Sketches here are done on pencil, A4-sized.
Some art influences on my work are:

1. Audrey Kawasaki

A Los Angeles-born and based painter, with works mainly oils on wood panels. Personally, I feel that Kawasaki’s style is a fusion of Japanese Manga, where she gives her subject a distinctive outline and has sculptured near-perfect facial and bodily features, and Super surrealism, where the subject is realistically painted and also often posed in various imaginative-like scenes.

Kawasaki has this distinctively representational style and subject over the years- a young, demure lady, where her innocence is always being contrasted with the confidence and sexual appearance she takes on in various erotic scenes, acts and even absurd and disturbing scenarios.

I have always liked Kawasaki’s works; her technique and rendering of her subject which makes “her” extremely beautiful and inviting.

Not only are they aesthetically appealing, her works also often elude this mysterious and melancholy feeling which draws one to it at first sight. Yet, on closer look, one would realize the creepiness and somewhat cold feeling of the subject, often shown effectively through her eyes.

At the same time, the juxtaposition between innocence, vulnerability and eroticism, confidence makes the piece really interesting. For the viewer, he is constantly in a dilemma and struggle to wonder which stand he should adopt- to see it as an innocent, pure piece or to see it as a provocative one.

Her works influenced me to improve on my technique (of course!) and to also ponder more on the aspect of contrasts and juxtapositions I can play around on future works that I do- not only to make the piece more intriguing, but also help to inject this element of thought and dilemma in my viewers.

Here are some of her works:

Enrapture, oil and graphite on wood panel

2011

Untitled, graphite on paper

2008

Lili and her ghosts, oil and graphite on wood panel

2011

Sophia, Oil on wood 8x17

2006

Okimiyage, intaglio print 8"x12" with Pressure Printing

2008

Here are sketches on Kawasaki's works, and some thereby inspired ones:

This is her official site: www.audrey-kawasaki.com/

You can slowly admire her pieces one by one and be just as fascinated by her skill as I am.

This is an article on Kawasaki I find particularly interesting to read: http://www.laweekly.com/2011-05-19/la-life/audrey-kawasaki-girl-chaser/

2. Ku Hye Sun

Sure enough, most of you would know that Ku’s an actress, not an artist. But  her works really inspire me quite a bit.

However, I am particularly intrigued by her technique in her works, where she gives a sense of fluidity in her paintings and sketches. Her strokes, be it brush or pen entangles itself in a somewhat conjoined manner, appearing to be made up of an endless line. These lines intertwine and weave through one another, presenting many swirls and loops. However, despite so, they are still rather clean and simplistic. The objects are broken down into basic fluid lines yet maintaining its distinct outline. Thick, thin, smudged, distinct; these are elements which Ku plays around with simply through the pen or brush. To me, her works like Kawasaki’s, never fail to make me wonder how she came about painting or drawing the piece. On how she keeps the lines on-going, but at the same time, maintaining the harmonistic sense of the work’s entirety.

Also, on how these lines intrigue me greatly, would be the seemingly invisibility and intangibility of the work. Where Ku successfully creates three dimensionality through the lines, and spaces between them. You may choose to see it by focusing on either the negative, or positive spaces, yet both present a clean and strangely fascinating appearance for the viewer. (Painting)

And to emphasize particularly on this painting, it caught my eye on the arrangement of the piece; where it branched out to the canvas beneath it. I liked the idea, the act of extension and thought of the lines being never-ending. And that, it seemed that you hadn’t need to worry for being more than what the canvas can hold (top), so feel at ease to let yourself flow (I had the imagery of a cup of overflowing milk, with the presence of a bigger bowl helping to support it underneath- to me, it signified stability and serenity)/ and this idea, I chose to incorporate into my coursework :D

This is her official site: http://www.kuhyesun.com/

Mind me if I post many posts all at a go.

I'm on a spur of the moment, to post. It's like drawing: the urge comes once in a while and all at the same time.

I really like drawing portraits, since it's something I've always been working at. The earlier ones are really unfit for the human eye, so I'm going to post them here. But here are some facial features drawings I've done. There is big room for improvement, so do feel free to tell me where I can improve further!

Those who know me well enough would know that I've this tendency of drawing another imaginary person whenever I try hard at copying images. But for these drawings below, I spent a bit of effort on keeping it the way it is.

Here goes:

Avril Lavigne's eye

Angelina Jolie

Simon Cowell's eye

pencil, 2011

eyes are life-sized

and portrait A5

Despite my hiatus, there's been a lot going on behind the posts. Haha, coursework. Have been really proud of my diligence to work on my chair and paintings faithfully. Some mornings, most breaktimes, and nearly after school everyday without fail.



Coursework started out as a chore, indeed. Somehow I was really disturbed by the fact I was spurred on to work due to the want to maintain my grades. How ironic, with the purpose of my art to express and vent my emotions and feelings. There was certainly this period I was terribly upset over why I was doing what I was doing. And I did get over it, thankfully.



I quote linhui, "painting is addictive". Yes, I certainly have to agree with her. And to add on, working on my chair was too. Rather than addiction, should I say, it was more of a meditative process. Doing art really calmed

me down, made me think and focus on the task. Quoting Xindi, " ...as I go along, I find the meaning of my work changing without me consciously trying."



Probably, due to the fact that I wanted to be decisive and quick on my decisions for the piece, I kind of lost track of what I really wanted to do and express. "I wasn't being truthful to myself", I guess. Certainly, not enough. I realized I was too concerned about what I wanted the piece to express on it's entirety, that I forcefully tried to fixate the other individual segments to cater the last piece. And that I was being too extremist on what I was to express- it showed a sense of impossibility which I realized that even I, did not believe it was so. So then, what am I trying to show then?



I started coursework with a mind filled with somewhat convoluted thoughts and ideas, and I had to unpack them in order to move on to my next steps. It was a tough and tiring process, having to review the whole coursework on it's entirety and then into it's details every now and then. Reviewing them made me worried, since even I was unsure of what I was doing. However, this process made me understand what I wanted to do better, and it gave more meaning to the work-- expressing myself in the truest possible manner.



Point to self in the future: start with a clear mind and do not be afraid to clarify self doubts.



Some sneak peaks of the work, I'm certainly not posting the final ones, those will come when they're eventually done:

pretty raw canvases that i chose to paint on.

the tiresome yet fulfilling chore of woodwork

cutting wood

a segment of my painting!

Biennale writings

(Please pardon me for my language errors and faulty expressions)

1.Writing on Roslisham Ismail (aka ISE) 's Secret Affair at 8Q

Six refrigerators lined up, in a circle formation, facing outwards to the viewers. One may wonder why and what the artist is trying to convey. The choice of this dull electronic product leads one to wonder the possible concepts that were behind it. To spread awareness about the consumer culture and the increasingly unhealthy dietary habits one is having?

The work, titled Secret Affair by Roslisham Ismail comprises the six different refrigerators, each representing a Singaporean family whom he has spent research with. All the objects in these families’ refrigerators are brought down to SAM@8Q, where even the arrangements of food products are the exact same one of the family. In front of every refrigerator, there is a video screened, depicting various scenes of these families purchasing the food products which may now be seen in the refrigerators.

Secret Affair speaks of an entirely refreshing concept, which may easily strike a chord with the curious or the gossipers. The refrigerator in this case is likened to that of a private diary shared by the people living in the household which encompasses secrets and personal opinions of the family not known to others. Not only through the choice of food to buy, but also the way they cook their food, what type of food they eat, as well as even the amount of food they have in the refrigerator or the arrangement of the food products. Like a diary, these simple things help to shed some light on people who do not know or understand the owners to these refrigerators.

Stepping into the exhibition, one is invited to boldly open the refrigerator doors- to experience prying into someone else’s lifestyle. How interesting. Fun as it is, Secret Affair is also able to generate some quality thinking among its viewers, and strike a chord with people. Comparisons between the different refrigerators (families) could be easily made. Such as the different in behavior of the family, where some were exceptionally neat in their arrangement of food products, using plastic containers with clear labels for everything or some who simply place their entire grocery plastic bag coupled with the food product inside into the refrigerator. Certain obvious dietary restrictions could too be identified, such as a family who purchased halal meat products which can be inferred to be a Malay family or even social statuses and health beliefs of the family where almost every single food product they purchased are organic. Some interesting findings were about some eccentric habits of some families too, who chose to place packets of potato chips into their refrigerator.

Ismail’s work discusses about the relationship between how one lives and their character, and which how connections may be readily identified through the different characteristics shown by different refrigerators. It leads one to reconsider about the various other aspects of life which would spread ideas about something as easily as the refrigerator too. Nevertheless, Secret Affair has shown a new intriguing view of refrigerators like never before.

2.Writing on Evidence Locker by Jill Magid at National Museum of Singapore

No loud descriptions or things in particular caught my eye. Typical, would be a word to describe Evidence Locker by Jill Magid before one attempts to understand it at a much deeper level.

A simple video installation depicting nothing more than what seems like archives dug out from the security camera tapes which are then painstakingly edited.

At first impression, it may seem like a monologue by the artist herself. But soon after, you would realize it is actually a dialogue between the artist and the policeman who is directing her.

Private and public spaces, an issue not commonly sought answers for. A barely distinguishable line, which is constantly being blurred over time as more and more issues pertaining to rights, privacy, laws and basic safety start to surface.

It is amusing to see how other citizens who are captured in a particular scene where they are simply oblivious to Magid's behaviour- moving nowhere slowly step by step with her eyes closed. In a public area, private meetings and behavior cannot be avoided. But, are private and public spaces starting to integrate together? When there is no defining standpoint for both.

What constitutes to be called as public spaces? Places that are not your homes, places you do not have a name to. If so, most people do not even have a private space of more than a room. The use of security cameras which are found nearly everywhere serves like a constant reminder of one being watched at, even during private times. Then therefore, would that mean to a willing give-away of self privacy?

Many times, people try to keep their privacy, especially in public areas and platforms. But there is much to question. Is this even possible to achieve? What would be the yardstick to measure private and public spaces?

Things eventually come to a clash, where more factors come in play- the need for ongoing checks to keep safety and peace in check in the public, which denies privacy.

Take the implementation of identity cards, a necessity to ensure safety of the country and citizens. But likewise, a dilemma surfaced due to possible infringes of personal rights and privacy.

So much to guarantee safety for all.
Perhaps indeed, an integration is inevitable?

Or should I say, a compulsory sacrifice of privacy?

3. Poem on Evidence Locker by Jill Magid at National Museum of Singapore

A security camera
Videoing the city square,
there's you, me and us all.
should i say this is a public area,
or should we consider this as a private space?
When i all see is you videoing myself when I'm doing my own play.

Public,
of, pertaining to, or affecting a population or a community as a whole

Private,
of, pertaining to, or affecting a particular person or a small group of persons

What has exactly divided the two?
What is there to say, when both are
Inevitably intertwined, inseparable.

In a crowd of many, a person might merely be one,
But if one thought carefully, there's so much to one.
A different family, a different life, an entirely different persona.
But hey, looking back,
A person simply is a a part of a larger entity.
A larger world, a larger truth.
A seemingly more important part for one to take care of.
Who can say otherwise?
Yet at the same time, you can't forgo your individual mind, you individual soul.

So how shall i measure how much is there for one, how many there is for all.
When imbalance is just an inevitable foe.

So much for integration, i say.
When the lines between public and private are blurred.
So much for my rights and yours, i say.
When no one is able to define what's correct and what's not.

So then, how come some people are able to divide

the portions that belong to you and the portions that are mine?

Orchard Shoot

Orchard, SCAPE Shoot with TXY SYD!

It was really fun, with more exposure to street photography and to shoot people.

But I really needed to be bolder, perhaps the next time, I'll shoot on my own.

This orchard shoot really taught me the need to know my camera well,

which I sadly still do not.

I need to be clear of what I should do when that moment comes,

but i haven't been capturing them well enough.

And well, my shots made it clear, I need to work harder.

These shots are pretty bad this time, quite disappointing.

Sometimes, I can't draw a balance between pencils and paint versus photography.

It's lopsided.

Here are photographs I shot:

Interesting chair designs

Here are some really interesting designs I found when I googled for 'chairs'.

i'm making chairs for coursework and i really wanted to explore different ways of making commonly used things interesting. It would impossible for me to do stuff like these over here as i don't have much budget , but these designs are just so inspiring!

Not only are these designs really out-of-the-ordinary, they are also usable!

Images taken from: http://design-milk.com/sifel-chair-by-caroline-corbeau/

http://design-milk.com/cabbagge-chair/

http://dornob.com/modern-vintage-baroque-bookcase-carved-into-a-blank-box/

http://dornob.com/poetry-in-motion-folding-chair-floor-lamp-design-fusion/

http://www.ai-joe.com/blog/?tag=design#header

http://www.digsdigs.com/15-the-most-unusual-lounge-chairs-in-the-world/

When there are no answers, we question

With globalization,

it is futile for Singapore to persist in establishing a national identity in art.

It is hardly wrong to say that globalization does not render identities vulnerable, lest say one's national identity. With the blurred lines between boundaries brought about by technology, sending of information is made easy. As such, who can say that any individual living in a life of modernity were never influenced by any external factors? Be it lifestyle, or even simple thoughts.

To establish national identity in art, there are some factors which are necessary to ensure the gradual development.

Firstly, national identity in art requires national identity among people. Art is a way of self-expression or a tool to express the artist's belief or message. And in order to cultivate the want in the people to show national identity in their artworks, there must first be strong heritage, common identity or sense of belonging towards the country in the people.

Singapore, unlike other countries, is unique. Being a small nation of only 710.2 kilometers square large, despite having heritage dated way back to the 2nd Century AD, currently among approx. 5 million of the residents in Singapore, only a little more than half (2.91 million) of the population were born locally. To add on, the country is also always encouraging for more well-skilled foreigners to settle into Singapore to resolve problems such as the aging population as well as to boost Singapore's economy. Art Renaissance City such as France on the other hand, has heritage which dates way back to 1,800,000 years ago, and among approx. 65 million of the residents in France, 64 million of them are French people (people born in France and are legal citizens of France). To have 98% of the citizens having a long ancestry and heritage, it creates a sense of belonging and national pride among the people. Therefore, it would then allow for them to relate to their country and choose to adopt a style or input specific symbols or images related to their nation.

With Singapore being a cosmopolitan society, encompassing people who have various languages, cultures, traditions and are from countries, people are prone to portray themselves in accordance to these various aspects, which are varied. As such, it would be difficult to establish a common national identity in art when everyone is so drastically different.

Secondly, art has to fully integrate into one's life. In the case of Singapore, art has not been a heavy emphasis for the nation in the past, as such it is unable to undergo a constant long built-up of national identity in art. Just like how national identity requires time for it shape itself, national identity put into any different context needs as well. An example would be national identity in language (Singlish), which Singaporeans change, alter and eventually adopt. Language, being a part and parcel of everyone's life, which aids in communication and plays a significant role in daily activities, incorporates into the culture which then fosters the identity. Since art has not been present when national identity is being cultivated, it is difficult to establish a common national identity in art when it is not something familiar which everyone is able to strike a chord with.

However, due to such reasons, Singapore is forced to cultivate national identity in art at a later date, when society would then be more modern than the past. Yet, globalization which comes along with this time period brings about several obstacles to establishing a national identity in art.

There is an easy access of media such as prints (newspaper, magazines), world wide web and television programmes. Due to the widespread of these commonly accessible media, there are often different portrayals of events, issues or even how various countries are being perceived. An example would be the coming General Elections in Singapore where many internet forums are set up for discussion of the various party candidates and their election speeches. As there are many different free voices and perspectives being heard in such forums, one might easily be swayed or persuaded by them, affecting them with their perceptions or views, causing them to develop a positive or negative inclination towards the issue.

Examples would be controversial art pieces such as Edouard Manet's Luncheon on the Grass (1863) which was deemed as indecency for having two fully-dressed man sitting in company of a naked female, where she on the other hand stared right into the eyes of the viewer. Also, another piece would be Manet's Olympia (1863) which too was controversial due to her confrontational stare and suggested that she was a courtesan- an occupation barely spoken publicly about during those times.In this two art pieces, both portrayed a negative light on Manet and dismayed him.

With the influx of information about different countries, ideologies, criticisms, opinions and etc., one is no longer restricted within his own four walls, and are continuously able to virtually step into different parts of the world through platforms such as social networking sites like facebook or twitter, or through mass media sites like youtube. Thus, it is a challenge to keep one's citizens to remain rooted their own culture and country when they might possibly be more fascinated by others. An example would the current massive K-pop craze which helped put Korea in a positive light and promoted the country greatly.

Examples would be that of Yin Lum's series, Travelling Palette (2007) which was done when she travelled to Bintan Island, Indonesia to depict the rich flora and fauna there. Another would be watercolour works done by Ong Kim Seng, which depicted several countries he had been to such as India, Nepal, Europe, Tibet and many more. Without globalization, it would be impossible for one to explore beyond their country, lest say understand more about other countries and be influenced to learn or adopt their ways in their works.

In my opinion, national identity in art is still seen in some Singaporean artists, but not all for it is indeed tough for Singapore to establish a commonly-held national identity in art among everyone, especially with the added-on obstacle brought about by globalization. However, to say that such efforts would be eventually "futile" is too hastily determined and absolute. In order to establish national identity among people or in art, it requires time. No one can predict what might happen in the future, where people might one day come to bond as a whole when a crisis strikes- such as the commonly debated about end of the world in 2012- and result in people turning to art as a mean to express themselves as beings in Singapore, a place they might have taken for granted of all along. Who knows? Only time can tell. At the same time, I see importance for Singapore to establish national identity in art. Not only does it bring about cohesiveness among Singaporeans, it would also bring art in Singapore to greater levels and deeper depth in meaning. As such, despite numerous problems the country faces, it is still something that she ought to strive to achieve.