whether an artist’s career can
go the distance, and whether their work has long-term
potential.
Experienced gallerists and art consultants will be
able to help you grow your collection by supplying
professional expertise on different artists. They will
also ensure that deals are transparent i.e. the variables
of any transaction are clearly stated upfront. I must
add, however, do not disregard a “young” gallery if
its representative or dealer is reputable with a long-
standing professional track record working with artists.
The relationship between gallerist and artist is in fact
the essence in gaining sound knowledge about the work
of art in question. It’s the basic ingredient in building
collector’s confidence and trust.
Questions? Ask anything you feel like asking. There
isn’t such a thing as stupid question when it comes to
buying art.
Look
Visit art museums, established art galleries, renowned
art fairs and auction houses to familiarise yourself with
the diversity of artworks. Look at as much of an artist’s
work as you can to best understand his or her artistic
development.
While the internet is a wonderful research resource,
purchases should ideally be conducted within a physical
gallery space. Nevertheless, I recognise the growing
popularity of online art transactions. In such situations,
it would be wise to ask for a condition report of the
artwork juxtaposed against a high-resolution image of
it to enable close examination and ensure that what
you see is indeed what you get. Many have bought
pieces based on online photographs only to be sorely
disappointed. Seeing is believing!
Love
Every so often you might find yourself drawn to
something immediately, only for the initial impact to
fade shortly after. Do make sure that it feels like “falling
in love” before you buy the artwork it. Remember: even
if it’s purely for investment, chances are that it will be
adorning your wall for a while. Look past the transient
and identify a work you feel will give you enjoyment and
a sense of timeless contentment.
About the author: Veronica Howe has been an active
art consultant-gallerist for the past 18 years. She is
currently chief art consultant with One East Asia,
Singapore.
The Three LsIn order to decide on how and what to buy, consider these factors: Listen, Look, Love.
here, setting aside US$5,000 ($6,700) looks like a
reasonable amount to take your first step into art
collecting. This is a good starting price for somebody
new to investing in art, realistic enough to be paid in
cash or cheque without the need to break the bank.
There are innumerable promising artists with works
priced within said range, especially emerging names
from Southeast Asia. One such example is Thai
artist Anchalee Arayapongpanit, a two-time winner
of the Panasonic Contemporary Painting Exhibition
(2013, 2012) in Thailand who recently attracted
active interest from bidders at a local auction. While
her works eventually sold for $7,320, there are many
other available pieces that could be bought within said
budget.
20 by Anchalee Arayapongpanit, 2011 Eye shadows by Anchalee Arayapongpanit, 2013
InspiredInspired

“
I often feel like I am in transition. I was born in
the countryside but my parents moved to Jakarta
when I was in elementary school for a better life,”
reveals artist Entang Wiharso, who was born in Tegal,
in Central Java, Indonesia. “I moved back and forth
between the city and home to help them out in their
shop. I was the fifth child out of nine children. I used
to think I would have a big family myself but after two,
I think I have enough on my hands!”
Despite the larger-than-life artworks weaving ancient
Bold and Borderless
Renowned for his large-scale paintings, wall sculptures and installations, Entang
Wiharso, one of Indonesia’s most active artists, has represented Indonesia at many
prestigious showcases, including the 55th Venice Biennale in 2013. We catch up
with the man during his residency at the Singapore Tyler Print Institute
words Elizabeth Gan Photos stpi
narrative tools and contemporary materials that the
47-year-old Wiharso is known for, conversing with the
man feels neighbourly as he affably shares his thoughts
about life and art-making since graduating from the
Indonesian Institute of Arts back in 1987.
Living and working between Rhode Island, USA and
Yogyakarta, Indonesia, Wiharso exhibits extensively,
with a formidable solo exhibition at Arndt last year and
participation in Art Stage.
GALLERY & STUDIO 60

How would you describe your art?
I believe deeply in borderless art. While I am known
as an Indonesian artist, I don’t see myself making art
because of my nationality nor for any specific audience.
I do often wish I were a global citizen. It is the system
imposing identities and encouraging differences amongst
people in order to run efficiently. As an artist, I hope
to transcend such categorisations. For me, art is deeply
personal which can be of resonance to the collective
consciousness, thereby speaking a universal language. In
many ways, my art is also autobiographical.
How did this residency happen?
I have known of STPI when it first started in the early
2000s as I live a short drive away from Kenneth Tyler on
Rhode Island, USA. I was invited two years ago and the
rest is history.
Is this the first time you are working so extensively
with prints?
Not quite. In 1997, I collaborated with my wife, who
works primarily through the medium of printmaking,
on a UN Human Rights Project. That exhibition saw us
working on 60 prints using the woodcut technique but
yes, it has been quite a while since I worked with prints.
What you have been up to?
With STPI, I have had the luxury of working with a
wonderful team of 12, which is quite big for a residency!
The actualising of my ideas is quite complicated because
I believe in bringing-to-and-taking-from the residency.
This means taking inspiration from the space of the
studio, the people I interact with and the materials
available to me, while bringing my personal experiences,
interests and memories all together in the process of
creating. It’s intimidating to face so many unknowns but
I am motivated to work hard. We have been working on
about 40-50 pieces so far, with materials such as acrylic,
paper pulp, wires and nails. Only a selection will make
it into the gallery for the exhibition in April.
Can you tell us some of your deepest impressions
that has permeated your art making?
Upon graduating from art school, my first exhibition
was a two-man show. Then, I consulted a teacher whom
I deeply respected and he left me with an indelible
reminder that no matter what I did, I had to find my own
style and reflect if it was done with a sincere heartbeat
in the process.
Growing up during the collapse of the Suharto
dictatorship, there was so much change and anxiety
around me. There was a kind of watchfulness whenever
people started talking about politics. It definitely
impacted society psychologically, people were vulnerable
and fearful. I have been using the motif of eyes embedded
in my art pieces for some time now. From afar, one does
not notice these eyes. But upon closer examination… I
suppose each person can decide what they feel about it.
Entang Wiharso’s new body of work will be exhibited at
STPI in April 2015.
Never Give Up
Untitled
GALLERY & STUDIO 63
spotlight

As these mythical, otherworldly images of
nature would suggest, Canadian-born Texas-
based artist Ysabel LeMay has an intimate,
almost spiritual connection with the natural world
around her.
She describes the practice of bringing these natural
worlds to life as ‘hypercollage’, “a highly instinctual and
organic process that allows each piece to dictate its own
destiny.” She explains, “From a single, simple starting
point — an image, a colour, an emotion — I follow a
meticulous process.”
“First I isolate and extract elements of my photos,
which allow me to get in touch with the essence and
individuality of each plant. They all have their own
energetic impact and provoke in us a particular emotion.
I then weave these fragments together into intricate
compositions,” she elaborates.
“I connected with the power of nature at a very
young age,” shares the 48-year-old artist. “My parents
have a cabin on a very isolated patch of land up north
of Quebec City. We used to spend some weekends away
from the civilized world, and were immersed in the
beautiful, wild landscape. Our time there was all about
pleasures and adventures in the woods. The land had
an impact on my family’s spirit. A more harmonious and
playful energy was bringing us together. To this day, I
associate nature with joy.”
But while an affinity for nature was apparent, her
journey in art took a slight detour before her current
devotion. Studying illustration and graphic design in
college had been LeMay’s way of avoiding the rigours of
academics. And living in a small town meant that much
of her exposure to art was through art books, which
she referred to for inspiration as a graphic designer. “I
started in advertising at 19, a very young age. First as
a graphic designer, but I rapidly made my way up to
become an art director and, finally, creative director.
For the last nine years of this career, I was the owner
of an advertising agency. This is where I really learned
the skills of self-management and discipline, which are
essential to my life as an artist,” she shares.
The turning point came when LeMay turned 30.
Despite being at the peak of her career in advertising,
she felt unfulfilled creatively. Recalling that period
in her life, she reveals, “I took a sabbatical year and
travelled the globe on my own. On the last month of
that beautiful journey, I was in Campomoro, Corsica,
where I did my first fasting. I had many revelations
about myself during that time and understood then the
new path I needed to take — fine arts.”
Since then, it’s been an amazing journey of discovery
and new experiences that the artist has not looked back
from. She tells us more about the transformative power
of art on her life, how she developed her practice and
the exciting things lined up for her this year.
The Power of Naivety
For creative director turned artist Ysabel LeMay, art is an instinctive, life-long
journey of discovery that fuels her passion
words jonathan tan Photos Ysabel LeMay
Arcadia
Ysabel at work
spotlightspotlight

What made me fall in love with art was the emotional
charge I felt during my visits to certain exhibitions. I
realised how transformative art could be in someone’s
life. Being able to observe beauty, grace and intelligence
through artists’ works makes me want to be better,
stronger and smarter. It sparks my passion.
What made you transit from painting into
photography?
Painting was a vigorous eight years of training. When I
started, I intended to study painting as a tool to expand
my creativity. I was then in the process of creating three
lines of jewellery. I had found a private teacher and
through his very charismatic teaching, I left everything
behind and went head-first in the art world, and became
a full-time painter. The teacher became my husband.
Those years were very fulfilling but also extremely
often, the results are magic’.
Tell us more about how nature inspires you and how
you see it.
I see nature through my holographic lenses. I am
first taken by its splendour. Then I connect with its
energy field, which opens the gate of information
and knowledge where creative thoughts manifest. By
allowing its energy to run through me, I first perceive
and then visually demonstrate the magic of the living
world.
My interaction with nature allows me to understand
more deeply my communion with it and others, and I
believe its primordial power can help lift our collective
consciousness. To quote Einstein, ‘Look deep into
nature, and then you will understand everything better’.
What fuels your creativity?
demanding. I often felt overwhelmed by the technical
challenges, and my creativity was suffering. I didn’t
realise I hated painting until a photographer friend
of mine lent me his camera. A month later, I showed
him my first two pieces, ‘The Seed’ and ‘Genesis’. His
reaction was very revealing. He graciously gave me his
camera and offered me to let me borrow any equipment
I needed for my future projects. I instantly dropped the
brushes and went full-force in photography.
How did you develop your practice of Photocollage?
At the early stage, my lack of photography technique,
my immense enthusiasm, naivety, and the many
accidents during production of the work and many years
of training as a painter were the initial building blocks
of my practice. I would say, ‘Do not underestimate the
genius power of naivety behind your first works. A lack
of technical skill forces you to be more creative and
Joyful moments, a healthy lifestyle, constant movement
are just a few of my inspirations. I also get inspired when
I place myself in a position of receptivity; placing myself
in a position where I can receive ideas and improvise
with them. Again, my work is highly instinctual,
something sets the tone and I go from there.
Can you tell us more about the emotional energy in
your art pieces?
In the same way an artwork can have a powerful and
transformative impact on me, I am dedicated to offering
the same energetic impact through each of my works.
By using beauty and wonder in my imagery, I intend to
capture people’s attention and give them a space where
they can reflect and feel their individual connection
with the living world.
How long does it take you to make each art piece?
Phenomena

I like to answer this question by saying, 48 years! That’s
how long it took me to be able to visually demonstrate
the dialogue I have with nature. To have an authentic
voice is to offer an original story that can touch people’s
hearts.
Technically, it takes me about five weeks to create
one composition, but that’s without counting the many
hours spent traveling and developing my personal image
bank. Ninety-nine per cent of the elements you see in
my work were photographed by me.
What’s the most challenging aspect about your
work?
The long hours sitting in front of my computer,
the isolation, and the demanding schedule. As
spontaneous as I try to be, it is becoming harder. I
have no choice but to be highly organised. Everything
must be planned in advance for me to have the space
to create.
Which other artists do you really admire?
I was once incredibly rewarded by seeing the art of
another particular artist. His name is Jerome Martin.
When I saw his exhibition at the Montreal Museum of
Contemporary Art a few years back, his work had such
intelligence and beauty that I understood at that precise
moment what I wanted to do with my life.
work?
I hope my work offers a space were the viewer can
connect with their higher self, the part that we have in
each of us that makes us realise our dreams and inspire
people along the way.
Can you tell us more about your ongoing series
titled ‘Gracia’?
‘Gracia’ denotes something beloved, elegant, and also
the giving of thanks. My photographs are my personal
way of giving thanks to nature, interconnected energy
What’s been the most memorable piece you’ve made?
So far, it would be the latest mural I made for
Bloomingdale’s. I was hired to spend five days in the
Redwood Forest in Northern California documenting
the flora and fauna to create a mural that would be
installed in their store in Stanford, California. It is
impossible to describe with words the feelings that
washed over me when I was in the middle of the
majestic giant Redwood trees. At the same time colossal
and elementary, peaceful and lively, those surroundings
provided a sense of wonder, humility and reverence.
I could not help but thinking that these monumental
trees were communicating with one another through
their complex network of roots and the rustling of
their leaves, like an immortal council pondering, with
ancient wisdom, the eternal passing of time. I created
a magisterial cathedral made of all the elements of the
land. This work is a true act of reverence to the divinity
of the giants.
and organic intelligence.
2015 is shaping up to be a busy year for you. Can
you tell us more about your upcoming exhibitions?
I will be focusing my attention on a few solo exhibitions.
First in Boston, in early March, at the Lanoue Gallery.
Then in May at the Catherine Edelman Gallery in
Chicago. You will also be able to see my work at AIPAD
in New York. As well, I was selected to represent the
state of Texas in the upcoming exhibition Organic
Matters - Women to Watch, June to September 2015
at The National Museum of Women in the Arts in
Washington.
I have also allied myself with the District 3 Innovation
Centre of Montreal’s Concordia University, to explore
and build 3D augmented-reality and video installations
of my work. This is one of my biggest dreams and
it’s starting to manifest. 2015 will be all about the
exploration of movement in my work.
Cosmic NurseryVenus
spotlightspotlight

It’s nine in the morning Chicago time, while in
Singapore, it’s almost midnight. Sandro Miller,
photographer of many famous faces, answers the
call brightly and calmly. Describing his morning, which
started off with an hour-long workout and meditation
session, you could almost picture him raring to go.
For five consecutive years, he has been voted one
of the top 200 advertising photographers in juried
competition within the industry. But to get a clear view
of the 57-year-old’s work, you need to look at his vast
portfolio built over a 40-year career. From behind the
camera, he has worked with actors like Al Pacino, as
well as sports heroes Muhammad Ali and Michael
Jordan. He has also produced films. Butterflies, the
short video featuring actor John Malkovich, won him
the Saatchi & Saatchi Best New Director Award at the
Cannes Lions International Festival of Creativity in
2011. Most recently, in November 2014, he won the
International Photographer of the Year Award given by
the Lucie Foundation.
‘Malkovich, Malkovich, Malkovich: Homage to
Photographic Masters’ is yet another result of his 17-
year friendship with the Hollywood actor. In the series,
Miller recreates the photographs that have inspired and
moved him through the years. Recalling seeing Irving
Penn’s 1957 photograph of Pablo Picasso for the first
time when he was 16, “it was the day my whole life
changed, and I knew that I wanted to create beautiful
and powerful portraiture,” shares Miller.
Restaging photographs like Penn’s Pablo Picasso,
Herb Ritts’s Jack Nicholson and Yousuf Karsh’s Ernest
Hemingway, it’s as if Malkovich had morphed and
gotten lost in the characters. Whatever the 62-year-old
actor had done on screen in films like Empire of the
Sun and Of Mice and Men to Transformers: Dark of the
Moon, he brought to still photography.
“John was so wonderful to work with. He is an absolute
genius, and such a professional. He understands his
body, his face and his expressions so well. I have to say
that the most fun to recreate was Diane Arbus’s twins
shot,” he says.
“I think the most fun was watching John change his
mood and transform himself from the little girl who had
fear and hesitation into the little girl who was excited,
full of joy and curiosity. To watch him change in just a
matter of seconds was so unbelievable,” shares Miller.
In Arbus’ photograph, the wall meets the floor at an
angle, and is higher on the left than the right. The twins
are dressed similarly, but one smiles with apprehension
while the other’s open smile reaches her eyes. “We
worked with an amazing set builder who built a set that
looked almost like the wall that Diane Arbus shot in
New Jersey in 1967,” he says, pointing out details like
the wall and paint-splattered floor.
A Master’s Tribute
In his latest collaboration with his muse, actor John Malkovich, photographer
Sandro Miller pays homage to iconic photographs. Gallery & Studio chats
with the photographer about the exhibition entitled Malkovich, Malkovich,
Malkovich: Homage to Photographic Masters – and other things that have been
keeping him busy
words Rossara Jamil
Photos Sandro Miller courtesy of Catherine Edelman Gallery, Chicago
John Malkovich as Che Guevara,
originally shot by Alberto Korda GALLERY & STUDIO 73
spotlight

John Malkovich as the Twins, original photo by Diane Arbus
John Malkovich as the Joker,
original photo by Herb Ritts

The work that went into recreating that shot and the
others – 32 photographs were on show at the exhibition
at Catherine Edelman Gallery in Chicago – was
meticulous and painstaking. He roped in stylist Leslie
Pace, builder Angela Finney, and hair and makeup
expert Randy Wilder for the project.
“The shoot was over a three-day period and then
there was a fourth day, all 15-hour days. The actual
work for the project took over a year,” he says. “We had
to research every single shot, figure out exactly how it
was shot, what kind of film it was shot on and what
kind of camera it was shot on. We had to figure out the
wardrobe, the clothing and really take a close up look at
details like the hair and beard.”
That of Migrant Mother, according to Miller, was the
most difficult to recreate. It wasn’t only in duplicating the
clothing of the era, when Dorothea Lange photographed
migrant worker Florence Owens Thompson and her
children in 1936. “The most difficult part of that shot
was working with the children and directing them to
stand very, very still. What I was trying to do was match
very, very closely how the children were in the shot.
That took the most patience, and was the longest to
shoot and by far the most difficult,” he explains.
While getting the set, clothing and lighting right was
the first and crucial part of the process, Miller also
made use of modern technology at his disposal. An
example was the photograph of Malkovich as Einstein.
The gritty, grainy feel of the photograph was recreated
during post production.
Miller, who is self-taught, has built a collection of
more than 800 photography books. He still treasures
the first photography book he bought, Irving Penn’s
Passage. To Miller, picking out the iconic images for the
“All of these images that I recreated have moved me throughout my career.
They are images that continually pop into my head; that I feel, are so
powerful, they changed my thoughts of what portraiture can be.”
John Malkovich as Marilyn Monroe, original artwork by Andy Warhol
John Malkovich as Marilyn Monroe, original photo by Bert Stern
GALLERY & STUDIO 76
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project wasn’t the hard part; it was leaving some of them
out. “There were two images I really wanted to do, but
was so disappointed that I couldn’t. They were Mary
Ellen Mark’s photograph of the elephant trainer in the
circus and Richard Avedon’s work with elephants. There
was absolutely no elephant in Chicago and the whole
Midwest.”
“All of these images that I recreated have moved me
throughout my career. They are images that continually
pop into my head; that I feel, are so powerful, they
changed my thoughts of what portraiture can be.
Portraiture can be so educational. It can be such an
amazing storyteller of one person’s life in just an instant.
A photograph can tell you so much about a person,” he
says.
His passion for the medium is something he is keen on
imparting. And he dedicates time to teaching in colleges
and workshops. Miller says, “It’s in inspiring our young
photographers and students, to really make a difference
to their lives and make something click in their brains,
that they too can have a career in photography. I think,
as we get older and we have the wisdom, we’re here to
teach and we’re here to help. Today, my biggest joy is
to pass on my knowledge and love for photography to
others.”
In addition to working with his clients and teaching,
he continually challenges himself with new projects. In
2013, he travelled to Morocco and produced portraits
of over 200 local tradesmen, snake charmers, nomads
and fossil diggers. That, and a documentary project on
top of upcoming exhibitions, makes Miller a very, very
busy man indeed.
Sandro Miller
John Malkovich as the Migrant Mother,
original photo by Dorothea Lange
GALLERY & STUDIO 79
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What got you started with art collecting?
Henry Gomez (HG): We love art for what it is. For me,
I started collecting art over 15 years ago and it became
like a disease. Our earliest works (collected) were by
graffiti artist Jose Parla because we like his raw style.
We started with one, but as we got to know the artist
personally, that relationship grew, and we wanted to
support the artist by collecting his work. One thing
led to another and right now, we buy art at the art fairs
we’ve been to, and even online.
Having developed such a close relationships with
an artist like Jose Parla, whom you collect, how
does it feel when you’ve got a work that’s specially
created for you?
Serena Adsit (SA): Jose Parla actually did a tattoo for
Henry. So that’s how close it actually feels, to have his
art on your body instead of just in your home.
HG: (Pointing to tattoo on arm) This is actually the
name of our older son Rui. I had casually shared with
Jose that I was thinking of getting a new tattoo, and
being a fan of his calligraphy, I asked if he could do
something for me. As his friend and one of his biggest
collectors, he said that he’d try. I didn’t want to push
him, but after six months, he sent me an email saying
that he’s sorry, but hadn’t forgotten about it. He’s very
busy after being commissioned to do work on the new
World Trade Centre in New York, but he sent me a few
variations.
SA: He had taken so long to develop the design, even
asking for measurements of Henry’s arm; which shows
the characteristics of a true artists—the meticulousness
and attention to detail.
HG: After six to seven months, he was finally satisfied
with the design. And being so particular, he made sure
that I picked the right tattoo artist to do the piece
for me. I couldn’t just pick anyone because I’ve now
become a walking billboard for him. But there really
is a special bond with this as it was a lot for Jose to
do this. I may not be sure how much it meant to him,
but it meant a lot to me, especially since it’s my son’s
name. Currently, work in progress: Jose is working on
something for Serena.
SA: At the end of the day, it’s more than just a buyer-
seller relationship because we’d really want to know
them as well. Whenever they’re in town, we’d invite the
artists to hang out with us.
What are some other favourites you have in your
collection?
SA: Honestly, every piece of art is inspiring once you
find out the story behind it. In this house, I’m drawn
to the Miaz Brother’s piece. I think using spray paint to
create a portrait is beautiful yet simple at the same time,
yet so hard to create.
HG: Every piece is a favourite. It’s just such a sad
thing that there’s no place we could find that we could
have everything put on display. So, the pieces are all
in storage. For example, some of the pieces here might
have been bought for years, but I’ve only seen them
An irresistible passion
Art collectors Henry Gomez and Serena Adsit offer Gallery & Studio a glimpse at
their new home and tells us how their passion for collecting art has evolved into
something that’s literally more than just skin deep
words jonathan tan Photos Eddie Teo
Henry Gomez and Serena Adsit
GALLERY & STUDIO 81
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three months ago, when we just moved to this new
place. Other than that, the only glimpse of my collection
would be when it’s shipped to Singapore, and opened up
for my inspection in the office and for a quick photo.
After that, it’s packed up and moved straight to storage.
How do you get to know about new artists and work
that you could add to your collection?
HG: It’s a small circle so a lot of galleries, artists and
dealers know you. They’d be telling you about new
artists. So in a way, you can’t stop because you’re always
exposed and seeing these very interesting artworks. And
the beauty of this is the price points of young artists.
With a price range of US$10,000 to US$20,000, it’s
kind of affordable. That’s how we started with the
collection. And now that we’ve formed one up, we want
to keep adding to it.
So, how many pieces do you have in your collection?
HG: In the hundreds. I really wouldn’t know, although
we did discuss the possibility of creating a catalogue.
How would you describe the pieces in your
collection?
HG: I think it’s very abstract. I think the collection grew
from street art to abstract and very slowly, figurative. If
we were to pin-point our interest at the moment, it’s in
colour field paintings now. We’re also getting more into
figurative paintings, like the Miaz Brothers piece here,
which is an image of what one of them, who is short-
sighted, sees.
The collection is very global. It had started out based
on European and American art. Funnily enough, we
didn’t go into collecting Chinese and Indonesian artists,
and instead went the other way. It could have been my
growing up, and where I had been educated in. But I’m
slowly coming back to it.
SA: I think it’s also about the economics of it. It’s
diverse because we’d want to think about the favourite
pieces we like—from renowned artists, to new artists, to
changing focus, like sculpture instead of just paintings
and photography. So it’s like a big portfolio. Then,
there’s the investment aspect: what it’s worth, what it
could be worth.
What kind of homework do you put in before
buying an artwork?
HG: We usually trust the gallery owners. It’s a hell of an
effort to walk around an art fair like Art Stage.
There is a reason why you buy a certain piece.
Sometimes it’s the story, sometimes it’s the artist. For
example the James Hugonin piece here. He’s an English
painter who can only do one piece a year. So in his 20-
year career, he’s only got 18 pieces. Even though I don’t
know the guy, the gallery had told me that it was a piece
that should be in my collection.
But the right thing to do would be to understand the
artist’s technique and why he creates his or her artpiece
in a certain way. Subsequently, you would have to go and
see the painting up close, maybe even see it a few times
at different times of the day, and with someone. Never
buy a painting to decorate your home, or to match your
couch, it should be the other way around. The artist
is also the most important person. Whoever the gallery
owner is, that’s secondary; he’s just the middleman in
the transaction. And when the artist begins talking to
you, you’d understand more.
These are the basics. It’s really fine and dandy if
you’re buying works that cost below $10,000. But
then there’s a difference if you’re buying art that costs
significantly more, say a 100 grand. There’s the added
angle where you wouldn’t want to lose your investment.
Your research then goes beyond just knowing the artist
and his technique. It goes into the artist’s career; what
he/she has done; the price points—have they been
controlled, or have they been stirred up by the market.
A lot of new young artists today have become million-
dollar artists within two years or so. Because of limited
supply, and important collectors are buying those works,
demand and supply comes into force. And when there’s
A pair of Amir Nikravan paintings adorn the bedroom wall. Abstract painitngs line the available wall space in their home. A Miaz Brothers figurative painting sits prominently on the wall.
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no supply, people would flock them on auction houses,
and the prices would become inflated, which could
eventually lead to the price crashing.
SA: For me, I’d love to get to know the artist, and we’d
host them whenever they’re in town. I like to humanise
the whole aspect of art buying, to know the artists
as people and learn more about their families, and if
they have children. It’s not just about picking their
brains about their work, or their techniques. That’s my
womanly touch.
HG: (Jokingly) Now, a lot of the art we can’t buy
because we’d need to come to an agreement, or I’d just
make the purchase first.
For an artist, how is having his/her artwork feature
in a private collection helpful?
HG: A lot of gallery owners want an artist to be in
certain collections. It adds a value to the artist him or
herself. Having collected art for such a long time, and
not having sold them on auction, our collection becomes
important. Especially for an artist whose gallery wants
to place him. It’ll either be in a museum or in a private
collection.
When the price of some of your art pieces increases,
would you consider selling them?
HG: Cashing-in is a vulgar word to use in the art world.
If people know that you’ve cashed-in, you’d never be
able to get more works. It is such a small little circle,
and whatever you do, everyone will know. So take for
example the two Amir Nikravan pieces I just got. If
within a year, it becomes available, everyone will know.
However in four to five years’ time, that’s usually the
peak of someone getting big, you could say that you’re
looking to upgrade your collection. Then, it’s perfectly
normal to sell some older works to make way for some
newer works.
SA: You’ve got to let the art mature.
HG: That’s also why when we buy art from an artist, we
don’t just buy one piece.
What’s been the best part about this collecting
journey?
SA: I like the travel, and getting to meet and know the
artist.
HG: Definitely getting to know the artists. But what’s
really nice and romantic, is that you are there with the
artists as they evolve and grow through their careers.
Being with them through every step of their careers is
really the most beautiful part. It’s really that personal
connection.
GALLERY & STUDIO 84
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It’s a warm, sunny December day in Miami during
Art Basel and the 28-year-old Los Angeles-based
graffiti artist who goes by the name of Alec
Monopoly has been keeping busy. He painted the
façade of the SLS Hotel and a giant duck poolside, a
double-decker bus and a fleet of supercars, unveiled a
series of new paintings — some on custom-made shaped
canvases that he’s working on for the first time — and
debuted Mini Monopz, a limited-edition toy sculpture
he designed in collaboration with Juan Faustin, creator
of toy upstart Expressalo. Initially launched in an
edition of 150, which will be followed by additional
versions and editions of the character in 2015, it marks
Monopoly’s first foray into sculpture and toy figure
releases.
When we meet, Monopoly is dressed all in black
sporting long gold chains and a top hat, echoing
his signature portrait of the moustached, tuxedoed
Monopoly board game character he’s best identified
with. He has done away with the bandana he usually
wears as a mask to protect his anonymity when he
carries out illegal street-tagging, where entire cities
become his temporary art gallery. Aware that he could
be arrested simply for putting work up in the streets,
he understands that this vulnerability is all part of the
game. “I can’t count on both hands how many times I’ve
been in trouble,” he relates. “You just accept it when
you start doing graffiti that it’s going to happen at some
point. It’s more about luck: at that time, a cop drives by
you. But I’ve shifted my focus to doing walls where I
have permission; where I can spend more time to define
the piece rather than just doing stupid tags.”
So who is the real Alec Monopoly? While his true
identity remains a mystery, chances are if you live in Los
Angeles, New York, Miami or London, you’ve probably
driven past one of his street murals featuring widely-
known, wealthy pop-culture figures from childhood,
like the Monopoly Man, Richie Rich or Uncle Scrooge,
or his interpretations of celebrity icons such as Michael
Jackson, Bob Dylan, Jack Nicholson, Goldie Hawn
and Twiggy. He has also painted on Richard Corman’s
photographs of Madonna from the 1980s. His client
list includes Robert De Niro, Adrien Brody, Benicio del
Toro, Nobu Matsuhisa, David Blaine and Seth Rogen,
and his artworks today sell for between US$20,000 and
US$50,000. He says, “If I could just paint on walls all
Monopoly
The British may have Banksy, but on the other side of the pond, American street
artist Alec Monopoly is making waves with his special brand of graffiti art that
gives a fresh spin to the Monopoly board game character and other celebrity icons
words NINA STARR Photos Alec Monopoly, James Mackel and World Red Eye
m r.
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day long, that would be all I do, but I’m not selfish with
my work. It’s important to do canvas work because one
day the walls can be painted over or taken down, but
the canvas will live on forever. Painting on walls is more
fun for me because it’s exposed to everybody, not just
art collectors or enthusiasts. But my artwork is based
around my graffiti, so I’ll make a graffiti piece, then a
canvas.”
After first painting variations of the Monopoly Man
in 2008 when the economy crashed as a commentary
on capitalism, consumerism, corporate greed and the
scandals rocking the banking industry, there was an
immediate response that garnered Monopoly overnight
fame as it spoke to people. Art dealers and collectors
began contacting him to do shows. He recalls, “I was
playing Monopoly and watching the news, and I saw
Bernie Madoff being arrested. And it hit me, it was
like a light bulb and, that night, I started a canvas of
a Monopoly guy that I never finished. It’s a Monopoly
guy half-painted, and I went out on the street and
just started tagging the Monopoly guy. The response
was so quick. It was picked up on the Internet and in
magazines, so I just went crazy with it.”
There’s the Monopoly Man behind DJ turntables,
holding a can of spray paint, running off, flying away,
with empty pockets, crucified by Wall Street and
holding an umbrella (in reference to Hong Kong’s
recent pro-democracy protests, which he witnessed
firsthand). This led Monopoly to bring more of his
creative studio artwork onto the streets, as before that
he was just tagging and skateboarding. Today, he has
fully appropriated the character, which has come to
symbolise the artist himself, representative of success
and achieving one’s goals, thereby serving as a source of
inspiration to young people. He divulges, “I like painting
for my own happiness. Graffiti is my true passion and I
like seeing the reaction of people when they walk by my
work and it inspires them. Kids start painting because
of me. I like putting a positive message out there that
makes people happy.”
ScroogePastingMoney
BondsXMortgage
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GALLERY & STUDIO 88

Alec Monopoly in his studio working on Monopoly Gifts Goldie

Born in 1986 in New York City (where graffiti has a
rich history), the college dropout has been drawing and
painting for as long as he can remember, as his mother is
an artist, and he began tagging from the age of 12. “My
mom is a classical style painter, who does oil paintings,”
he notes. “When I was learning to write and spell, I was
learning to draw, so when people ask me how long I have
been doing art, I can’t even remember because it’s been
my whole life. My grandmother was an amazing painter,
too. I come from a long line of painters. Growing up in
New York, in middle school, every kid has his tag. It’s part
of New York culture, like skateboarding, so I was doing
straight graffiti and tags. But I knew my whole life that
I was going to be an artist. Ever since I was a little kid, I
just wanted to be an artist.”
When Monopoly moved to Los Angeles in 2006, he
met fashion photographer Michel Comte who invited
him to live and work in his mansion in the hills above
Sunset Boulevard. He states, “LA was where I really
was inspired by street art. It has grown to be one of the
number one street art cities in the world, together with
Berlin, so I was fortunate to choose it as my headquarters.
It’s a great city for me because there are so many walls,
being so spread out. In New York, there’s the NYPD
vandal squad that just looks for graffiti. That’s one of the
reasons I moved to LA, to get out of that, relax and spend
more time on my graffiti pieces. There are a lot bigger
issues in LA, so they’re not as worried about graffiti. I’ve
been painting on Melrose, my favourite place to paint in
LA, and the cops literally stopped, looked at me and just
kept going. And now the city has embraced me. I started
doing graffiti illegally all over the city; today, I get offered
walls all over the place.”
For his canvases, Monopoly works out of his Beverly
Hills studio. “It’s a big open space with a lot of bright light,
half inside and half outside because I’m always using
spray paint,” he says. “It’s always a crazy mess because
I move so quickly. I have really bad attention-deficit
disorder so I work on three or four different paintings
at once. I get bored with something and start working
on another. I make maybe 70 art pieces per year. I like
making each piece myself. I have one assistant here and
there but, most of the time, it’s just me. So that’s a way
I limit myself, because I’m making them all myself.” He
uses spray paint, acrylic, resin and newspaper clippings
from the Financial Times and Wall Street Journal for
most of his work, with ladders and lifts for large murals.
While the actual painting of a mural may require a day
or two, coming up with the concept can take months.
Monopoly stands out for his unconventional graffiti
style that is colourful, happy and positive rather than
a gritty, underground representation in a part of the art
world associated with crime and vandalism. The pop
art nature of his work sees him referencing popular
culture, ranging from the movie character Travis Bickle
in Taxi Driver to Andy Warhol’s Campbell’s Soup Cans,
as he wants people to relate to his images in the aim of
appealing to the masses worldwide and not just street
art fans. “The streets are my main inspiration, looking
at other graffiti pieces, advertisements, what’s going on
in pop culture,” he explains. “I also study a lot of old
artists. Dali is one of my big inspirations, but I really
enjoy Picasso, Keith Haring and Basquiat because they
were graffiti artists as well who transferred to fine art.”
American financier, entrepreneur and producer Marc
Bell, who collects Monopoly’s art and bankrolled his
exhibition during Art Basel together with Marc Leder,
comments, “I love the look of graffiti art, and that
mixed with childhood icons such as Richie Rich and
the Monopoly Man makes Alec’s work so much fun to
look at.”
Having done gallery shows since 2008, Monopoly is
concentrating on Asia in 2015. His next exhibition will
be held at Armani/Aqua in Hong Kong in March during
Art Basel (his first solo show in Hong Kong), where he
will unveil a selection of new works made specifically
for the city, followed by an installation in a brand-new
restaurant-nightclub at Chijmes in Singapore set to open
in March by the owners of boutique bar, House of Dandy.
On 2 May, he will open his first-ever solo museum show
at MOCA Bangkok (the first Western artist to be given a
solo exhibition there), featuring installations, sculptures
and a major live performance on-site, where he will
paint an entire room of the museum. His first-ever
solo exhibition in Jakarta, Indonesia, will take place in
September at Glitch Gallery. An exciting collaboration
with a well-known American high street fashion label
will also be announced soon.
Mini Monopz Angel Monopoly

Who are some of the notable artists in Singapore?
There are so many that it’s almost impossible to name
even a few. Whether or not they stay artists 10 years
from now, it’s still a big question mark. Especially in
Singapore, when trying to make a living by working as
an artist is not easy. You can win a prize today, but it’s
only the first step. It’s an everlasting marathon. You
just have to keep on running and be noticeable among
thousands and millions of other runners. As for the
more established ones, we can name a few because they
are making so much progress. There are Donna Ong
and Jane Lee. Surprisingly, the female artists are the
frontrunners, for a change, and I’m happy for Singapore.
Tell us about an art trend to watch.
If you watch the works at ArtStage, the main shift to
me is that everyone is going back to basics. It goes back
to visual, rather than performance art. It’s more about
painting and sculptures. It’s less conceptual. It’s only
normal because, at the end of the day, you want to see
something with skill and the human touch. But when
you look at winners of the Turner Prize, it’s typically
awarded for works that are very unfamiliar to the layman
and even the expert. At the end of the day, however,
what critics like are very different from what collectors
like.
The return to skill is also reflective of the general
mood.
The way I see is that when you buy art, it is a bit
more serious than buying home décor; you would like
to get to know the person who created it. If you were
told that the piece is produced in multiples, it would
put you off. You would want to see that the artwork
reflects the individuality of its creator. And that you
Trending NoW
Daniel Komala, chairman of Larasati Auctioneers and One East Asia, shares his
thoughts on trends to notice and tips on investing in art
words Rossara Jamil Photos Albert Tan
can connect with it in individual ways. The big word is
that the artwork speaks to you. You’d want to see skill,
exclusivity, the human touch and the soul of the artist.
As for South East Asia, which countries are going
strong or coming up?
Looking at the demographics of the Southeast Asian
countries, Indonesia, by its sheer volume, is right at
the top. It’s followed by the Philippines. Singapore and
Malaysia are doing well. Then there’s Vietnam, and
the most recent, Myanmar. Myanmar art is shaping
the market. When it comes to buying and selling art,
though, Indonesia still leads because of the diversity of
the art.
What are your top tips for those looking to invest
in art?
Look at quality. Find out about quality by looking at
more things. It’s only through looking and talking to
people that you could define quality. There’s also rarity.
Size also matters. It’s always difficult to deal with big
canvases. You cannot just blow things up and translate
everything by size. Look also at the condition of the
artworks too because artworks travel a lot. Last but not
least, it’s the track record of the artist.
How do you determine the track record of the
artist?
The more established the artist is, the more important
the shows and events he would be participating in. Who
collects his work also matters. Also, the art world is
cruel. I always say this to artists, young or established:
the storm will come so enjoy it while you can. What
differentiates the good artists from so-so ones is the
ability to reinvent themselves and get back on their feet.
GALLERY & STUDIO 94
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I
n an age of artistic production while mechanical
processes are threatening traditional artisanal
techniques in favour of intellectual and immaterial
labour, Ju Ming’s art is a fine balance between both
camps. Famed for his abstract, monumental public
sculptures, Ju Ming has demonstrated his virtuosity on
the most unforgiving of materials – be it wood, bronze
or marble. Gallery & Studio learns more about the artist
and how his personal journey stems from craftsmanship.
You were trained as a woodcarver through an
apprenticeship. How did this experience impact
you as an artist?
Traditional wood-carving training had honed my carving
skills. My master then, Li Jinchuan, also encouraged
us to study painting. That enabled me to have a more
accurate grasp of shapes, forms and lines. Frankly
speaking, traditional wood carving apprenticeship does
not pave the way for one to be an artist. In my case,
my ability to carve presented me the opportunity and
The Artist in the Craftsman
Acclaimed Taiwanese sculptor Ju Ming shows, for the first time in Southeast
Asia, his famed ‘Taichi’ series of bronze sculptures within the lush greenscape of
the Singapore Botanic Gardens. Gallery & Studio finds out more
words Elizabeth Gan Photos iPreciation Gallery and Ju Ming
privilege of seeking Yuyu Yang to be my master and
teacher. That opened the door to the art world.
The apprenticeship had honed my ability to execute
exquisite skills, but some of the traditional techniques
were a burden, and I had to deliberately let go of some
of what I’ve learnt. Regardless of any training, I always
have to reconsider what I should keep as critical skills
and experience, and cut away what was unnecessary to
my pursuit of art.
You have had a successful crafts business prior to
your admirable art career. Would you be able to
share your insights on what is craft and art to you?
Before becoming an artist, I clearly understood that
what I did was not art. It was purely craft work made
for a living, although what I really wanted was to be an
artist. Deep down inside, I knew that having excellent
skills in crafting will open up many possibilities for
new works and innovative products, all of which will
create a good market, provide a comfortable life. But
GALLERY & STUDIO 96
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Split Taichi 1983

this was not my heart’s pursuit. I wanted to be able to
learn art. At that time, all I knew of art was derived from
magazines articles and newspaper reports. Thankfully, I
found Yuyu Yang, who became my teacher and master. I
was ready to give up the lucrative business of crafting,
to devote myself to art.
Under Master Yang’s tutelage, I learnt to appreciate
the essence and distill the best of traditional processes.
Keen to understand and incorporate the traditional
Chinese spirit in my art, the subject of Taichi took root
as I kept working and working to find my own style and
character.
To you, what is Taichi?
I took up taiji practice because Master Yuyu Yang felt
that I needed a stronger physique, and also hoped I
would appreciate the spirit of taijiquan. I am a person
who’d always pursue something thoroughly before
stopping. Hence, I committed myself to learning the full
practice of taiji. I began on working on the Taichi Series
once I felt I had grasped the essence of taiji. By then,
the actual taijiquan practice was no longer important
to me; what became more significant were the Taichi
Series works that I created.
You’ve worked with a range of media, including
bronze, styrofoam, ceramics and stainless steel.
What is your favourite material to work with and
why?
My choice of medium depends on its suitability in
presenting the works intended as well as how much
I take to it. I am partial to mediums which allows me
to work continuously without the burden of having to
consider the end point of the works. I am very partial
to working with sponge materials as it allows me to
cut freely and sculpt non-stop in a way that I enjoy.
Different materials evince different outcomes so it’s up
to us to work with what we like.
You have your own museum just outside of Taipei.
Tell us about some of your favourite works available
for public viewing.
GALLERY & STUDIO 99
Taichi Series 1999

The Juming Museum is what I have constructed over
12 years of passion and effort. All the museum works
found there may be considered my favourites, works
that I hope the public will enjoy. Different works are
presented within different park spaces, based on the
environment and design of the natural setting that best
suits the art pieces.
Why have you decided that this public installation
at the Singapore Botanic Gardens would be your
last for your famous Taichi series?
Well, I always hope to have the opportunity to share
my works around the world. It is difficult to predict the
future; but of course, I hope that Taichi series and my
current ongoing creation of the Living World Series can
be enjoyed and loved by everyone.
What are your plans?
My plan has always been to create, never stop creating,
and be a first-class artist.
Complete the sentence: If I weren’t an artist…
If I am not an artist, I think I would be a scientist. I
always had a keen interest in the science and the
study of all kinds of things and matter in this world.
I love exploring the detailed characteristics of things,
forming my own observations and insights. Till today, I
continue to read and watch programmes discussing the
exploration of science, environment and ecology.
If scientists use science to convey their understanding
of the world, I use art to express mine. While I have
not fulfilled this wish of being a scientist, in my Living
World Series, there is a group of works called Scientists,
perhaps assuaging this regret.
Ju Ming’s exhibition of 15 pieces from his famed
Taichi series of bronze sculptures will be on public
display at the Singapore Botanic Gardens from now
till April 16.
GALLERY & STUDIO 100
Taichi Series 1994
Taichi Series-Single Whip

A Fluid Approach
We chat with Ocean Wang about her first solo exhibition ‘The Melting Story’
presented at Y2ARTS Gallery
words Rossara Jamil Photos Y2ARTS Gallery and Albert Tan
H
eld at Y2ARTS Gallery, Ocean Wang’s first solo
exhibition of her series ‘The Melting Story’ is
simply stunning. The paintings showcase hy-
per-realistic detailing, freezing moments of street scenes
and the abstraction of fluid lines. Each work, in the dis-
tortion of familiar places and scenes in Singapore, as if
reflected off the liquid metal that Wang brings to life on
canvas, takes on a fantastical slant.
Wang used Chinese brushes, typically with ink, to create
the oil paintings. And each piece saw her go through
several brushes. Lamb hair brushes, in particular, allowed
her to achieve the fine detailed work and the texture that
she wanted. She also attributes this to her background in
ceramic art, where she honed her skills with these brushes,
eventually being able to use them for her oil paintings.
After completing her studies in Beijing, the China-born
artist had moved to Singapore to take on the job of mu-
seum exhibition designer. Four years later, she moved to
the United Kingdom for her Masters Degree of Art in
Museum and Exhibition Design. Living in Bristol after
that, she became “excited about contemporary art” when
the scene was abuzz with artists like Banksy. But coming
back to Asia was something she felt she had to do, so she
settled down in Singapore again.
The soft-spoken Wang shared that she captured street scenes
on her smartphone, did sketches and watercolour paintings in
preparation for the oil paintings. We find out more.
Wondering in the sunshine place
spotlight

There’s a fantasy feel in the series that I really like.
How did you arrive at this concept?
I can draw realistically, but I was also looking at abstract
forms, which I wanted to draw in hyper realistic detail.
So, it’s like a contrast between hyperrealism and abstract
art. I also wanted the illustration to reflect what I feel
around me. I live in Singapore, so I like to wander about.
It’s like a documentary of my life.
As a museum exhibition designer, you would have
had a different perspective on art. How has that
perspective changed now that you’re an artist?
I love that things can be preserved, that an artefact can
last for centuries. I like the old fashioned aspect of it.
Because of that feeling of wandering around museums,
I would like to create something that can last for a
long time – through fine craftsmanship. Even though
contemporary art moved away from craftsmanship for a
period of time, for me it has always been an instinct.
Since I was a child, I’ve always liked to draw and create
The Chinese art scene has changed so much. Do you
feel like you want to experience it too?
(Laughs) Yes, I miss it. Before I graduated from
university there, I was involved in the art directing of an
independent movie and a documentary. Our movie was
selected for the Munich Film Festival. I was surrounded
by contemporary artists and I worked at a pottery studio
just outside the Summer Palace in the late 1990s. At that
time, I didn’t plan to stay in China for very long. I wanted
to see the world. Travelling and life experiences are very
important in my journey. Along the way, I try to do the
things I like and that would finance me to go around
Europe. It’s during that time that Chinese contemporary
art had been going to the world.
You started on the series early last year. How was
it like?
In the beginning, I worked on one piece at a time
because there was a lot of experimenting. My challenge
was to create a large piece to start with and then do
with my hands. Museum exhibition design gave me a lot
of opportunities to go around the world; to do research, to
stay there and to design the exhibition and the artefacts
there. I was quite lucky to have worked with the designer
for the Chinese gallery for the Victoria and Albert
museum. I’m very happy to have that period of time to
have the influence in working with the museum and the
studio and the curators. That led me to appreciate the
fineness of a piece of artwork.
How difficult is it to find inspiration as an artist in
Singapore?
Not at all, actually. If you were to ask me this question
20 years ago, I would say yes. That was the reason I left
Singapore for the UK. As an artist from Asia, my roots
have to be in Asia. When I see my Chinese friends
and artists, and what they do, I was very, very inspired.
Somehow when I look at the contemporary artists in
China, there’s a very strong connection. I think it’s in our
culture, blood, training and background. Our roots are
very important as artists.
smaller pieces. With the big piece, I worked on one piece
each time. I used oil, so one piece each time was a slow
process. I also like the Old Masters skill, which is putting
layers upon layers. It takes a long time to dry. With the
smaller pieces, I worked on a few pieces at the same time.
What’s challenging about creating the series?
The reflection, distortion and position have to be right.
Otherwise, your eyes will tell you that it doesn’t feel right.
With this series, too, there’s no visual reference. There’s
no photograph you can take that’s like liquid metal. But
that’s also the exciting part of it. You can imagine it, so
there’s a lot of daydreaming involved with the concepts
and sketches. If you just draw realistically, as it is without
imagination, there’s no difference between a photograph
and a drawing. With this, I can elaborate on the realistic
skills, but at the same time, it’s fantasy. I also scrapped
a lot because, with art, it’s very hard to say. Sometimes,
after you draw it, you don’t like it anymore. It’s very hard
to predict.
Floating

When you work, for example, on the ‘Floating By’
piece, what did you look for?
I looked for things that feel natural. And I love
shophouses. I’ve travelled to so many places, but only
Singapore has this type of shophouses. There are some
in Penang, Malaysia, but they are not the same. Here,
you can see Chinese characters in Little India, and
you can see Indian words and shophouses in Kampong
Glam. It’s very mixed and in perfect harmony. I also
drew very randomly, without any expectations. I walked
around Kampong Glam at 6.45 am and I observed
people cleaning up the streets. I saw a chicken
wandering about. Someone let the chicken out early in
the morning. You won’t see that at other times.
As an artist, what do you find most difficult about
your work?
It’s that I’m bombarded with all the happenings of
what’s art and what’s not, what’s avant garde and what’s
really good art. I find that art has become very trashy.
Something that takes a lot of time and patience to do is
becoming less valued. I miss that feeling when I was in
school, and we’re trained to look at the artwork as art
by itself, rather than thinking about what’s popular. I
found that I want to challenge myself, to sit in front of
the canvas even with noise around.
Where do you work?
I use one of my bedrooms. I have three children, and
they are very young. I use the top level and they are at
the bottom level.
With three children, how do you manage?
Accept the mess! Mainly, time is the pressure. But
I think if you have this passion inside you, you can
conquer anything. For some years, I’ve been working
at 5.30 am before the children wakes up. I take care of
them until they go to school and then I start working
again. Because I eliminate travel time and coffee time
with my friends, I can work for five to six hours. I have
very little social life, which I miss a lot. At the same
time, I like being in my own zone to draw. I need that
solitude. That’s the time and space I feel the most free.
Solemn Pose

N
estled on the outskirts of our city centre,
Hotel Clover The Arts is a hidden gem. The
44-room art-themed boutique hotel is housed
in a conservation shophouse, with a contrasting blue and
orange exterior as an immediately distinctive marker.
The property’s interior though, is quirky, with modern
art matched to thematic designs—no two rooms are the
same here.
Focused on the arts, the hotel gives budding artists
a platform to showcase their work and each room
has been independently painted. One way the hotel
achieved this was through an art competition that was
open to students where they had to design a room. The
overwhelming response made shortlisting the winning
designs difficult. Some of the entries can be seen here
in these pictures. One team emerged as clear winners
of the ultimate room design competition. The three
students, from Raffles Design Institute, created a
wall mural of a vintage travel journal showing various
attractions in Singapore. Named “Diary of Singapore”,
the piece saw them use eyeliner to painstakingly write
the words in the journal image.
Independent professional artists were also
commissioned to create artworks for the hotel. In
particular, street artist Ceno2’s works stood out. Majority
of the spaces provided around the hotel were allocated
for him to work on the themes of nature and animals.
Using only aerosol art, or more specifically, graffiti fine
art, he managed to create beautiful painted masterpieces
in his personal style. The external facade of the hotel is
a painting of waterfall seemingly cascading through the
back of the hotel. It is striking and best appreciated in
the early morning or late evening, when the sun’s rays
land upon it. In the lobby, his works centred on iconic
City Escapade
A boutique hotel finds its niche with Art
words Nur Afifah Photos Hotel Clover The Arts
inspired

local attractions, like the Singapore Flyer and Marina
Bay Sand’s towers. He also designed a Mount Fuji
room, which depicted the ‘nature’ theme at its best.
Other professional commissioned artists that took
part in designing the room were ten members from Life
Art Society, a non-profit organisation created to ensure
greater awareness of art and developing art talent locally.
It was the first time that they were asked to create works
using a different and bigger canvas. Participating in
this cause allowed for more exposure of the artists in
Singapore; something that Life Art Society has always
been doing.
“As an incubator showcasing the artwork of both
professional and student artists, we hope to make
these art pieces accessible to the general public while
providing guests with a glimpse into the private worlds
of these artists” says Louis Than, manager of the hotel.
Each art piece has a story to tell, and by the end of a
stay in Hotel Clover the Arts, visitors will leave with a
story or two.
Bedding Down In An Artpiece
The rooms in Hotel Clover The Arts may have
characteristic of similar boutique hotels in old
shophouses—well-appointed with pleasant
touches, but a tad on the small side—but they’re
immensely charming, exuding a unique character
that’s shaped by the hand-painted murals on the wall.
In the Arts King Room this writer had the chance to
bed down in a large queen-sized bed and snooze with
Ceno2’s Mount Fuji-inspired mural for a view. There’s
no escaping balmy Singapore here, but the painted
view, the same you’d get from a mountain-facing onsen
in Tokyo, lulls the imagination into thinking that, just
maybe, one is actually in cooler climes. The hotel has a
fine eye for details, with oriental bed runners and even
artificial cherry blossoms by the side of the bed. Playing
tourist for a day, the colourful walls on the corridors were
a fresh change from the cookie-cutter ones you’d find
in other hotels; and with bright colours and different
scenes that stretched across it, one could be forgiven for
getting trippy and living in a dreamscape after a drink
too many at the rooftop garden, hidden away amidst the
city’s skyscrapers. Hotelcloverthearts.com/
inspired inspired

K
nown for intriguing works that combine
performance, photography, as well as
protest, Chinese artist Liu Bolin has created
an art form that is unique to himself. Employing
camouflage methods that would put field-craft
experts to shame, Liu paints himself to ‘disappear’
into elaborate backgrounds, using concealment to
address societal identity. With his own clothed body
as a canvas, he then creates compelling photographs
that make a statement about the place of individuals
in society.
Born in China’s Shandong province in 1973, Liu
earned his Bachelor of Fine Arts from the Shandong
College of Arts and his Master of Fine Arts from
the Central Academy of Fine Arts in Beijing.
Commonly known as ‘The Invisible Man’, Liu’s
most popular works are from his ‘Hiding in the City’
series, a collection of photographs that came about
as a way of recording his art performances in 2005.
Currently represented by Klein Sun Gallery in New
York, his work has been exhibited in museum shows
around the world. Key narratives in his work always
pay special attention to the social problems that
accompany China’s rapid economic development,
making social politics the crux of his pictorials.
Liu’s latest project ‘A Colourful World?’ consists
of new sculptures, photographs, and lightboxes that
are a reference to the plethora of multi-coloured
advertisements and mass-consumer goods that
shade oppression and injustice. Through lightboxes
that suggest disappearance, intricately painted
sculptures, and a continuation of his ‘Hiding in the
City’ series, the exhibition reveals Liu’s immense
artistic versatility while expressing his perspective
Now You See Me
Dubbed ‘The Invisible Man’, Chinese artist Liu Bolin wows the art world with
his latest exhibition, ‘A Colourful World?’
words Melissa Cheng Photos Klein Sun Gallery and Liu Bolin
on cultural, societal and political issues.
As opulence increases in our modern world, the
appetite of the masses for luxury consumer goods
grows substantially. With the media feeding an array
of images that penetrate into the subconscious, ideas
of being a “perfect” human being are skewed to what
is being portrayed, which might not be the actual
representation. The two lightboxes included in the
show, titled “Missing”, are portraits that fade in-and-
out of view. These portraits fade into backgrounds
consisting of one hundred dollar bills and junk food,
suggesting individuals being forgotten in the pursuit
of financial gain and procurement of mass consumer
goods.
Stainless steel sculptures, entitled ‘In Magazine’,
demonstrate Liu’s innate understanding of depth
perception and masterful painting techniques. In
this work, a casted face is painted to be camouflaged
into the background of more than a dozen hand-
painted magazines covers. These express Liu
Bolin’s thoughts on the loss of identity in the flood
of commercial images, which make the individual
conform to societal conventions as depicted by mass
media, losing one’s self. Fist sculptures titled ‘In
Junk Food’, are brightly-painted in the packaging
designs of popular snack foods, illuminating Liu’s
comprehension of oppression. Commercialised
goods, which Liu represents by using junk food,
misleads consumers into consuming food products
that look harmless but are in actual fact damaging
to the human body. The happy, colourfully packaged
snacks hide the potentially harmful contents, and
are encouraged for the sake of financial gain. The
sculptures express the idea that colourful advertising
SPOTLIGHTSPOTLIGHT
Art

is a vale for timeless modes of oppression that have
plagued humanity for generations.
Expanding on the message from ‘In Junk Food’,
life-sized ‘Security Check’ sculptures are cast from
Liu’s own body, with his arms raised as if in a full-
body scanner, and painted completely in snack food
packaging designs. They reference a specific example
of an unjust exchange that occurs daily, riding on
the message of oppression from the fist sculptures.
The use of full-body scanners in airports across the
nation requires one to assume a position that suggests
surrendering; to Liu, it symbolises the surrender
of the right to personal privacy. Done under the
illusion of increasing safety, the recent air disasters
prove that the checks fail its intended purpose, but
done as an added form of domination over the rights
of an individual. Alluding to the message of the fists,
the colourful packaging painted on the sculpture
depicts the false claim that a security check is in
fact a helpful procedure, and also ties in the idea of
surrendering to societal conventions.
As a continuation of his renowned series, ‘Hiding
in the City’, Liu has created the largest work yet with
‘Cancer Village’, where he camouflages twenty-three
individuals into a farm with a looming chemical
factory in the horizon. These participants have been
affected by a 100 per cent increase in the rate of
cancer-related deaths afflicting their rural Chinese
village. The photograph is a silent protest of their
plight and highlights their current position within
Chinese society; one of complete invisibility and
non-existence.
‘A Colourful World?’ is an inspiring collection
that further adds to Liu Bolin’s silent protest to the
conventions of the modern world that is clouded by
greed and a false sense of security.
To see more of Liu Bolin’s work, please visit
Kleinsungallery.com
“The aim of art is to represent not the outward appearance of things,
but their inward significance.” - Aristotle
SPOTLIGHT
Swiss Magazine Rack

M
i Casa, is a new installation by Carlos Rolón
that incorporates themes of domesticity,
multiculturalism, and craft-making. Rolón,
who also goes by the moniker Dzine, is known for his
paintings and sculptures inspired by Kustom Kulture,
the sub-culture that celebrates hot rods, rockabilly
music, pinstripes, metal flakes and Brylcreem.
Held at Pearl Lam Galleries in Singapore from
January 20 to March 15, Mi Casa is Rolón’s first solo
exhibition in Singapore. Much of the work deals with
the artist’s expression of what it was like growing up
in Chicago as a child of Puerto Rican immigrants.
The work depicts the artist’s perspective of how first
generation immigrants attempted to adapt to new
American lifestyles while retaining old mindsets and
idiosyncrasies. The way they decorated their homes,
their ideals of luxury, the lifestyles they aspired to, and
the sense of identity and belonging they tried to define.
Given such an unusual landscape and resource upon
which the artist draws inspiration from, Rolón’s work is
Custom-Made
Carlos Rolón is best known for paintings and sculptures strongly inspired by the
art, craft and culture of custom-built lowriders and hot-rods. For his exhibition
in Singapore, the artist continues to tap into this resource even as he explores
the fundamental themes that defined his early life – growing up in inner city
Chicago, his Puerto Rican heritage, the strong sense of family, and the vivid,
surreal images of nostalgia it invokes
words Tim McIntyre Photos Albert Tan, Pearl Lam Galleries, and Sutton PR
a hybrid of elements spanning popular and sub-culture,
faux luxury, and nostalgia. We were fortunate enough
to have had an hour to chat with Rolón prior to the
opening of his exhibition and these are excerpts from
the interview:
Kustom kulture
Custom cars are generally not considered works of
art although I was doing all these paintings based on
patterns and colour schemes from these cars. When
people saw these paintings, they would notice the
intricate work. Then I’d tell them it was based on a
detail from a car that I’d documented. Sometimes,
you can take a piece out of its original context and put
it in the middle of an institution, and immediately it
becomes a work of art.
I love the idea of working with a culture of craft
makers, and bringing that culture into a museum.
Having people who would never think about going to a
museum actually visit for the first time. That creates a
GALLERY & STUDIO 117GALLERY & STUDIO 116

sense of inclusion in the work. I remember having a solo
exhibition at a museum in Dallas. I had handed over
half the museum to these guys who built custom cars.
These are guys who’d never stepped into a museum.
During the show, I noticed a young Latino man talking
to an art collector. The collector was in his 60s and sat
on the board of the museum. And they were actually
having a discussion about the work. Those are the kind
of moments that last forever for me.
The power of context
When you take something out of its original context, it
can make you rethink the item and its functionality. For
example, we’ve seen dozens of plant holders yet we’ve
never really looked at it. But viewed on its own, inside
the space on an institution, you observe that it has been
meticulously put together by hand. Yet when we first see
them, we kind of just walk by.
Schooling
My education in art and art history was mostly self-
thought. I had done so much research and spent hours
upon hours at the museum that by the time I got to
university, I found myself quite bored. They were
basically trying to teach me what I already knew. The
only thing missing was that they never talked about
artists that I could relate to.
Such as?
My tastes are diverse but I love Kerry James Marshall
and his work on African-American culture. I love the
work of Olafur Eliasson and how he uses the object
to discuss the environment. I love the work of David
Hammons, who’d make paintings out of the dye of Kool-
Aid, because he drank that as a kid all the time. I like
artists such as Mike Kelley – artists that have this long
lineage and are very serious about their studio practice
and longevity. They create work that will still speak to
people 30, 40 years from now.
How did Mi Casa come about?
I wanted to do something that dealt with the idea of
home and what it means to people. Singapore being
multicultural was important to me – because my work is
a hybrid of cultures.
Family
My father wanted to be a salsa musician and my mother
a beautician. He ended up working in a factory and she
in a supermarket.
Home
We lived in a modest bungalow and my parents
transformed it in a way that added a certain elegance.
They wanted to create a sense of opulence, even though
things didn’t really fit. We had floral wallpaper in one
room, Venetian wallpaper in another, and every room
had different wallpaper. My mother also had these large
vases that she thought were fine regal China. They were
probably very cheap but for her, the vases represented
luxury. We had this beautiful baroque chandelier in the
living room. It was probably just two feet by two feet
by two feet. But the house was so small, and as a child,
it looked really huge. I remember thinking: “Wow, we
have this really fancy chandelier.” All these are part of
a memory that I wish I can have again, to be in that
moment again.
Mirrors
A lot of mirrors are used in Puerto Rican homes to make
the interiors look bigger. Once in the US, Puerto Rican
immigrants continued using them for decoration, and
opulence. Broken mirrors give a sense of melancholy,
and the feeling that something isn’t new. A sense of
deterioration that is really beautiful.
Growing up
I was the only artist in a gang-infested neighbourhood.
Yet there is this wonderful reference point – friends
with bootleg LV jackets and shoes. I take inspiration
from that stuff.
Closed doors
Being a minority and growing up in inner city Chicago,
I would never have felt welcome in an art gallery. My
family never took me to museums. Probably because
nobody ever talked to them about contemporary or
historical art. These are things they just couldn’t relate
to. Nobody was really speaking their language. So I had
to find out on my own.
Luxury
I’ve no attachment to luxury, to be honest. I prefer
fantasy to reality. Once you have the reality, the fantasy
is gone. It’s nice to be able to hold on to fantasy, to have
something you’re constantly aspiring to.
Work
I decided several years ago to reduce my output and
increase the quality of my work. So I’m very selective
about the shows I do, and the amount of work I produce.
Right now the art world is very market-driven. The more
you put in, the more money you might make. But in
the long term, the work loses its substance. I want to
make sure what I’m producing has historical rather than
immediate value.
spotlight
spotlight
Black Ice

A Buddhist Perspective
Artist Chumpol Taksapornchai explains how art and
Buddhism helped set him right
words & PHOTOS Nicole Louis
Art in Thailand often brings to mind iconic
Buddhist-styled paintings that function as a
deep-rooted form of cultural expression. A dif-
ferent, more contemporary or abstract art practice is of-
ten deemed to appeal to the social elite and international
audience instead of the average Thai person. For a coun-
try that is majority Buddhist and reliant on agriculture for
a living, that’s hardly surprising. And the majority of Thai
artists often opt for a safer, more commercial approach
to their craft: painting traditional Buddhist art, drawing
portraits for tourists or teaching. Standing out amongst
that crowd, is Chumpol Taksapornchai, an artist who is
living his life’s passion on his own terms.
Born in 1977 in Bangkok, Taksapornchai reflects
on a childhood spent living on the “wrong side of the
river.” He describes street life in an industrial ghetto as
“pretty rough with drugs rampant.” His working class
neighbourhood, majority of whom are factory workers,
exposed him to a darker side of society early on. These
experiences fuelled a stubborn determination to paint a
better future for himself.
Early Life
For as long as he could remember, Taksapornchai felt
drawn to the arts. Much of his spare time was spent
drawing; where he copied movie poster or paintings; or
dreamed up cartoon characters. Western art may have
been new to him then, but he was fascinated with how
the artists used various techniques to achieve certain
effects. By age twelve, he took himself to art classes,
despite the arduous journey to get there.
Taksapornchai’s formal education began at Rajabhat
Thornburi University, where he graduated with a
Bachelor’s degree in Visual Communications of Art and
Design, contrary to his father’s wish for a reliable future
in business. He was fortunate to land a job at the Mercury
Art Gallery, the largest and most innovative gallery in
Bangkok. Besides exhibiting works from established
artists, the space also gave emerging artists a platform to
be seen. An annual exhibition saw young Taksapornchai
exhibiting alongside Thailand’s biggest names, like the
first Southeast Asian prize winner, Santi Thantsuk. Later,
Chumpol would move to Chiang Mai and spend another
three years at the Thaivijitsilpa Art College. There,
he would paint portraits and sell prints at the vibrant
markets around Chiang Mai to support himself.
Art And Religion
Taksapornchai’s mother, a business woman and devoted
Buddhist, inspired his second love — Buddhism.
Curious to understand its fundamentals, Taksapornchai
took on a stint as a Buddhist monk at the age of 21, which
he claims changed his life, providing a disciplined and
solid foundation for the artist’s life and art to flourish.
On canvas, he explores Buddhist themes like the cycle
of growth and decay. He muses, “Life is never static, its
nature is change and flux. Sometimes from one moment
to the next, nothing stays the same.” Evidently, art and
religion are deeply entwined passions for the artist.
The Turning Point
A filial son, Taksapornchai returned to Bangkok to help
spotlight

his family when they encountered financial difficulties.
“There was no money,” he explains, “everything happened
at once. I had to take care of my family so I worked in
design, painted portraits commercially and sold batik at
the markets. It was a tough time.” Yet in a country where
art is still an inconceivable career choice, Taksapornchai’s
talent enabled him to tap on it to fulfil his obligations to
his family, as tradition demands.
The painter’s unique style really developed when he
moved back to Chiang Mai. “I wanted to simplify, to
refine my art down to elements that are meaningful,”
he describes. Consequently, what he paints on canvas
appears almost child-like. “Some people call my art
whimsical but my work is as much about an inner
reality as it is about the people around me,” he shares.
Taksapornchai’s paintings reflect his observations on life
and relationships. His perception of what lies beneath
is presented in bold yet simplistic forms that express
universal truths and the intricacies of daily life. Symbols
of elaborate trees allude to strong nurturing foundations;
always growing and and blossoming. Subtle shades of
raindrops suggest that things come and go beyond our
control. Couples side by side, and the shadows that
follow, hint at the inner reality of love and marriage.
“Relationships are beautiful but hard,” he adds almost
wistfully.
Still Waters Run Deep
Taksapornchai is softly spoken, yet his calm demeanour
belies an active social life in the community. Like his
art, there is much going on beneath the surface. Back
in Chiang Mai where he calls home, you can find him
at his gallery and residence, Matoom Art Space. In the
heart of the Old City, the gallery is an eclectic hub
for artists, musicians, and travellers alike. There, his
paintings, a combination of oils, watercolour, pastels and
mixed media hang on the walls, captivating a loyal and
international audience.
With the effects of the global economic downturn
and the coup in Thailand, “it’s been a difficult year”,
says Taksapornchai. It has meant some overseas orders
have been cancelled, along with an upcoming exhibition
in London. However as we speak, the artist is busy
wrapping paintings for a combined show in Switzerland.
He also auctions off his work for charity; the proceeds
from his last sale will go to victims affected by the recent
earthquake in Chiang Rai, in which the famous White
Temple was damaged. He also frequents Pai, a small but
‘hip’town nestled in the mountains in Northern Thailand,
where he works and raises money for the blind.
Counting in his recent local exhibit ‘Smile On Pain’
and the 27 other international exhibitions he’s shown
in countries like Japan, Australia and Switzerland,
Taksapornchai has achieved the unimaginable: earning
a living in Thailand painting abstract art without
compromising individual style. As this writer takes her
leave, he smiles serenely before sharing, “the exhibition
in London is going ahead.” Ominous then, that perhaps
life wasn’t meant to be static, for it can well change
within a moment.
“Life is never static, its nature is change and flux. Sometimes from one
moment to the next, nothing stays the same.”
spotlight

Creative Drive
BMW partners Art Basel to take artists on a road of discovery with the
BMW Art Journey
words jonathan Tan Photos BMW
J
udging by these beautifully painted classic cars:
the technicoloured BMW M3 GT2 car painted by
American-artist Jeff Koons; Andy Warhol’s dashing
paintjob on a classic 1979 M1 Group 4 Race Version;
and the comic-strip inspired colours on New York-born
Roy Lichtenstein’s 1977 320i Group 5 Race Version car,
BMW’s association with the arts over the last 40 years
need little further introduction.
And come later this year, through partnership with
Art Basel, the Bavarian carmaker will be giving emerging
artists a chance to embark on a personal journey of
creative discovery. Dubbed the BMW Art Journey, the
award will enable chosen artists to travel with a ‘mobile
studio’ of sorts, with the resources to embark on a trip of
their choosing; to explore, discover and develop a brand
new art project.
Naturally, such an experience will yield a wealth of
experience and colour. In return, the artist’s journeys will
be documented and shared with the public through print,
digital and social platforms. And where possible, BMW
will further support them in presenting these projects in
physical exhibitions and through engagements with other
artists and art organisations internationally.
But not just any hotshot gets to qualify for this award.
Only artists exhibiting their work at the emerging-artists
sectors in the upcoming Art Basel Hong Kong and Miami
Beach shows will be eligible for this possibly life-changing
experience. Even then, they’ll still have to go through
a preliminary round of judging by an internationally
respected jury at each respective show. Three chosen
ones from each show will then be shortlisted and invited
to submit proposals for said journey in a subsequent
round of review.
Foranewartistcuttinghisorherteethinanincreasingly
competitive art market, the BMW Art Journey counts as
a huge honour and opportunity to jumpstart one’s career.
You’d never know; the next car to join the coveted family
of BMW art cars could be an automotive masterpiece by
a new contemporary heavyweight.
To follow the journey, visit bmw-art-journey.com
in detail

Waiting for us on the third floor of a residen-
tial complex in the center of old Yangon,
Nyein Chan Su, called NCS, warmly wel-
comes us at Studio Square, a gallery that he and four
other independent artists established in 2003. Born in
1973 in Yangon, Nyein Chan Su studied at the State
School of Fine Arts from 1994. An active member of
political protests, NCS is a strong character represent-
ing a generation of artists who, nationalist and involved,
do not hesitate to craft their claims and hopes through
their creations. Equally known as an abstract painter, a
performance and video installation artist, NCS is widely
recognised as one of Myanmar’s leading mid-career art-
ists. An ASEAN art award laureate in 2004, the artist is
included in many international exhibitions and is part
of numerous public and private collections such as the
Singapore Art Museum and the Fukuoka Art Museum.
Facing his studio, Studio Square Gallery features a
few works signed NCS through which the artist starts
guiding us…
NCS, you were born in 1973, 26 years after the
independence of Myanmar. In which context were
you evolving when you decided to become an artist?
Today, the 8th of August 2014, is the 26th anniversary
of the students’ demonstrations that happened in the
streets of Yangon in 1988. Students and monks were
raising their voices for a change in favour of democracy
and against socialism. Soldiers were shooting at them
and oppression never ceased to increase until 2007.
From this day on, I knew that I wanted to make things
change thanks to my art: it was a turning point in my
life. I began to draw against the rules, write poems, and
tag the walls of the schools like a street artist. My first
performance was in 1997. Then, I organised exhibitions
by invitation only so that I could control the people who
wanted to be present and I accepted only my friends. I
wanted to divert the censorship, to bypass it.
This is why there are a lot of hidden clues, symbols
in your work. Can you help us to decipher them?
Yes. For instance, one of my installations shows blue
balloons standing on mirrors. These balloons stand for
people’s faces but I don’t actually display the faces.
My colours are also meaningful. Red tells the story of
Myanmar, its culture, its religion, but also the revolution
and people’s bravery. The gold colour is a sign for hope.
People of Myanmar worship Buddha statues on which
are applied golden leaves, paint or plates. Gold makes
Art For Change
From his gallery in the heart of old Yangon, Nyein Chan Su talks us through
evading censorship in the previously military-ruled Myanmar and how his
artwork functions as a voice for political change
words LOUISE MILE Photos Charles muller
SPOTLIGHTSPOTLIGHT

statues shine. In my paintings, gold resonates like “goal”,
a goal to achieve freedom.
On the contrary, your sculptures are quite obvious
in terms of meaning. Can you tell us about them?
Yes, my sculptures genuinely show soldiers with tools
expressing different facets of Myanmar. For instance,
the piece with soldiers and an enormous phone in the
center obviously shows the control of our means of
communication and the lack of access to the rest of the
world. The piece with the tractor refers to farmers who
lost their land when mountains were sold to the Chinese
government. Another one showcasing a camera branded
Zenit (typical Russian camera) underlines the links
between Myanmar and Russian history and socialist
governments.
Is the message of all the mediums that you are
using similar then?
My paintings convey a peaceful message whereas my
sculptures are cruder. But the idea is the same. I would
like people from the younger generations to know where
they come from, that independence is not here yet even
if it is written on paper. Change is only on the surface,
in other words, there is no change, no improvement, no
feeling of security in our minds, souls and emotions.
Myanmar society continues to be plagued by red tape;
this corresponds to the thin red vein that meanders
through my artworks. Myanmar is seen as a democracy
abroad but in fact, we are still in a military regime.
Talking about the younger generations, Studio
Square Gallery plays an important role in assisting
and promoting younger artists allowing them to
show their works along with established regional
artists. How do you do so?
When I was still studying at the State School of FineArts,
it was really difficult to organise an exhibition because
there were very few galleries. Here at Studio Square,
exhibitions are free of charge, we design invitation
cards, catalogues. We organise three to four shows per
year. When a prisoner is liberated and wants to express
himself through art, we encourage, accompany him and
show his work.
Do you think that, with the progressive opening
of the country, the prices for Myanmar artists
will increase and the market will become more
international?
In Myanmar, there is no reliable international banking
system. As you see in the gallery we have the Visa sign as
well as a credit card terminal, but when someone pays
me with a credit card, I never know if I will actually
receive the funds! Burmese people are extremely afraid
of black money and it is very hard to establish prices
following a regular offer and demand regulation. So I
hope that, with the internationalisation of Burmese art,
the market will be smoother. International collectors
are interested in buying authentic Burmese art and they
sometimes travel here to see our shows and buy. I am
confident in the future of the Burmese art scene.
SPOTLIGHTSPOTLIGHT

GALLERY & STUDIO 133GALLERY & STUDIO 132
Fair Game
Gallery & Studio rounds up the highlights from last quarter’s clutch of
art fairs here and abroad

focus
The Main Course In Miami
Art Basel’s Miami Beach enjoyed its 13th iteration in December seeing great
attendance matched with critical praise
words Derryn Wong Photos art basel
A
rt Basel is one of the major events in the
art world. And since the original expo
started in the eponymous Swiss city of
Basel, it expanded to Miami Beach in 2003 and
also to Hong Kong in 2013, the latter to support
the burgeoning interesting in the art scene of Asia
and the developing markets of the region, includ-
ing Southeast Asia.
Miami though, solidified its reputation not only
as the major exhibition for the Americas, but also
as a stalwart in the international scene: this year
saw all galleries present in 2013’s edition return
once again, plus many newcomers as well. In total
267 galleries from 31 countries were featured,
with attendance of 73,000 over the show’s five-
day exhibition period. As is now ‘traditional’, the
show’s leading sponsor was UBS.
The show was split up into sectors — to make
things manageable for visitors, we expect, given
the sheer number of works and galleries involved.
All in all for 2014, there were nine sectors
in total, both showing off not only different
mediums but also film and even magazines. The
segments highlight Art Basel’s focus on Modern
and contemporary with each providing a unique
spin on things.
Highlights include ‘Survey’ which involves art-
history projects, and saw 13 exhibitions which
involved presentations that drew from a range
of multi-cultural and contextual sources. ‘Nova’
focused on works from the past three years
only, while ‘Positions’ gave emerging artists the
spotlight with solo shows.
‘Film’ was bustling too this year. Curated for
the fourth time by David Gryn of Artprojx, it saw
more than 80 works from the show’s participating
galleries and more than 1,000 attendees for the
four nights of free screenings. Tim Burton’s
‘Big Eyes’ had a special screening at the Colony
Theatre as well.
Visitors had the chance for in-depth interaction
with the ‘Public’ sector (pun not intended) with
more than 26 large scale pieces to explore plus
installations by 24 artists, both recognisable and
emerging, all displayed in the Collins Park area.
In fact it will be the most lasting aspect of the
show, physically, since the works will remain
on display until March 2015. As it has been for
the past three years, Public was presented in
collaboration with the Bass Museum of Art.
On the cutting edge of things, the afternoon
‘Salon’ segment saw many discussions and panels.
Curators Klaus Biesenbach and Hans Ulrich
Obrist debated with special guest Kevin Systrom,
CEO and co-founder of Instagram, about the
artistic nature of the online photo app medium.
Art Basel also had its Kickstarter-funded projects
here, with a panel on the new Crowdfunding
Initiative. Other talks also included figures such
as Marina Abramovic, Josh Baer and Claire
Bishop, and many others.
Outside of the sectors, a major highlight was
the co-presenting of Ryan McNamara’s ballet
piece with Performa (the New York Visual Art
Performance Biennial), “ME M 4 Miami: A
Story Ballet About the Internet” which deals with
the Internet as a key, contemporary engagement
space.
focus

focus
How has the Art Paris
Art Fair changed since
your appointment in
2011?
Art Paris was rebrand-
ed as Art Paris Art Fair
in 2012. We gave the
event a new personali-
ty—a soul. It looks to-
wards the East, focus-
ing on discovery in the
art world, placing cities
like Beijing, Sarajevo, Bangkok, Moscow, Seoul
and Singapore on the world map. The concept
can be described as cosmopolitan regionalism; the
idea that while a local identity remains rooted, it is
From Singapore, With Love
Art Paris Art Fair director and curator Guillaume Piens gives us the insider scoop
of the Singaporean and Southeast Asian elements present at the fair, which takes
place from March 26 to 29 at the Grand Palais in Paris
words Louise Mile Photos Art Paris Art Fair
also celebrating 50 years of independence with
a Singapore Festival in France. There is also the
inaugural ‘The Secret Archipelago’ exhibition at
the Palais de Tokyo in Paris, which coincides with
our opening.
How will the fair serve as an introduction to the
Singaporean and Southeast Asian art scene?
The invitation of Singapore and Southeast Asia is
directed by Iola Lenzi, a curator, researcher and
Southeast Asia specialist. The dozen Singapore-
based galleries participating also demonstrates
the diversity of talents from Cambodia, Burma,
Malaysia, Indonesia, the Philippines, Vietnam,
Thailand and Singapore with names like Lee
Wen, Jeremy Sharma and Robert Zhao. A line-up
of talks and video screenings will complement
this presentation of what is a lesser known art
scene to European visitors.
The general sector will also include a number
of galleries and artists from Southeast Asia
including Thai artist Navin Rawanchaikul
from Adler Suhbashok, Burma’s Aung Ko from
Primo Marella, Vietnam’s Dinh Q. Le and Bui
Cong Khanh from 10 Chancery Lane. From the
Philippines, Manuel Ocampo, Nathalie Obadia
and Alfredo & Isabel Aquilizan will be represented
by Hélène Bailly.
What are your thoughts on European sensitivity
towards art from Asia?
also part of a global culture, like the emerging art
scenes in the East.
We also created thematic sections, like the
Promises sector, dedicated to exploration and
discovery. There is also the ArtDesign platform
that explores the relationship between art and
design. This year, we are introducing a solo show
section to help discover or re-discover artists.
Last year’s fair was dedicated to China. What
influenced this year’s focus on Singapore?
We decided to invite Singapore and Southeast
Asia as guests-of-honour for 2015. Singapore is
both a springboard, and a gateway to the booming
and increasingly influential art scene emerging
from Southeast Asia. Moreover, Singapore is
The French are among the leading collectors of
contemporary Chinese art (the Levy collection,
for example). With the Quai Branly, the Musée
Guimet and the Musée Cernuschi, Paris has one
of the most outstanding collections of Asian art
in the world. The Espace Louis Vuitton was the
first to show Indonesian art, long before anyone
else. Chinese art has been fashionable for quite
a long time but now the attention is shifting to
Southeast Asia and Korea.
With a clutch of art fairs and art museums
opening up in Paris, what are your thoughts on the
resurgence of art in Paris?
Paris has never been as active as it is now. The city
is attracting new artists, collectors and institutions
from all around the world. The Paris of the 21st
century is taking shape with new outstanding
architecture like the Louis Vuitton Foundation
by Frank Gehry, the Pathé-Seydoux Foundation
designed by Renzo Piano and the Philharmonie de
Paris by Jean Nouvel. In addition to these is the
transformation of the Hotel de la Monnaie into a
contemporary art space and the Picasso museum’s
re-opening. There are also a large number of new
private spaces created by collectors who fully
embrace our globalised world, and are interested
in emerging scenes beyond Europe.
focusfocus

A Cultural Exchange
The Singapore Art Fair successfully brought art from the ME.NA.SA region
together for the first time
words Nur Afifah Photos Singapore Art Fair
T
he inaugural Singapore Art Fair, held
from November 27 to 30 last year, saw 59
galleries from 22 countries showcasing the
work of over 230 artists from the Middle East,
North Africa, South and Southeast Asia (ME.
NA.SA) regions. In Asia, it was the first time
an art fair featured contemporary art from these
countries.
Across the four-day show, a total of 10,500
visitors walked the halls, including patrons on the
fair’s honorary board, made up of collectors, art
advisors, private museum owners and directors of
museums and institutions from across the world.
With many artists showcasing their work
personally, walking through the Singapore Art Fair
offered numerous opportunities to interact with
them, and get an insight into their inspirations
and challenges in creating their artworks.
The three pavilions headlining the fair—the
ME.NA Pavilion, Lebanese Pavilion as well as
Dato’ Ibrahim Hussein Pavilion—also drew praise
for the quality of the exhibition. For those who
missed out, the ME.NA Pavilion was dedicated
to presenting the complexity of artistic practices
in a region which had gone through tumultuous
times in history. The Lebanese Pavilion showed
works inspired through personal and historical
experiences by emerging and renowned artists
from Lebanon exploring the theme of turmoil
in the Middle East; reverberations on their
multicultural democracy and concomitantly; and
the seeming loss of freedom and equilibrium in
the country. Lastly, the Dato’ Ibrahim Hussein
Pavilion showcased a rare glimpse of the selected
works of the late renowned Malaysian artist.
Heartened by enthusiastic response for the
recent Singapore Art Fair, the organisers of
Singapore Art Fair are exploring how it can aspire
to greater heights for future editions. The next
fair has been scheduled to be held from 19 to 22
November 2015.

focus
League Leaders
Art Stage Singapore 2015 continues on in fine form, with SoutheastAsia at the forefront,
special exhibitions and more than 200 galleries from 29 countries in participation
words jonathan tan Photos albert tan and art stage singapore
A
s far as art fairs in Singapore go, none
have yet been able to generate the same
kind of buzz and energy as Art Stage
Singapore. And with 51,000 visitors in attendance
at this year’s fair, Art Stage has once again shown
its pedigree with another hit.
True to its commitment of growing and
developing a robust artistic eco-system, this
year’s exhibitions have been styled like a museum
with highlights like the Southeast Asia Platform
and the exhibition, ‘Eagles Fly, Sheep Flock—
Biographical Imprints: Artistic Practices in
Southeast Asia’, curated by Singaporean Khim
Ong. Focused on young emerging talents from
the region with a selection of works on new and
traditional mediums, the exhibition facilitated an
intimate engagement with the artists, and served
as an entry point for understanding art from the
region. “I like the Southeast Asian platform as
it serves as an excellent contrast against more
commercially viable works, providing a broader
understanding and representation of art in
Southeast Asia, which is what Art Stage is about,”
shared Elizabeth Gan, an art enthusiast.
Elsewhere, this year’s show also featured
special exhibitions. Video appears to be coming
in strong with the debut of ‘Video Stage’, a survey
of video art, tracing the history of a medium
that is gaining traction with collectors. Other
regions featured in the exhibitions included
Russia, Malaysia and Korea. There was also a
special exhibition of 54 works by French cubist
and surrealist Andre Massson, the first of its
scale in Asia. Commenting on the exhibitions,
artist Zelin Seah shared: “I’m heartened to see an
increased representation of Asian art, especially
from Malaysia, at this year’s edition of Art Stage
Singapore.”
Art Stage 2015 also saw many a notable
name grace visit the fair. British duo Gilbert
and George, Hiroshi Senju, FX Harsono, Manit
Sriwanichpoom and Lev Ezovich of AES+F were
just some of the artists whom collectors and
enthusiasts could be seen interacting with.
On the business end, this year’s show saw many
galleries do brisk business with many transactions
concluded at the Vernissage. According to
Art Stage, the strong sales had continued on
throughout the rest of the fair days. As for the
top sale, it went to ‘Armorous’ a Damien Hirst
piece which featured butterflies stuck onto a
surface of wet paint. Said piece was sold by
White Cube to a regional collector for a grand
US$1.6 million. Commenting on the fair, gallery
director of Yavuz Gallery Stella Chang said, “I’ve
had many excellent conversations with people at
this year’s Art Stage Singapore. It’s been a very
pleasant experience on top of the buzz because of
the audiences.”
Reflecting on the recently concluded fair,
Lorenzo Rudolf, founder and fair director of Art
Stage Singapore shared, “it is beautiful to see
the cooperation between the Fair, museums,
art spaces as well as government agencies, all
functioning seamlessly together. January in
Singapore has become the focal point of the
international art calendar. We are looking forward
to building up the fair even more.” Given what
we’ve seen so far, next year’s edition couldn’t
come sooner.

focusfocus
Gilbert & George

focusfocus
www.davison.com.sg
AFICIONADOS WANTEDAFICIONADOS WANTEDAFICIONADOS WANTEDAFICIONADOS WANTED
T.O.P at Art Stage

I
t’s a bold move to proclaim yourself to be the next
coolest art space. Many an initiative has adopted
similar monikers, but failed to live up to such billing.
But we say DECK has certainly lived up to that boldness.
A product of the kind people from 2902 Gallery, DECK
is an independent art space created for photography and
the people who love it. Whether you’re a pro, novice, or
even a smartphone photographer, DECK is a space for
anyone—photographer and photographed—to come to-
gether, appreciate and be inspired by the belief that at its
very core, photography is all about you and me—people.
The uber cool space located at Prinsep Street has been
re-purposed from 19 shipping containers, many of them
stacked on top of the other. Think Lego, but on a massive
industrial scale.
Popping DECK’s solo exhibition cherry is 31-year-old
Singaporean artist, Ang Song Nian. Ang is known for his
SNAPSHOTS IN THE CITY
Calling all photography aficionados—we may have just found you a new haven
in the latest art space to debut in town.
words Fiona Goh Photos DECK and Darren Soh
penchant for photographing inanimate objects and let-
ting the non-living speak for themselves in his pictures.
His exhibition, titled A Tree With Too Many Branches
explores landscaping and gardening; how these processes
take plants out of their natural environment, are trans-
formed into everyday objects, and subsequently present-
ed as natural in their new urban landscapes.
The keynote piece of this exhibition combines photog-
raphy with the art of installation in a 3D display made
of up to 800 indoor plants. Ang also debuts ‘The Perfect
Pattern’, a series which consists of 10 photographs of
miniature trees arranged in different shapes.
Various exhibitions run throughout the year. Visit Deck.
sg to find out more.
116 Prinsep Street, Singapore 188665
in detail

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