the pocket arts guide ( february 2011)

FEBRUARY 2011 / 1

ISSUE 16 | FEB 2011

2 / THE POCKET ARTS GUIDE

Yisulang-Confabu Mar 2011 1/15/11 9:37 AM Page 1

Composite

C M Y CM MY CY CMY K

FEBRUARY 2011 / 3

C

M

Y

CM

MY

CY

CMY

K

34 FEATURES

26 COVER STORY

SPOTLIGHT

Pop! Back into the Future with Burton Morris

1712 COMING UP

CONTENTS

24 4426

34

13

17

12

Artist in Focus - Farhad HussainLAND-TA-MORPHOSIS — Second of the Trilogy: Castle Beyond a Mountain 12

Dorit Feldman: A Solo Exhibition by Art Facet

Glimpses: A Solo Exhibition by BenCab

The Window Project 13

Will Siber: Sculpture, Wall Object & Painting

Solo Exhibition By Seah Kang Chui 不变 50 年 Unchanged For 50 Years 14

‘No si hijomiono’o jabesi soré jajivo’

Limelight Blossoms by Steve Chua

InFORMATION

Out in the Streets

Gurerro Habulan – The Warrior of pop! 34

Keith Haring - The Journey of a Graffiti artist 38

The Legend of Lichtenstein 44

50 INTERVIEWAn Interview — What the :Phunk?

DIRECTORIES

SINGAPORE ART MAP

64

61

Singapore Art GalleriesOther ListingsTourist SpotsMalaysia Art Guide


C

M

Y

CM

MY

CY

CMY

K

FEBRUARY 2011 / 5

C

M

Y

CM

MY

CY

CMY

K

SINGAPORE ART MAP

SPOTLIGHT

INTERVIEW

CONTENTS


FEBRUARY 2011 / 7

C

M

Y

CM

MY

CY

CMY

K

On the Cover Burton Morris Poparazzi Acrylic on canvas 91.4 x 91.4cm

THE POCKET ARTS GUIDE PTE LTD (TPAG)215 Henderson Road, #03-03,Henderson Industrial Park Singapore 048545

For advertising enquiries, please email [email protected].

All editorial, design requests, advertising bookings and materials for February issue of TPAG should be received by 10th February 2011.

Printed in Singapore by International Press Softcom Limited.

Copyright of all editorial content in Singapore and abroad is held by the publishers, THE POCKET ARTS GUIDE MAGAZINE. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, record-ing or otherwise, without prior permission from the publishers. THE POCKET ARTS GUIDE (TPAG) cannot be held responsible for any loss or damage to unsolicited material. TPAG, ISSN 1793-9739, is published 12 times a year by THE POCKET ARTS GUIDE MAGAZINE.

Every effort has been made to contact the copyrights holder. If we have been unsuccessful in some instances, please contact us and we will credit accordingly. Even greater effort has been taken to ensure that all information provided in TPAG is correct. However, we strongly advise to confirm or verify information with the relevant galleries/venues. TPAG cannot be held responsible or liable for any inaccuracies, omissions, alterations or errors that may occur as a result of any last minute changes or production technical glitches.

The views expressed in TPAG are not necessarily those of the publisher. The advertisements in this publication should also not be interpreted as endorsed by or recommendations by TPAG The products and services offered in the advertisements are provided under the terms and conditions as determined by the Advertisers. TPAG also cannot be held accountable or liable for any of the claims made or information presented in the advertisements.

Issue #16 (February 2011)ISSN 1793-9739 / MICA (P) 252/09/2010www.thepocketartsguide.com

Editor-in-Chief Remo Notarianni / [email protected]

Guest Editor Saskia Joosse / [email protected]

Art DirectorAmalina MN / [email protected]

Contributors Bharti Lalwani

Advertising [email protected] General enquiries and [email protected] Submission of press [email protected]


When The Pocket Arts Guide invited me to be their guest editor, I was obviously delighted by the prospect of writing about the artists that I love and about a genre that always brings a smile to my face, Pop Art!

Little did I know what a difficult feat it would be, as I tried to compress the lives of these legends and that of today’s post-pop artists into articles of 1,000 to 1,500 words. As I believe that it is the compilation of our past experiences that make us who we are today, I deliberated long and hard, as to what to include and to omit in order to stay true to each artist, whilst trying to convey their sheer brilliance.

After many years of brokering art and after some kind hearted badgering by some of my clients, I decided that the time was right to open up my own art gallery. Many people remark about the increased interest in art in Singapore and whilst the government has certainly begun to play a more active role we must not forget the hard work and dedication of the first pioneering galleries that have paved the way for people such as myself.

The philosophy of my gallery is to treat people in the way that I would like to be treated myself and to only show the best quality artwork in the best condition. Everything that is showcased at Pop and Contemporary Fine Art is owned by the gallery, from artists that I myself collect in depth.

I have chosen to dedicate this issue to Pop art as it is art that I find it easy to understand and appreciate and more importantly, because it has changed the way we look at art and continues to be relevant, still to this day, both in Singapore and around the world.

Saskia Joosse, Pop and Contemporary Fine ArtGuest Editor

FEBRUARY 2011 / 9

Recycle.Pass THE POCKET ARTS GUIDE forward.

Published monthly, complimentary copies of TPAG are available at several places around Singapore including the National Library, Singapore Tourism Board’s Singapore Visitors Centre at Orchard (junction of Cairnhill Road and Orchard Road), MICA Building on Hill Street, leading art galleries (Opera Gallery at ION Orchard, Galerie Joaquin at The Regent and Sunjin Galleries in Holland Village), art groups and venues (The Luxe Museum on Handy Road and Sculpture Square on Middle Road), museums and lifestyle shops (STYLE: NORDIC on Ann Siang Road and Lai Chan at Raffles Hotel).

To accompany your daily dose of caffeine, browsing copies are also made available at all good coffee chains in town.

For the environmentally-conscious, the PDF format of TPAG can be downloaded from www.thepocketartsguide.com every month or simply flip through the magazine on the website using the online reader.

Subscription price is SGD48 within Singapore and USD40 internationally. For subscriptions, renewals and address changes, please email [email protected].


FEBRUARY 2011 / 11

Since Art Facet was founded in Singapore in January, 2010 by Rajul Mehta, a renowned professional artist who lived in Israel for 20 years, it has grown into a platform to expose art to a culturally engaged Singapore.

Art Facet presents the works of neo-conceptual artist Dorit Feldman in a solo exhibition at the Volvo Art Loft that runs until February 11. Dorit’s works emphasise the construction of unity from multiplicity. Her approach is multi-disciplinary in terms of concept, matter and medium (photography, painting, and sculpture) prompting the viewer to engage in ‘visual read-ing ’. Feldman has presented 28 solo exhibitions and partici-pated in hundreds of group exhibitions in leading galleries and museums in Israel, Europe and the United States. She has executed more than 95 public works of art, and a wide range of her works is kept in private collections globally.

Dorit Feldman: A Solo Exhibition by Art Facet

11.01.11- 11.02.11 / Volvo Art Loft / www.artfacet.com

The 21st century art world is bustling with hi-tech mediums that offer interesting new aesthetics. As traditional art forms seek preservation, Taiwanese artist Barney Lin has melded the past with the present in a marriage of technology and tradition. As part of a series in which he recreates classical Chinese masterpieces, the I/O gallery in Hong Kong is show-casing Lin’s digital reinterpretation of the Song Dynasty Shui Mo painting ‘Travelers among the Mountains and Streams’ by Fan K’uan.

The work has often been alluded to by modern artists but Lin has revitalised it in the form of a digital installation. ‘Castle Beyond a Mountain’ is the second in a trilogy of Lin’s digital reinterpretations and it runs until February 8.

LAND-TA-MORPHOSIS — Second of the Trilogy: Castle Beyond a Mountain

07.01.11-08.02.11/ I/O Input Output / www.inputoutput.tv

COMING UP


As National Artist of the Philippines Benedicto Cabrera, better known as BenCab, approaches the 50th year of his profes-sional life as an artist, an exhibition by the Singapore Tyler Print Institute entitled ‘Glimpses’ looks back at the pieces that best characterise his work, while presenting a new body of printmaking and work on paper.

BenCab’s new work continues to embody his fascination with the cultural, social and historical diversity of the Philippines. This is epitomised by the profound presence of ancient tribes-men, tribal women caught in the throes of modernity and the ‘Sabel’, an iconic female vagrant who opts for homeless in-dependence against the materially comfortable oppression of a philandering husband. BenCab has redefined the appeal of works on paper and lim-ited edition prints in the Philippines, which has traditionally favoured oil on canvas works. For this second residency at STPI, which runs until February 12, the institute enabled Ben-Cab to return to using large-scale printmaking and painting using exclusively created pulp and paper. BenCab produced four sets of limited edition prints, 36 unique works and 19 paper pulp paintings.

Since January 16, Hong Kong’s Amelia Johnson Contem-porary gallery has boldly transformed its gallery space into a spectacle for ‘The Window Project’. In an innovative artistic move, the gallery’s windows have been turned into impromp-tu performance venues for the video and projection work of four young artists. Each composition will play for a 10-day period. Opening the project was Dinu Li’s video installation, ‘Transformer’ (inspired by the song by Lou Reed). The nar-rative described three different characters (all performed by the artist) in the privacy of their apartments during one eve-ning, placing the viewer in the position of voyeur. Young Hong Kong artist Lee Kai-chung presents a thought provoking work entitled ‘The Lost Roads’ that addresses the widespread authorised destruction of historical structures and Chu Sin-wa’s video work ‘Une Minute’ depicts the artist involved in two activities, one slowed down, one speeded up that take one minute. Also at the event is a split screen composition by photographer and video artist Lam Wai-kit entitled ‘Say Me as a Little Fish’ that depicts a minibus driver on one side juxtaposed by a goldfish on the other.

Glimpses: A Solo Exhibition by BenCab

15.01.11-12.02.11 / Singapore Tyler Print Institute (STPI) / www.stpi.com.sg

The Window Project

16.01.11-28.02.11 / Amelia Johnson Gallery / www.ajc-art.com

COMING UP

FEBRUARY 2011 / 13

S.Bin Art Plus presents a solo exhibition entitled ‘Unchanged For 50 Years’ by Seah Kang Chui, President of the Singapore Watercolour Society that runs until February 6.

This series of 30 watercolour paintings is Seah’s homage to the enduring beauty of places he has lived in. Depicting kam-pong scenes in Buangkok, Seletar Camp, the Seletar River as well as the Singapore River, Seah presents worlds that have managed to elude urban development.

The lush, fertile landscapes encapsulate a richness that is immersed in the luminous tropical light of Singapore. Seah’s story unfolds from his own loving memories, which he shares with the enduring spirit of the land.

“The works represent the depth of both memory and current representation,” said curator Bridge Tracy Tan. “It melds to-gether a vision that is sensitive to the soul of a landscape, compelled by the souls of its inhabitants, their way of life, their spirit of community, and their value of time and place. Seah is unapologetic about his persistence to paint these scenes. Their existence in watercolours is a testament to the deep longing by one man to give recognition to his heritage and the sensory experiences that made him the man he is today.”

Solo Exhibition By Seah Kang Chui 不变 50 年 Unchanged For 50 Years

20.01.11 – 06.02.11 / S.Bin Art Plus /www.sbinartplus.com

For German artist Willi Siber, seeing the world means tran-scending rules, conventions, genres, and psychological frameworks. Siber succeeds at displaying strangely soothing juxtapositions of opposites and apparent contradictions, for the first time in Hong Kong, in an exhibition at the Karin We-ber Gallery that runs until February 12. Made from industrial materials and processes, but unmistakably individual, there’s something seductive about sculptures that would otherwise be jarring in their complexity.

The eye delights at following textures, patterns, and colours with white coral-like protrusions set next to smooth undula-tions of an inky black expanse, and layers of transparent co-lour that shift and change as they interact with each other on a smooth surface. His work is an experiment in seeing, and in how he can alter perceptions not with iconography or com-mentary, but through the sheer force of the tangible: form and physicality. Siber studied sculpture under renowned German artist Herbert Baumann (1927-90), and has an extensive ex-hibition history in Europe. His works have also been shown in art fairs across the world including ART Cologne, ART Frank-furt and KIAF Seoul.

Will Siber: Sculpture, Wall Object & Painting

18.01.11-12.02.11 / Karin Webber Gallery / www.karinwebbergallery.com

COMING UP


The ReDot Fine Art Gallery will bring a very special exhibition of bark cloth art to Singapore from the Ömie artists of Mount Lamington in Oro province, Papua New Guinea.

This artistically groundbreaking exhibition, which runs until February 4, is the fourth ever exhibition of art from the Ömie artists and as the first ever outside Australasian shores it signi-fies a culture coup for the Lion City.

Powerfully tactile, the bark cloths, called nioge, featured in the exhibition ‘No si hijomiono’o jabesi sor’e jajivo’ — (which translates as ‘We are painting the designs of our ancestors’), are made from thin veils of beaten paper mulberry tree bark. Traditional motifs and original visual expressions of ancestral Ömie knowledge are painted on using an earthy palette of colour made from bush dyes.

These beautifully-crafted, spiritually-infused creations are part of a millennia-old preservation of knowledge. While being an affirmation of ancient culture, the nioge, which are made in Ömie villages on the steep slopes of the volcanic Mount Lam-ington, are also an essential reminder of the power of nature over human life.

‘No si hijomiono’o jabesi soré jajivo’

02.02.11 – 02.04.11 / ReDot Fine Art Gallery / www.redotgallery.com

Singaporean fine artist Steve Chua concludes eight years of creative work by combining two contrastive collections in an upcoming solo exhibition entitled ‘Limelight Blossoms’ that runs from February 9 to February 19.

Chua first delved into abstract art in 2002 and his explorations soon gave rise to unusual forms, contours, patterns and or-ganic textures. These forms he christened ‘Blossoms’ and he continues to translate his discoveries onto canvases.

As these ‘Blossoms’ took shape, Chua continued to pursue his studies in graphic design through which he became ab-sorbed in the post-modern aesthetic of popular culture — a world in which viewers are bombarded by media content that aims to dazzle their senses. This became the subject of his series ‘Limelight’, which has both contrasted and co-existed with the abstract world of ‘Blossoms’. Seen through the hues of lipstick red clouds and a backlight that glows with fascinat-ing energy, though painted rather dim, and a green that fin-ishes the mystical element, Chua engulfs his subject without realising it.

With its parallel worlds, ‘Limelight Blossoms’ tells a tale of desire for the limelight that is illuminated by the materialisation of natural objects and magnified surfaces.

Limelight Blossoms by Steve Chua

9.02.11 – 19.02.11 / SOCIETE GENERALE Private Banking Gallery /www.alliancefrancaise.org.sg

COMING UP

FEBRUARY 2011 / 15

Singapore’s Chan Hampe Galleries will play host to interna-tional duo KA’a’s solo exhibition entitled ‘Out in the Streets,’ which will be held from February 21 to March 11. KA’a is the collaboration of international aerosol and stencil artists Kirsty Furniss from the United Kingdom and Mathieu Augereau from France, KA’a’s eye for composition and bold imagery enables an atypical view of the familiar and unheralded facets of a place and this exhibition offers an honest view of Singapore with a focus on the city’s backstreets and unassuming char-acters. Paintings are characterised by contrasting and en-gagingly detailed stencils of people and scenes in a dynamic composition. Focus is placed on a mix of aerosol colours and texture work in combination with additional mediums and layered stencils. KA’a’s murals and private graffiti have a dis-tinct identity that has gained them international acclaim and aroused collectors’ interest, most recently in Australia and Malaysia.

Out in the Streets

21.02.11-11.03.11 / Chan Hampe Gallery /www.chanhampegalleries.com

Intrigued by the notion of ‘infographics’ and the idea that de-signed data can uncover otherwise concealed connections and hidden patterns in facts, five independent artists have collaborated to examine the nature of information and its pur-pose at Singapore’s The Substation. Eudora Rusli, Jacqui Rae, Lu-Fang, Tan Seow Wei and Yam Hoe Chee address elements of work, play, sleep, dreams, love and happiness, and tackle questions such as – what are the colours of your dreams, the sub-sets in your relationships, and the equations that give rise to your life and happiness? By playfully exploring the statistical side of visual curiosity, the artists have built an artistic playground from units of data, both abstract and specific, and inadvertently created new ways of perceiving it. They derive joy in making sense of the phenomena around them and hope to present their findings in an alternative yet accessible manner for the audience’s in-terpretation.

InFORMATION

19.02.11 – 27.02.11 / The Substation Gallery /www.substation.org

COMING UP


FARHAD HUSSAIN Text: Bharti Lalwani

Fun in the Sun, Acrylic on Canvas 168 x 201 cm

ARTIST IN SPOTLIGHT

FEBRUARY 2011 / 17

Farhad Hussain is an Indian artist whose pro-vocative canvases often present a dissonant

crowd of mischievously grinning bourgeoisies indulging in various scandalous acts. How-ever, before I expand on his work, allow me to start with an anecdote. Recently, while on my vacation in India, I took an early morning walk to queue in front of a famous neighbourhood bakery; it seemed that no matter who you were, you had to queue up before it opened alongside a crowd from the lower to the upper strata of society. The voyeur in me was intrigued when a gleaming white Mercedes pulled up and an immaculately dressed chauffeur, complete with a Mercedes logo embossed on his shirt pocket, stepped out to open the passenger door. My expectations of seeing someone distinguished step out, however, were dashed when out strode a lady wearing what looked like her old-est pair of jeans, faded discoloured polo, worn

out chappals (slippers), carrying an unsightly hand bag. She proceeded to queue up next to me (while loudly yakking away on her iphone), bemused I thought, “this” is the new rising middle/ upper middle class of India; although symbols of wealth could be bought and owned, “new money” did not necessarily correlate to decorum, class or style.

Perhaps I was being harsh, but it is under such a critical eye that contemporary artist Farhad Hussain articulates on canvases spanning sev-eral feet, the incongruities of the rising middle class of India and its far reaching aspirations and consumer mentality. The artist, in his typical modus operandi, invites us into the homes of “happy families” whose members seem vaguely aware of an onlooker. The scenes which at first rouse wonder, however, turn more and more absurd by the minute. The viewer is put in an

Football, Acrylic on Canvas 183 x 601cm

SPOTLIGHT


awkward position as a reluctant voyeur fighting the impulse to look away from the individuals, who are depicted in various stages of undress while wondering why there would be, for in-stance, a miniature swimming pool in the centre of a living room or question the presence of a flying pig or a fantastical pink elephant.

With a quirky narrative and a melange of candy colours, Farhad chronicles the spectacle of the middle class in various ridiculous scenarios; ev-ery depiction always features a manic gleam in the subjects’ eyes with impossibly wide sinister grins. Every image is also graced with the pres-ence of a gleeful animal whose features mimic and morph into those of a human. In his recent acrylic canvases, Farhad does not shy away from controversy, as he illustrates contempo-rary Indian families, especially women, indulg-ing in scandalous activities not just within their

bathrooms or living rooms but even out on the football field. Somewhere between the flux of reality and fantasy, traditional culture and glo-balism, the satirical and menacing undercurrent leaves the viewer inquiring about the relation-ships between these individuals and therefore his own status quo.

Hussain was educated at the two best art schools in India, Shanti Niketan and Baroda Art School. This exposure has in turn provided him with the perspective to reassess the histori-cal legacy of the narrative in the traditional paint-ing styles of the miniature and Kalighat (folk art which originated in Calcutta), evidenced in the way he intricately lines textile patterns against flat backgrounds. When he first began painting, his preferred mediums were tempera on silk and water colour, but as the subject and scale of his works grew, he started painting acrylics on

FARHAD

FEBRUARY 2011 / 19

Untitled, Acrylic on Canvas 152 x 183cm

SPOTLIGHT


FARHAD

FEBRUARY 2011 / 21

Living Room, Acrylic on Canvas 305 x 601cm

SPOTLIGHT


canvas in a way that leaves no brush mark. Progressing thereon, Farhad builds on these traditions and contemporizes his style by in-corporating images from popular culture and elements from erotic Japanese woodblock prints especially when depicting the human figure.

Having realized and recognized his own style, the artist continues to develop his work by translating the old into new through a fresh lens, nevertheless, in a country where ‘post-modernism’ in the western context does not apply, Farhad still considers himself a pop artist. In a recent conversation, he elabo-rates, “If Pop Art in the Indian Context can be defined as a form of art which questions pre-vailing approaches to culture as well as tradi-tional views of Fine Art and implications from such elements as mass advertising, movies, product design, comic strips, and science fic-tion within the class hierarchy and behaviour of contemporary India, then yes, I consider myself a Pop Artist. My art is not pop art only due to the use of bright neon colours, but because I am trying to question the new middle class mentality using imagery which is provocative by giving it a gimmicky comic strip feel through the use of a selective colour palette.”

For an artist influenced by the simplistic nar-rative styles of Santha patachtras, the tribal folk art of Orissa, and Bengal Pats or scroll paintings, he is also admittedly inspired by the grandmaster of Pop Art - Andy Warhol. But while Warhol’s canvases are widely a cel-ebration of consumerism, Hussain chooses

FARHAD

FEBRUARY 2011 / 23

Michael Jackson, Acrylic on Canvas 152 x 183cm

SPOTLIGHT


to critique contemporary society whose values are changing with the rapid modernisation of India - where, within months, small towns are being trans-formed into modern cosmopolitans of homogenous shopping malls and multiplexes. Vanishing identities of cities much less individual are being taken over by international brands and global corporations; taste is being dictated by fickle billboards and glamour magazines, while mass mentality is being influenced by twenty four hour news (read cyclonic fear mon-gering) networks and mind numbing reality televi-sion.

Farhad’s figurative canvases seem to gestate all of these influences, which come together in a way to push traditional aesthetic sensibilities and generate a strong reaction from the viewer which may or may not be positive through images that are always con-frontational and awe inspiring due to their extrava-gant scale, colour and composition. He deliberately seeks to question the notion of beauty through cyni-cism, satire and associated symbolism from historic sources as well as from the current voyeuristic soci-ety. The portrayal of the ‘happy’ family is merely an allegory for the materialistic angst of the competitive and uninhibited middle class as India emerges as one of the world’s robust economic powers with its share of billionaires.

When asked which pieces he would like to be re-membered for, Farhad responded: “Definitely the Bathroom Series. I take the viewer inside, into the privacy of homes, just as in reality TV shows which take us into people’s lives voyeuristically. I immensely enjoyed this series for the many connections it holds with voyeurism, satire and Post-modernism.”

Farhad Hussain is exhibiting at the Indigo Blue Art Gallery in a group show titled “The Narrator, Protagonist and the Other” which opens on 24 Feb 2011. Other participating artists are Naina Kanodia, Vivek Vilasani and Murli Cheerooth.

The Michael Jackson painting is for the exhibition in Feb....

FARHAD

FEBRUARY 2011 / 25

COVER STORY


Text: Saskia Joosse

POP! BACk INTO THE FUTURE!BurTon MorrIS

Poparazzi Acrylic on Canvas 91.4 x 91.4 cm

BURTON MORRIS

FEBRUARY 2011 / 27

Internationally acclaimed Pop artist Burton Morris

answers a few questions for TPAG about his sources of inspiration, favourite pieces and art in general. Burton already has a hugely impres-sive and extensive CV with a list of celebrity and corporate owners that would make even Andy Warhol envious!

TPAG: What’s your favourite piece and why?BM: The Poparazzi photographer for its high energy and bold statement about celebrity and Hollywood Paparazzi. This image was seen by over a billion people worldwide as it was used as the feature image for the 76th Annual Academy Awards show. Bruce Davis, the Executive Director of the Academy Awards, asked me to create some sketches and ideas for a poster to try and create a new idea that hadn’t been done in the past and to reenergize the Oscars - something that would be a bold new statement, that was fun and exciting.

What artists inspire or have been an inspiration to you and why?Roy Lichtenstein, Keith Haring, Andy Warhol, were three great Pop Artists who had tremendous influence on me and my work. I love the comic nature and flat painting style of Lichtenstein, I admire the bold colours of Keith Haring and his energetic sensibilities. Andy Warhol opened up the doors to commercial objects and ideas to be interpreted as art.

Do you think of the potential value of your artwork when you`re considering on content?Never. There is no way to predict the future value of a painting and I don’t even consider it. I believe

Poparazzi Acrylic on canvas 91.4 x 91.4 cm

COVER STORY


time will tell where I have made my mark on society and hopefully I have a long career ahead of me.

For your most recent exhibition in Singapore at Pop and Contemporary Fine art, what was your inspiration for the Blue Louie and Kernel of Knowledge pieces? The Blue Louie came from my love of jazz music. Louis Armstrong, the great Jazz trumpeter was

Kernal of Knowledge Acrylic on canvas 91.4 x 91.4 cm

Coffee Cup Acrylic on canvas with cut wood extension 106 x 91.4 cm

Blue Louie Acrylic on canvas 91.4 x 91.4 cm

also an influence for inspiration. This image of the trumpeter was used as the icon for the 38th Montreux Jazz festival in Switzerland. The Kernel of Knowledge painting was inspired from my interest in meshing my branded iconic images into other forms and objects.

What came first, Central Perk or your swirling coffee cup? The coffee cup image was created a few years before the inception of Central Perk as it was a statement on the coffee cup culture hitting the states at that time in the late `80’s. I remember thinking that there were Starbuck stores popping up all over and what symbol best represented that moment in time but the coffee cup itself. A few years later, the show “Friends” came on in 1992 and the coffee cup showed up in their first season.

If you could talk to an artist that is no longer with us, who would it be and why?Andy Warhol. To hear what he really thought about the art world as a whole. I have met so many

BURTON MORRIS

FEBRUARY 2011 / 29

COVER STORY


1. Rolex Acrylic on canvas 91.4 cm x 91.4 cm2. Ferrari Logo Acrylic on canvas 91.4 cm x 91.4 cm3. Dollar Acrylic on canvas 121.9 cm x 91.4 cm

BURTON MORRIS

FEBRUARY 2011 / 31

Popcorn Acrylic on canvas 121.9 x 91.4 cm

COVER STORY


people who knew Andy or worked closely with him and as a Post-Pop Artist it would have been wonderful to have heard his thoughts about the art market.

You do a lot of work for charity, why is that important to you?I am so fortunate to have a wonderful career and family. I have always felt that it is important to give back to those not as fortunate as others. I have seen firsthand how my artwork has inspired young minds from all over the world and how my art can generate money to help others who don’t have the means to help themselves. This is what I strongly believe in .

On a personal level has the recent birth of your daughter made a difference to your artwork?Of course. Anything that happens in my personal life affects my art. Every day I witness through her eyes a whole new way to look at the world.

BURTON MORRIS

FEBRUARY 2011 / 33

Text: Saskia Joosse

GUERRERO HABULAN —THE WARRIOR OF POP!

There was a time when Guerrero Z. Habulan’s artwork was mistaken for that of his father’s

work, but that of course can be easily under-stood as they shared the same name!

It is also arguably a difficult task to come out of someone’s shadow, especially if your father happens to be a legend in his own right.

In order to help distance himself from his father, in the artistic sense, Guerrero decided to stop using his first name Renato, which he shares with his father, and replaced it with the dramatic name of “Guerrero”, “warrior” in Spanish.

Guerrero’s love of art was fostered in many ways thanks to his mother and his father. Their home served as his father’s studio and whilst growing up, he found himself surrounded by canvases and paint and it was there that he learned about colour, shapes and forms, even before learning how to spell his own name! In-stead of picture books he had the good fortune of being able to appreciate and watch the cre-ation of his father’s canvases, perhaps akin to a magical experience, similar to the pictures in a child’s story book. In the 1980’s, his father Renato Habulan, was one of the forefathers of

the Social Realist Movement in the Philippines, therefore dinner guests often included the likes of Adi Baens Santos, Antipas Delotavo and Bo-gie Tence Ruiz along with other artists. During these Soirées lively discussions on artistic and social movements often took place along with singing and poetry recitals from his mother, Syl-via who was an active participant in the militant performing group called Tambisan sa Sining. All these influences growing up helped sowed the artistic seed in the young boy.

Once Guerrero decided upon becoming an art-ist it was actually his father that mentored him and pushed him to excel and find his own ar-tistic style through hard work and experimenta-tion. Guerrero’s personal style is not that of creating works full of deep, dark emotions such as sad-ness or anger but rather as a Pop Artist, as he uses images that are popular among urban Fili-pinos and juxtaposes those with popular foreign images to create satirical content. This style is understandable as growing up, Guerrero also found inspiration from legendary artists such as Norman Rockwell, Andy Warhol, Jeff Koons, Roy Lichtenstein and Robert Rauschenberg.

FEATURE


Spagetti Oil on canvas 91.4 x 61 cm

GUERRERO HABULAN

FEBRUARY 2011 / 35

1. Eats a Bird, eats a plane Oil on canvas 152 x 112 cm

2. Field Trip Oil on canvas 152.4 x 183 cm

3. Robot Oil on canvas 112 x 91.4 cm

4. Patikim Oil on canvas 142 x 142 cm

FEATURE


When Guerrero was in his twenties, he decided that it was time to embark on his own journey and find his own place in the art scene. He joined an Antipolo-based art group called Sangviaje (one journey in English) and during this period joined several group shows and participated in various art competitions which enabled him to meet new friends in the artistic community and receive feedback and recognition from his peers. He has thus, so far, participated in over 30 group shows and received several awards which include being the recipient of the Paran-gal sa Mag-aaral, recognition for students with outstanding achievements in their field, award-ed by the University of the Philippines.

When asked about the highlights of his career, Guerrero responds “My latest solo exhibition was given a feature in one of the leading con-temporary art magazines in the Philippines, which I found very flattering, that coupled with art competitions I have won have obviously giv-en me great pleasure and helped open many doors for me”.

Guerrero’s preferred media are oil and acrylic and the production of each piece takes about two weeks, during which time, the piece is

tweaked repeatedly until he feels that it is com-pleted.

Guerrero is quoted as saying: “Pop Art to me, is highlighting the irony that one sees in popular mass culture, Pop Art has removed boundar-ies in the use of imagery, materials and tech-nique. Pop art has also elevated the kitsch and commercial to the level of fine arts. With each piece I wish to convey contrasts and to high-light the present conditions in society through satirical realism with popular imagery. I draw inspiration from regular people I see every day on the street… I monumentalize these ordinary scenes, with them, as key players. It was on my second show where the pop imagery in my work has become bolder.”

Even though his works are social commentar-ies and satirical assessments of today’s society, they are devoid of any anger and hatred. If any-thing they are comical and light hearted, filled with colour and perhaps even the dreams and aspirations for a better tomorrow. Guerrero may be a warrior of art but he chooses not to fight but embrace the world with pop and colour.

GUERRERO HABULAN

FEBRUARY 2011 / 37

Text: Saskia Joosse

kEITH HARING — THE JOURNEY OF A GRAFFITI ARTIST

Maybe to be a true legend, your lifespan has to be short. It therefore has to be intensive

and explosive, such as that of James Dean and Marilyn Monroe. Keith Haring is another such legend, an artist who although at the time of his death was only 31, had already helped to propel the Pop Art scene even further along its won-drous and diverse path.

It was late in 1980, around Christmas time, that Haring first started his graffiti art in the New York subway, chalk on a soft matte black paper, which Haring said was “dying to be drawn on”. At the beginning he would add new elements to the drawings every couple of weeks often creat-ing 30 - 40 a day and by 1981 Haring’s graffiti drawings would be the main theme in his life. Over the four to five year period of his subway paintings, Haring was caught over 100 times by transit police and issued with summons, all of which he paid! Early on Haring had worked for the famous gal-lerist Tony Shafrazi, as his assistant, helping him to write press releases and serving drinks at his openings. Although Haring found Shafrazi neu-rotic he respected his commitment to his artists

as well as his honesty. Therefore, in 1982, when Haring began to look for representation he de-cided in favour of Shafrazi and they began plan-ning Haring’s first large solo show, which was to be held at Shafrazi’s gallery in October 1982.

Up until now Haring had concentrated on draw-ing but with the upcoming show he wanted to experiment with large format paintings. Haring had always had an issue with using canvas as he felt it restricted his particular style as can-vases already had its own characteristics before he started.

It was around this time that Haring stumbled across using vinyl tarpaulins as his new medi-um, which he thought would be the ideal sur-face for painting. As well being available in al-most any size, these industrial protective sheets were also available in a wide range of outlandish colours, seemingly a perfect match for Haring’s new adventure.

The tarpaulins also had other advantages over canvas in as much that they already had holes punched into them around the edges which made them easy to hang and the fact that they

FEATURE


Growing 1 Screenprint 76 x 101.5cm

HARING

FEBRUARY 2011 / 39

were very easy to transport. Haring used a spe-cial vinyl silk-screening ink that dried almost im-mediately and was drip free.

Alongside his works on paper and vinyl he would also incorporate the walls of the gallery in his complete, all-over concept. And so the gallery walls were covered with a myriad of run-ning and dancing figures, crawling babies, three eyed smiling faces and Mickey Mouse.

The works on vinyl were incredibly simple and graphic and concentrated on highly compre-hensible themes such as the dancing dog and two embracing figures surrounded by a halo of rays. Haring’s work distinguished only between outline and fill colour.

With the attendance of the likes of Roy Lichten-stein and Robert Rauschenberg, among others,

Haring had launched what was to be a stun-ning, although brief, career. Roy Lichtenstein later said that Haring’s ability was truly amaz-ing. He was astonished how quickly Haring could produce one of his pieces but what really amazed him was the enormous control and tal-ent he showed whilst doing it and how he made the individual pieces into whole paintings.

He was also impressed by the fact that Haring never went back and corrected his work, a feat in itself. Perhaps the biggest compliment that Lichtenstein paid Haring was that he thought that once the piece was completed, there was never anything that he’d like to have changed about it, it was so beautifully drawn.

The exhibition was a huge success which opened the door to other events which only served to further Haring’s popularity.

Growing III Screenprint 101.5 x 76cm

FEATURE


Critical acclaim around the rest of the world now followed with works in the UK, Germany, The Netherlands, Italy and Japan. Haring was on a roll and because of his now global popularity he hired Julia Gruen as his full time assistant. Haring’s personal life had also taken an upturn when he met Juan Dubose, a DJ, who was to become his long term partner.

Haring was never slow in marketing himself to the masses, although money was not his main motivation and this was shown later on when Haring donated the majority of his profits from the “Pop Shop” to various charities. Haring wanted to give everyone the opportunity to have his artwork, therefore in 1983, he authorised the creation and distribution of posters and T-shirts. From here it was not a huge step in 1986 to open his own “Pop Shop” in Manhattan which sold merchandise with his own designs and that of a few select artist friends. Whereas most art-ists base merchandise on existing original work Haring went completely the other way by creat-ing specific motifs for his. Needless to say the critics cried “commercialism”, but Haring knew that there would always be the cynics that saw this purely as a promotion for his ground break-ing approach to selling art.

Of course, Haring’s mentor and friend Andy Warhol had already laid the groundwork for this new relationship between art and commerce

some time before. Warhol’s invention and intro-duction of the “Factory” (as Warhol’s studio was known) had already set the example for Haring to follow.

In 1983 Haring met Warhol who was already an established part of the New York party elite by then and if something interested Warhol, it inter-ested everyone.

Haring and Warhol became very good friends, both interested in each others art with a mu-tual respect for each others respective talents. They visited each others galleries and they even worked together on projects. Haring fea-tured Warhol in his work quite a few times with maybe the best example being “Andy Mouse” which was based on Mickey Mouse with a wig and sunglasses and features clearly resembling Warhol.

By combining Mickey Mouse with Warhol, Har-ing was awarding Warhol the same iconic status and importance as that of Walt Disney.

Although Haring could never be perceived as a children’s artist, he loved children and tire-lessly championed their causes and charities.

Pop Shop 1 - Best Buddies Silkscreen 30.5 x 38 cm Andy Mouse Silkscreen 96.5 x 96.5 cm

HARING

FEBRUARY 2011 / 41

Story of Red & Blue - 16 Lithograph 55.9 x 41.9 cm

FEATURE


the rest of New York. Almost inevitably Haring eventually succumbed to the disease. After his diagnosis Haring created deeper, stronger works with an added new complexity that dealt with AIDS along with other social issues.

In Haring’s final years he began to experiment including with form and colour and also did vari-ous commissioned works such as the BMW art car and an exterior mural wall of the Church of Saint Antonio in Pisa, Italy. This was to be his last public work and was titled “Tuttomondo”. Haring described his Pisa experience as one of the high points of his career. During this period he set up a foundation bearing his name which

Haring enjoyed interaction with children and gave workshops all around the world and for the centenary of the Statue of Liberty, Haring had children fill in the outline of the Statue of Liberty which he had created. Whenever Haring worked in public he was sure to attract a large audience of children and young people and he always made sure he had stickers and buttons etc to give to them, free of charge of course!

1988 marked the death of Haring’s friend Jean-Michel Basquiat, only a year after Warhol’s death and AIDS was now a daily reality for Haring and

focused support on children’s charities and the fight against AIDS.

Unlike most pop artists that take inspiration from everyday objects Haring had once said that he actually tried to create and invent life, not imitate it. It was art that came directly from within Haring himself. This was part of the ge-nius that was Keith Haring. Haring also said that he left the interpretation of his work to others and while there is certainly a dark side to his work, there is also a lot of fun and joviality and, depending upon the piece of course, one takes away from it what one wishes.

Haring, towards the close of his life, could still not understand the resistance to his work form the American art establishment and museum world. In a strange way he said he was glad of the resistance as it gave himself something to continue to fight against. He was happy and proud however that the real body of support for his work was from normal, everyday people and not from museums and curators.

Haring always believed that the acknowledge-ment and recognition, the acceptance for his work would come later...when he was not around to appreciate it. How right he was. Har-ing passed away on February 16th, 1990, and as is usually the case, it was only after his death that the “art world” recognized the huge impor-tance of his work and honoured it with major exhibitions around the world.

This was a boy that took graffiti and fused it with a form of hieroglyphics to produce a new style of art, which continues, still today, to give joy, stimulation and pleasure to those that view it. The world is certainly a better place thanks to the creativity of Keith Haring.

Story of Red & Blue - 12 Lithograph 55.9 x 41.9 cm

HARING

FEBRUARY 2011 / 43

Arguably one of the greatest Pop artists to have ever lived, Roy Lichtenstein’s career

was different to other artists in many ways.

Lichtenstein was born on the 27th September 1923 to a middle class New York family and at-tended a public school until he was 12 and then went onto a private academy. Strangely enough there were no art classes at the academy but Lichtenstein became interested in art neverthe-less. He began to draw and paint in oils. During his last year at the academy Lichtenstein took summer art classes at the Arts Students League in New York. After graduation from high School in 1940 Lichtenstein was convinced that he wanted to become an artist.

Whilst his parents supported his wish, they also urged their son to get a teaching degree from a regular liberal arts college so that he would have a proper profession to fall back on should his artistic ambitions fail.

Lichtenstein left New York for Ohio State Uni-versity, a move that would be incomprehensible today, but New York pre World War II was not the art zenith that it is today. Ohio State offered studio courses and a degree in fine arts. With a three year break to serve in the army due to WWII, Lichtenstein completed his undergradu-ate degree there. It was during his time at Ohio State that Lichtenstein met a teacher, Hoyt L. Sherman who was to prove highly influential during his career.

Lichtenstein entered the graduate program at Ohio State and was later hired as an art instruc-tor, a job which he would be involved with on and off for the next decade. Lichtenstein was

encouraged to take drafting classes and had a passion for examining art itself and its technical processes, something that would be seen in the different array of work that he would complete throughout his career.

By 1951 Lichtenstein had not been rehired at Ohio State and with his wife having a job in Cleveland they moved there where they would remain for the next six years. Between his artis-tic spells Lichtenstein did jobs ranging from an engineering draftsman and window decorator to a sheet metal designer.

Lichtenstein’s early work was very experimental with his first recognized Pop art piece being the lithograph of a ten dollar bill in 1956. Although Li-chtenstein was selling pieces during the 1950`s it was not enough to support his family which by now, 1956, included two sons. In 1957 teach-ing beckoned once more and he took a job at Oswego, a small college in upstate New York where he taught for the next three years.

Whilst in Oswego Lichtenstein stopped painting the “historical” subject matter that he had been doing and adopted a new style called Abstract Expressionism, a style championed by the likes of Jackson Pollock, Willem de Kooning and Robert Motherwell.

In 1959 Lichtenstein showed his new work in New York to muted reviews. Still obviously searching for the style that really suited him he began to make drawings of comic strip figures such as Mickey Mouse, Donald Duck, and oth-ers. Asked later why he began the use of car-toon characters, Lichtenstein replied very sim-ply, “desperation!”

THE LEGEND OF LICHTENSTEINText: Saskia Joosse

FEATURE


Two Paintings: Dagwood Woodcut and Lithograph 136.8 x 98.9 cm

LICHTENSTEIN

FEBRUARY 2011 / 45

1960 saw Lichtenstein take up a teaching post once again at Douglas College, the women’s branch of Rutger’s University. Artist and art his-torian, Allan Kaprow was a colleague now of Lichtenstein and was responsible for organizing “environments” and “happenings”. Kaprow ex-plored the ideas of his teacher, John Cage, who believed that commonplace items possessed their own aesthetic importance. Eager to take this train of thought further artists began to turn everyday objects into works of art; two such artists were Robert Rauschenberg and Jasper Johns, both Cage students.

Lichtenstein began to draw bubble gum wrap-pers at the end of the 1950’s and with his sons instant enjoyment of the images he realized how important that cartoon characters had be-

come in American culture. Lichtenstein realized that the inclusion of a text bubble added a new dimension to his pieces. The first piece to use the now easily recognizable Lichtenstein trade-marks (hard-edged figures, industrial colours and benday dots) was the oil painting, “Look Mickey” in 1961. It was this piece that was pivotal in cementing Lichtenstein’s new own, unique style, the industrial style of the printed comic. Lichtenstein would paint another six paintings of recognizable characters from bub-ble gum wrappers or comic books; he would pencil the outline directly onto canvas and then paint them over in oil.

In 1961 Leo Castelli agreed to show Lichten-stein’s comic work in his gallery. A few weeks later, unbeknown to Lichtenstein, Andy Warhol showed his own work using comic figures to Castelli. Warhol`s work whilst strong was not as good as that of Lichtenstein and Warhol was the first to acknowledge the fact. It was there and then that Warhol decided never to do another comic strip and go in a different direction, quan-tity and repetition, an area that Warhol would be the first to exploit and claim as his own.

Lichtenstein now turned to inspiration and im-ages from sources such as the yellow pages, mail order catalogues, small advertisements and war comics and the Disney characters were left behind.

Lichtenstein’s first solo exhibition at Leo Castel-li’s gallery in the February of 1962 was a sell out success and this was finally the end his teach-ing career.

Lichtenstein virtually never used photogra-phy as the inspiration for his work instead us-ing teen and action comics for pieces such as “M – Maybe” and “As I Opened Fire”. Perhaps his most famous image, “Whaam” executed in 1963 and hanging in the Tate Gallery in London was “appropriated” and adapted from a 1962 DC comic issue “All-American Men of War”. The vast majority of Lichtenstein’s best works are al-most, but not quite, exact copies of comic book panels. Lichtenstein suffered many accusations of plagiarism because of his use of comic book

Untitled Head Screenprint 47.7 x 54.8 cm

Composition IV Screenprint 56.6 x 69.5 cm

FEATURE


Sweet Dream Baby! Screenprint 95.6 x 70.1 cm

LICHTENSTEIN

FEBRUARY 2011 / 47

1. Venetian School II Screenprint 120.7 x 86.3 cm2. Still Life with figurine Lithograph and screenprint 118.6 x 95.8 cm3. Brushstroke Screenprint 58.4 x 73.6 cm

FEATURE


characters, but if one takes a close at his work, one can see that that there are indeed a lot of alterations, both in subject and technique, to change them into an original work of fine art.

Lichtenstein would later focus on various con-sumer items and when viewed in contrast to ad-vertising one can see similarities in as much as both have a simple, visual attraction and appeal to the viewer, very much in keeping with the Pop art mantra. Whilst Lichtenstein could see the benefits and quality of certain commercial art-ists and their work, critics of the day were ready to lambast such work as inferior and not fine art but art created by commercial artists pretend-ing to be “real” artists. One could always sense Lichtenstein’s commercial art background in his sparse use of the number of different colours that he used.

Apart from the black outline of figures and the use of industrial colours, perhaps it’s the use of Benday dots (a technical printing process) that was and still is associated with Lichtenstein’s work. Benday dots were named after Benjamin Day (Ben Day), an artist and inventor. Lichten-stein played around with Day’s process, refin-ing it for his own use as he had experienced issues with the consistency of the patterning of the dots using Day’s exact process. After much experimentation Lichtenstein finally settled on a stencil derivation of Day’s application, a meth-od that gave Lichtenstein the final mechanical finished look he was searching for, seemingly devoid of human interaction; however, Lichten-stein didn`t stop there. With the Benday dot pro-cess resolved he later went on to use different dot sizes, directions and graduations.

After 1969 Lichtenstein introduced diagonal stripes into his work which together with the Benday dots gave a more textured surface and a new optical effect. Lichtenstein’s arsenal of technical processes was now complete.

When one looks back at Lichtenstein’s hugely successful career it is clear that from his middle class background, he was constantly fighting the battle against the artistic elite and their per-

ceived intellectual superiority. Lichtenstein firmly believed that art should be enjoyed by everyone (a common Pop artist theme) and he was only too happy to poke fun and continue to poke fun at the establishment and recognized move-ments.

Sculpture was also within his varied repertoire and Lichtenstein’s use of form and industrial colours lent itself to this particular medium. It had been a deep desire of Lichtenstein to show his artwork in Singapore and one of the last examples of Lichtenstein’s monumental sculp-tures can actually be seen in Singapore, “Six Brushstrokes” at the Roy Lichtenstein Plaza, a commission for Millenia Singapore which he fin-ished not long before his death. With the pieces ranging between four to twelve metres in height, the sculptures, made from aluminium, depict abstracts of nature, land and seascapes.

Lichtenstein took inspiration from most of the recognized art movements and whether his muse was Picasso or Cezanne, he used them to great effect in his own inimitable style. Lich-tenstein refused to use his canvas as a pulpit and project his politics and views on society in his artwork, instead concentrating on the art-work.

There are not many artists that can make only two dimensions both interesting and engaging, Lichtenstein was one of those greats. His work can be seen in museums all around the world, both paintings and sculpture and his name is as synonymous with Pop art as that of Andy Warhol.

Roy Lichtenstein died on the 29th Septem-ber,1997, his legacy that of taking the best that commercial art and it processes could of-fer and blending them into his own unique style of Pop art!

LICHTENSTEIN

FEBRUARY 2011 / 49

AN INTERVIEW —WHAT THE :PHUNk!Text: Bharti Lalwani

1. Day Dreamer Triptych 1 2010, Silkscreen print on Canvas with Diamond Dust, 140 x 300cm2. Day Dreamer Triptych 2 2010, Silkscreen print on Canvas with Diamond Dust, 140 x 300cm

INTERVIEW


Alvin Tan, Melvin Chee, Jackson Tan and William Chan are four Singaporean pop artists / de-signers who met whilst in LASALLE College of the Arts, Singapore and teamed up in 1994 to

form :phunk, an art and design collective.

In a world where the lines between commerce, popular culture and art have long been blurred :phunk has rigorously propagated a visual signature, seamlessly blending diverse influences be it traditional Chinese craft, Japanese Manga or Western Pop culture into creative depictions of a universe densely populated with ancient gods and modern cartoonish creatures. Engaging bold strokes and colours which “pop” at the viewer, the :phunk collective illustrate social satire, moral-ity and contemporary culture with zest and humour.

Sourcing heavily from mass culture, and being not the only ones to do so, :phunk have been compared to other pop artists who employ similar themes. TPAG interviews the rising stars to explore what sets them apart from the fray.

TPAG: You are a four person artist collective; how does the dynamic work when it comes to producing artworks? PS: We are a multi-disciplinary art and design collective, our approach is therefore best de-scribed as “an aesthetic collective conscious-ness” focused on experimenting with new ap-proaches to visual expressions. When we first met at Lasalle, we found that we shared many common interests, ranging from old Hong Kong kungfu TV serials, Chinese mythology and Jap-anese manga, to British indie music, American pop culture, pretty girls, alcohol, and parties. We tried forming a band initially, but gave up after realizing that we sucked musically. Out of boredom, we started ‘jamming’ with visuals and graphics on the Mac in Jackson’s bedroom and sent the ‘EPs’ out to people we liked.

The rock and roll ethos, DIY spirit and working dynamics of a band was developed into our collective’s DNA. We approach the creation of our original artworks like a band producing an album. First, we decide on the main artis-tic theme of the series. Decide on the number of tracks (each artwork = one visual track), and start working on each artwork collectively. We usually make one “art album” of around 40 “vi-sual tracks” a year. One band member writes the songs, the other adds the lyrics, makes the musical arrangements, performs, and so on. We talk and think of the original idea, which

then gets interpreted into visual imageries. Each of us have our role; one of us makes the initial concept sketch, another draws the illustrations, another composites and colours, oversees the production, reinterprets the idea into sculptural form and the process continues, it is never a fixed arrangement or order as we switch roles all the time.

To further expand on the analogy, the “band” is at the core of the creation and vision but is sur-rounded by technicians, producers and other musicians to help actualize the production of the “album” as well as simultaneously manag-ing the PR, publishing and distribution.

Do you consider yourself Pop Artists or do you find yourselves framed within the Graphic design genus?We are not really concerned with labels or genres; there is not much difference in :phunk’s creative process where our fine art and com-mercial design works are concerned. We like to explore, express and communicate our ideas through different mediums. Our projects en-compass art, design, publishing, fashion, mu-sic, film and interactive media. We like to blur the lines and push the boundaries between creativity and commerce, craft and technology, fantasy and reality, control and chaos, love and hate, audio and visual.

:PHUNk

FEBRUARY 2011 / 51

What does Pop Art mean to you, how would you best define it?Popular Art...Like Pop Music...is art which is in-formed by visual language, imagery, symbolism and iconography of a popular culture. We liked a poster from Gagosian Gallery for one of its ex-hibitions, which said it best:

“POP ART IS: POPULAR, TRANSIENT, EXPENDABLE, LOW COST, MASS PRODUCED, YOUNG, WITTY, SEXY, GIMMICKY, GLAMOROUS, BIG BUSINESS.”

Which artists have been your influences?We have had a number of influences - Archi-gram, Jin Yong, Andy Warhol, Fluxus, George Orwell, Osamu Tezuka, Stephen Chow, Walt Disney and Lee Kuan Yew. Ten years ago, we called ourselves “Visual Junkies”, five years ago we became “Information Junkies” and recently we have become “Cultural Junkies”. We used to be inspired and expressed ourselves cre-atively through designing and creating visuals, then through information...and now its culture. When we were younger, we were influenced by everything external around us however, in the last few years, we have been looking into our in-ner worlds so as to build our collective universes and expand the themes of our worlds.

Your works resemble the reigning Japanese Pop Artist Takashi Murakami, how would you explain your distinction from his art?Well yes, there have been a few remarks and comments from critics and the audience re-garding :phunk and Murakami, but it does not matter to us. We do indeed share certain com-mon cultural influences, genre and themes with him such as Japanese Anime, Cartoons, Pop and youth culture. However, we are distinctively different in our artistic approach, age, back-ground and medium. It’s like The Beatles and Rolling Stones, they played the same genre of

rock music, both bands were British but had distinctly different sounds and images.

We as a “collective” will never be the same as a solo artist but we have chosen to create and sign our works as a single entity. We managed to create a common artistic vision the four of us can share and build on. We believe that every-one is different and originality comes naturally if you believe in yourself but having said that, one of our “borrowed” ethos in :phunk is “Steal-ing from Thieves” - Talent Imitates and Genius Steals. We did not invent Rock music or Pop Art but neither did The Beatles or Andy Warhol or Murakami.

What do you wish to convey through your art? How do you think audiences relate to your works?We hope to share the stories from our inner universe.... and the message is LOVE. The audiences can relate to our Collective’s visual language and ideology, which is global, multi-disciplinary and diverse. This assorted mix of cultural influences and visual iconography have inspired and informed the Collective’s artistic vi-sion.

Which media do you use, your preferences and why?We like to explore new ways to communicate our ideas through different mediums. Our proj-ects span across different mediums such as painting, sculpture, prints, art installation, ani-mation, design, publishing, fashion, music, film and interactive.

How do you feel Pop Art has influenced Sin-gapore as well as on a global level?Pop is celebrated globally by a generation which grew up watching Michael Jackson on MTV, while wearing Nike sneakers and Levis jeans, eating McDonald’s and while playing Pong on their Ataris. We realized that we are part of a larger group of a “globalized” generation which grew up watching television. “Children of Televi-

INTERVIEW


3. Control Chaos (Giant) 2009 - 10 Acrylic on Canvas, 600 x 1200 cm4. Electricity (Neon) 2010 Carbon Ink Transfer on Wood Panel, 320 x 830 cm

:PHUNk

FEBRUARY 2011 / 53

Underworld 2 2010 Acrylic on Canvas 210 x 300 cm

INTERVIEW


:PHUNk

FEBRUARY 2011 / 55

sion” is a term we coined for our peers in cit-ies such as Paris, Tokyo, New York, Taipei and Barcelona who share our passion for Star Wars, Sesame Street, British Indie-Pop music, Dorae-mon, Buddha’s Palm and Journey to the West. These influences are more demographical than geographical.

Tell us about your current and future projects?We are currently working on a new series of original artworks based on the theme “DAY-DREAM NATION”. The series will be launched in various exhibitions in early 2011. We will be showing some works from the series at ART STAGE, Singapore 2011. We are also working on various creative collaborations with brands on products and campaign projects. We will be launching the second annual exhibition of TRANSMISSION: LAB, an experimental multi-disciplinary visual laboratory which we initiated to mentor and transmit our collective experi-ence, knowledge and skills to a new generation of creators.

TRANSMISSION: LAB is a collaboration be-tween you and Lasalle, whereby you nurture select young talent through an “atelier”. Do you as a group see yourself evolving into a “Warhol factory” system with numerous assis-tants (a la Jeff Koons/ Murakami/ Hirst)?We realized many years ago when we first started our career that there was no one be-fore us to mentor or guide us, and certainly no platform so as to broadcast our ideas to the rest of the world. We therefore formulated TRANSMISSION as a channel for us to share our works and create opportunities for collabo-rations. Eventually, we decided to avail that to the younger generation of creative students so that our knowledge, network, experience and skills would be utilized for their benefit.

We believe that you cannot be a true master if you do not leave a legacy as well as share your experiences and knowledge with the young. The “atelier” or “mentor” system has been around for ages; the renaissance masters could never

have accomplished what they did if not for the atelier system. It is also a healthy environment whereby to nurture and train the next genera-tion of artistic individuals. The TRANSMISSION: LAB in our mind was envisioned to be a cross between Yoda’s Jedi Academy, Shaolin Temple and Warhol’s Factory. The relationship between the master and disciple is reciprocal and not one sided; it is not about “outsourcing” work but rather like growing a style or school of Kung Fu not unlike the Shaolin monks or Jedi Knights.

If there were one or two images you would like to be remembered for, which piece(s) would it be?The two works would be CONTROL CHAOS and ELECTRICITY.

INTERVIEW


FEBRUARY 2011 / 57

To learn more visit: www.socialcreatives.com

Social Creatives does

Community Art

Our objectives: To become the leading

non-government group

nurturing Community Art

through youth developmentAsk ourselves:When asked to draw a house

we draw a square shaped building

with a triangular roof with two

windows, why not a HDB flat?

Art Trove

Operation hours: Wed - Sun: 11am to 6:30pm, All other times by appointment Call for private viewing, Tel: +65 6336 0915, Fax: +65 6336 9975, [email protected]

ww.art-trove.com

51, Waterloo Street, #02-01/02/03, Singapore 187969

C

M

Y

CM

MY

CY

CMY

K

TPAG Cover Dec 2010.pdf 1 11/16/2010 7:06:32 PM

PORTSDOWN AVE

ALEX

ANDR

A RO

AD

ALEXANDRA ROAD

LOW

ER

DE

LTA

RO

AD

TAN

GLI

N R

OA

D

TAN

GLI

N R

OAD

TANGLIN ROAD

NASSIM ROAD

JALAN BUKIT MERAH

QU

EENSW

AY

QU

EEN

SW

AY

QU

EE

NS

WAY

COMMONWEALTH AVE

HOLLAND ROAD

NAPIER ROAD

AYER RAJAH EXPRESSWAY

AYER RAJAH EXPRESSWAY

Antiquaro, Boon’s Pottery, Bruno Gallery, HaKaren, Kwan Hua, Li Fine Art, Mulan Gallery, Peter’s Frame, Sun Craft, Yang Gallery

Galerie Joaquin,The Gallery of Gnani Arts

Mercedes-Benz Center

Sealey Brandt Photography Studio, Geeleinan Art Gallery & Studio

Singapore Botanical Garden


SINGAPORE’S ART MAP

GANGES AVE

KIM

SEN

G R

OA

D

RIVER VALLEY ROAD

BID

EFO

RD

RO

AD

SC

OTT

S R

OA

D

CAIRN

HILL RO

AD

SCOTTS ROAD

BUKIT TIMAH ROAD

BUKIT TIMAH ROAD

BENCOOLEN S

TREET

ROCHOR ROAD

SERA

NGO

ON R

OAD

JALA

N BES

AR

SE

LEG

IE R

OA

D

ORCHARD ROAD

ORCHARD ROAD

RIVER VALLEY ROAD

BRAS BASAH ROAD

SOU

TH B

RID

GE

ROAD

NORT

H BRI

DGE

ROAD

VICTORIA S

TREET

KALLANG ROAD

EU T

ON

G S

ENG

HILL

STREE

T

ESP

LAN

AD

E D

RIV

E

NICOLE HIG

HWAY

HAVELOCK ROAD

HAVELOCK ROAD

MERCHANT ROAD

PRIN

CEP S

TREE

T

CENTRAL EXPRESSWAY

CENTRAL EXPRESSW

AY

EA

STC

OA

ST

PAR

K E

XP

RE

SS

WAY

EASTCOAST PARK EXPRESSWAY

CEN

TRA

L E

XP

RE

SS

WAYPop and Contemporary

Fine Art

Third Floor Hermes

Chan Hampe Galleries

Art Trove,The Private M.M GalleryYavuz FA

Forest Rain Gallery

OVAS Art Gallery

The Picture-house

Kelly Reedy - Studio Arts

Foundation Oil Painting

Art Trove

Sotheby’s Institute of Art, DreamSpace Art Studio

Foundation Oil Painting

Eagle’s Eye Art Gallery

M.A.D (Museum of Art & Design)

Singapore Philatelic Museum

The EsplanadeThe National

Art Gallery, Singapore

72-13

Peranakan Museum

The Substation

National Museum of Singapore

Action Theatre Singapore Art Museum

8Q SAM

Young Musicians’ Society

Singapore Calligraphy Centre

Fort CanningPark

FEBRUARY 2011 / 63

SINGAPORE’S ART MAP

LEGEND

GALLERY SPOTTED

MAIN ROAD

SMALL ROAD

EXPRESSWAY

ART GALLERY

PUBLIC PLACES

SCHOOLS

MRT

Art Trove Gallery 51 Waterloo Street #02-01/2/3Singapore 187969

T: +65 6336 0915 F: +65 6336 9975E: [email protected] W: www.art-trove.com

Opening Hours

Wed- Sun: 11am to 6.30pmCall for private viewing.

D

d’Art 5 Westbourne Road #02-03D’Peak Art Space Kaki Bukit Road 1 #01-07DLR Gallery 22 Marshall Road

EEagle’s Eye 39 Stamford Road #01-01Echo Art Galerie 19 Tanglin Road #02-59Evil Empire 48 Niven Road

F

FOST 65 Kim Yam Road

GGalerie Belvedere 168 Robinson Road #36-01Galerie Waterton 39 Keppel Road #02-01

GALLERIES

AAndrewShire Gallery 5 Swiss Cottage EstateAratong Galleries 26 Mount Pleasant DriveArt Forum 82 Cairnhill RoadArt Glass Solutions 30 Kuo Chuan AvenueArt Seasons 7 Kaki Bukit Road 1 #02-12Art Tree Gallery 333A Orchard Road #04-11Art-2 Gallery 140 Hill Street #01-03artcommune 133 New Bridge Road #02-77Artesan 793 Bukit Timah Road #02-01 Artfolio 328 North Bridge Road #02-25ArtGoGo 402 Orchard Road #02-08ARTINNO 391B Orchard Road #23-01

Arty Art Gallery 686A Woodlands Drive 73 #15-52Aryaseni 10A Bukit Pasoh

B

Bartha & Senarclens 75 Emerald Hill Road

C

CdeM ART & DESIGN Blk 5 Westbourne Road #01-02Collectors Contemporary 5 Jalan Kilang Barat #01-03COMBINART 27 Woodlands Industrial Park E1 #01-08

Boon’s Pottery91 Tanglin Road #01-02A Tanglin Place Singapore 247918T: +65 6836 3978www.boonspottery.com

Bruno Gallery91 Tanglin Road#01-03 Tanglin Place Singapore 247918T: +65 6733 0283www.brunoartgroup.com

DaTang Fine Arts Singapore177 River Valley Road, Liang Court , #02-09A Singapore 179030 T: +65 9846 2098 / +65 9721 3718www.9911art.com

Dynasties Antique & Art Gallery 18 Boon Lay Way #01-136 TradeHub 21 Singapore 609966T: +65 67383268www.9911art.com

fill your walls21 Tanjong Pagar Road #04-02Singapore 088444T: +65 6222 1667www.fill-your-walls.com

Forest Rain Gallery261 Waterloo Street #02-43/44 Singapore 180261T: +65 6336 0926www.forestraingallery.com

Art Trove51 Waterloo Street #02-01 to 03Singapore 187969T: +65 6336 0915www.art-trove.com

Cape of Good Hope140 Hill Street #01-06 MICA BuildingSingapore 179369T: +65 6733 3822www.capeofgoodhopeartgallery.com

Chan Hampe Galleries328 North Bridge Road#01-04 Raffles Hotel ArcadeSingapore 188719T: +65 6338 1962 www.chanhampegalleries.com

DIRECTORIES


Living Portraits 31 Tanjong Pagar

MM Gallery 51 Waterloo Street #03-03B/04Metakaos 1 Kaki Bukit Road 1 #03-22

OOde to Art 252 North Bridge Road #01-36E/FOpera Gallery 2 Orchard Turn #03-05

P

RReDot 39 Keppel Road #02-06Red Sea 9 Dempsey Road #01-10

HHaKaren 19 Tanglin Road #02-43Heng Artland 290 Orchard Road #04-08

I

Indigo Blue Art 33 Neil RoadINSTINC 12 Eu Tong Sen StreetiPRECIATION 1 Fullerton Square #01-08

K

Kwan Hua 19 Tanglin Road #02-09

LLarasati www.larasati.comLinda Gallery 15 Dempsey Road #01-08 Light Editions Gallery 39 Keppel Road #02-02B

Li Fine Art19 Tanglin Road#03-32 Tanglin Shopping CentreSingapore 247909T: +65 6235 3306www.lifineart.com

Ken Crystals133 New Bridge Road#01-45 Chinatown PointSingapore 059413T: +65 6339 0008 www.lifineart.com

Lukisan Art Gallery110 Faber DriveSingapore 129421T: +65 6774 1609www.lukisan-art.com

Mulan Gallery19 Tanglin Road#02-33 Tanglin Shopping Centre Singapore 247909T: +65 6738 0810www.mulangallery.com.sg

Muse The Art Gallery268 Upper Bukit Timah Rd #03-09 @ The Old Fire StationSingapore 588210T: +65-8388 0044www.musetheartgallery.com

Pop and Contemporary Fine Art390 Orchard Road#03-12 Palais Renaissance Singapore 238871T: +65 6735 0959www.popandcontemporaryart.com

Impress Galleries 1 Kim Seng Promenade#02-07/08 Great World CitySingapore 237994T: +65 67362966www.impressgalleries.com

The Gallery of Gnani Arts1 Cuscaden Road#01-05 The Regent Singapore 249715T: +65 6725 3112www.gnaniarts.com

OVAS Art Gallery9 Penang Road#02-21 Park MallSingapore 238459T: +65 6337 3932 www.ovas-home.com

Galerie Joaquin1 Cuscaden Road #01-03 The Regent Hotel Singapore 249715T: +65 6725 3113www.galeriejoaquin.com

DIRECTORIES

FEBRUARY 2011 / 65

Your MOTHER gallery 91A Hindoo Road

#2902 Gallery 11 Mount Sophia Block B #B2-09

ART AUCTIONEERS / DEALERS

Borobudur www.borobudurauction.comMasterpiece www.masterpiece-auction.com33 Auction www.33auction.com

MUSEUMS

Asian Civilisations Museum www.acm.org.sgChangi Museum 1000 Upper Changi Road NorthMAD Museum of Art & Design 333A Orchard Road #03-01MINT Museum of Toys 26 Seah StreetNational Museum of Singapore 93 Stamford RoadPeranakan Museum 39 Armenian StreetPost Museum 107/109 Rowell RoadRed Dot Design Museum 28 Maxwell RoadRSAF Museum 400 Airport Road Singapore Art Museum 71 Bras Basah RoadSAM at 8Q 8 Queen StreetSingapore Coins and Notes Museum 2 Trengganu Street Level 3Singapore Navy Museum 32 Admiralty Road WestSingapore Philatelic Museum 23B Coleman Stree

S

Soobin Art International 10 Ubi Crescent #04-90/92/93/95Sun Craft 19 Tanglin Road #02-08

TTasa Gallery 89 Short StreetTembusu 140 Hill Street #01-05The Gallery of Gnani Arts One Cuscaden Road #01-05The Peach Tree 129 Tanglin RoadThe Tolman Collect 82 Cairnhill Road

UUtterly Art 229A South Bridge Road 2nd Level

VValentine Willie Fine Art 39 Keppel Road #02-04VITRIA 17 Chee Hoon AvenueVUE PRIVÉE 20 Cairnhill Road

WWetterling Teo Gallery 3 Kim Yam RoadWhite Canvas Gallery 78 Guan Chuan Street

X

YYang Gallery 19 Tanglin Road #02-41 YAVUZ Fine Art 51 Waterloo Stree #03-01

Y2ARTS140 Hill Street#01-02 MICA BuildingSingapore 179369T: +65 6336 8683 www.y2arts.com

The Luxe Art Museum6 Handy Road#02-01 The LuxeSingapore 229234T: +65 6338 2234www.thelam.sg

Black Earth Auction 367 Joo Chiat RoadSingapore 427559T: +65 6346 3767www.blackearth.com.sg

Yisulang Art Gallery6 Handy Road#01-01 The Luxe Singapore 229234T: +65 63376810www.yisulang.com

Xuanhua Art Gallery70 Bussorah StreetSingapore 199483T: +65 6392 2556www.xuanhuaart.com

Sunjin Galleries 43 Jalan Merah Saga#03-62 Work Loft @ Chip Bee Singapore 278115T: +65 6738 2317www.sunjingalleries.com.sg

Galerie Sogan & Art33B Mosque StreetSingapore 059511T: +65 6225 7686www.soganart.com

S.Bin Art Plus140 Hill Street MICA Building#01-10/11/12Singapore 179369T: +65 6883 2001www.sbinartplus.com

DIRECTORIES


VENUES / ASSOCIATIONS / GROUPS

Alliance Française de Singapour 1 Sarkies RoadArt Retreat (Wu Guanzhong Gallery) 10 Ubi Crescent #01-45/47ARTSingapore www.artsingapore.netArtSpace at Royal Plaza Hotel 25 Scotts RoadCOMBINART 27 Woodlands Industrial Park E1 #01-08Esplanade 1 Esplanade DriveEmily Hill 11 Upper Wilkie RoadGive Art 65 Spottiswoode Park Road

Jalan Bahar Clay Studios 97L Lorong TawasJENDELA (Visual Arts Space) 1 Esplanade Drive Level 2La Libreria 50 Kent Ridge Crescent Level 3Little Red Shop www.littleredshop.org

Ngee Ann Cultural Centre 97 Tank RoadNight & Day 139 A/C Selegie RoadOsage 11B Mount Sophia #01-12Post-Museum 107+109 Rowell RoadPublic Art Space (Pan Pacific) 7 Raffles BoulevardSculpture Square 155 Middle RoadSinema 11B Mount Sophia #B1-12 Singapore Art Society 10 Kampong EunosSingapore Contemporary Young Artists www.contemporaryart.sgThe Art Gallery 1 Nanyang WalkThe Arts House 1 Old Parliament LaneThe Gallery (SMU) 90 Stamford RoadThe Picturehouse 2 Handy RoadThe Substation 45 Armenian StreetThird Floor – Hermès 541 Orchard RoadVictoria Theatre & Concert Hall 11 Empress PlaceVolvo Art Loft 249 Alexandra Road72-13/TheatreWorks 72-13 Mohamed Sultan Road

ART SERVICES

FRAMERSAce Framing Gallery 226 River Valley RoadFrame Hub Gallery 46A Lorong Mambong

CONSERVATION / RESTORATION

The Private Museum 51 Waterloo Street #02-06 Singapore 187969T: +65 67382872www.theprivatemuseum.org

Impress Galleries 429 East Coast RoadSingapore 429016T: +65 64404533www.impressgalleries.com

Benaka Art Conservation Private Ltd64 Taman WarnaSingapore 276386T: +65 9105 4377 / +65 6100 2707www.benakaartconservation.com

Peter’s Frames19 Tanglin Road #02-02 Tanglin Shopping CentreSingapore 247909T: +65 6737 [email protected]

Ray’s Transport & ServicesArtwork Installation & Delivery ServicesAll other Art related services+65 [email protected]

Gnani Arts Space190 Middle Road#02-30/31, Fortune CentreSingapore 188979.T: +65 6339 1230www.gnaniarts.com

Mercedes-Benz Center301 Alexandra RoadSingapore 159968T: +65 6866 1888www.mercedes-benz.com.sg

DIRECTORIES

FEBRUARY 2011 / 67

ART SCHOOLS

Bhaskar’s Art Academy 19/21 Kerbau RoadLASALLE 1 McNally StreetNanyang Academy of Fine Arts 38/80/151 Bencoolen StNTU (School of Art, Design & Media) 81 Nanyang DriveNUS Museum 50 Kent Ridge CrescentSchool of the Arts (SOTA) 1 Zubir Said DriveSotheby’s Institute of Art 82 Telok Ayer StreetThe Republic Cultural Centre 9 Woodlands Avenue 9The Singapore Tyler Print Institute 41 Robertson Quay

ARTIST STUDIOS

Barrosa Studio 4 Woking Road #01-02

Geeleinan Art Gallery & Studio 1 Whitchurch Road #02-03Jeremy Ramsey Fine Art 16 Bukit Pasoh RoadKelly Reedy - Studio Arts 27 Woking Road #01-01

Marisa Keller 28 Woking Road #03-05Sealey Brandt Photography Studio 1 Westbourne Road #01-02 Telok Kurau Studios 91 Telok Kurau Lorong J

TOURISTS SPOTS

Armenian Church 60 Hill StreetBattle Box 51 Canning RiseBotanic Gardens 1 Cluny Road +65 6471 7361Buddha Tooth Relic Temple 288 South Bridge RoadBukit Timah Saddle Club 51 Fairways Drive +65 6466 2782CHIJMES 30 Victoria Street +6336 1818Chinatown Heritage Centre 48 Pagoda Street +65 6221 9556Chinese Garden 1 Chinese Garden +65 6261 3632Crocodilarium 730 East Coast Parkway +65 447 3722Escape Theme Park 1 Pasir Ris Close +65 6581 9112Fort Canning Park 51 Canning Rise +65 6332 1302Goethe-Institut Singapur 163 Penang Road #05-01Johore Battery Cosford Road +65 6546 9897Jurong Bird Park 2 Jurong Hill +65 6265 0022Kranji War Memorial 9 Woodlands RoadLim Bo Seng Memorial Esplanade ParkMalay Heritage Centre 85 Sultan Gate +65 6391 0450Malay Village 39 Geylang Serai +65 6748 4700Mandai Orchid Garden 200 Mandai Lake Road +65 6269 1036Marina Barrage 8 Marina Gardens Drive +65 6514 5959Marina Bay Sands 10 Bayfront Avenue +65 6688 8868Masjid Sultan Kampong GlamMerlion Park Fullerton Mount Faber +65 6270 8855National Archives of Singapore 1 Canning Rise +65 6332 7909National Library Singapore 100 Victoria Street +65 6332 3255National Parks Board 1800 471 7300Night Safari 80 Mandai Lake Road +65 6269 3411Parliament House 1 Parliament Place +65 6336 8811Raffles’ Landing Site North bank of the Singapore RiverReflections at Bukit Chandra 31K Pepys Road +65 6375 2510Resorts World Sentosa 39 Artillery Avenue +65 6577 8888St. Andrew’s Cathedral 11 Saint Andrew’s RoadScience Centre Singapore / Omni Theatre 15 Science Centre Road +65 6425 2500Sentosa 1800 736 8672SIA Hop-on +65 9457 2896Singapore Botanic Gardens 1 Cluny Road +65 6471 7361Singapore Cable Car +65 6270 8855Singapore City Gallery 45 Maxwell Road +65 6321 8321Singapore Discovery Centre 510 Upper Jurong Road +65 6792 6188Singapore Expo 1 Expo Drive +65 6403 2160 Singapore Flyer 30 Raffles Avenue +65 6734 8829Singapore Turf Club 1 Turf Club Avenue +65 6879 1000Singapore Zoo 80 Mandai Lake Road +65 6269 3411SKI360° 1206A East Coast Parkway +65 6442 7318Snow City 21 Jurong Town Hall Road +65 6560 2306Sri Mariamman Temple 244 South Bridge RoadSun Yat Sen Nanyang Memorial Hall 12 Tai Gin Road +65 6256 7377Supreme Court 1 Supreme Court Lane +65 6336 0644Sungei Buloh Wetland Reserve 301 Neo Tiew Crescent +65 6794 1401Taxis - Comfort/YellowTop +65 6552 1111- CityCab +65 6552 2222- Premier +65 732 2516- Smart +65 6485 7777- Tibs +65 6555 8888- Transcab +65 6555 3333Thian Hock Keng Temple 158 Telok Ayer Street

Foundation Oil Painting(conducted by Mr Wee Shoo Leong)155 Waterloo Street#01-04 Stam ford Arts CentreSingapore 187962+65 9726 2028www.foundationoilpaintingclass.com

Ketna Patel35 Jalan Puteh JernehChip Bee Gardens, Holland VillageSingapore 278057+65 6479 3736www.ketnapatel.com

Chieu Sheuy Fook Studio Studio 102 91 Lorong J Telok Kurau Road Singapore 425985+65 96690589e: [email protected]

DreamSpace Art Studio艺术创作，专业绘画教育。19 China Street#03-04/05 Far East SquareSingapore 049561+65 9168 7785www.hill-ad.com.sg

Koeh Sia Yong 许锡勇10 Kampong Eunos Singapore 417774 +65 9671 2940e: [email protected]/koehsiayongwww.koehsiayong.artfederations.com

DIRECTORIES


Touristline 1800 736 2000 Underwater World 80 Siloso Road +65 6275 0030Universal Studios 8 Sentosa Gateway +65 6577 8888War Memorial Park Bras Basah Road & Beach Road intersection

MALAYSIA ART GUIDE

+Wondermilk Art Gallery www.theclickproject.com12 (Art Space Gallery) www.12as12.comA2 Gallery www.a2artgallery.comAnnexe Gallery www.annexegallery.comArt Case Galleries www.artcase.com.myArt Expo Malaysia www.artexpomalaysia.comArt House Gallery www.arthousegallery.bizArt Loft www.artloftgallery.netArt Salon @ Seni www.theartgallerypg.comArtseni Gallery www.artseni.com CHAI (Instant Cafe House of Arts and Idea) www.instantcafetheatre.comCity Art Gallery Edi.A Art Gallery www.ediarts.blogspot.comGaleri Chandan www.galerichandan.comGALERI PETRONAS www.galeripetronas.com.myGaleri Shah Alam www.galerisa.comgalleriiizu @ Shangri-La Hotel www.galleriiizu.comHouse of Matahati (HOM) www.matahati.com.myIslamic Arts Museum www.iamm.org.myLookiss www.lookissgallery.comLost Generation Space www.lostgenerationspace.blogspot.comMalaysia National Art Gallery www.artgallery.gov.myMERAH: Mansion for Experimentation, Research, Arts and Horticulture www.facebook.com/pages/MERAH/148050170487Metro Fine Art www.metro3gallery.comNN Gallery www.nngallery.com.myPace Gallery www.pacegallery.netPelita Hati www.pelitahati.com.myPinkguy Gallery www.pinkguymalaysia.comRichard Koh Fine Art www.rkfineart.comRimbun Dahan www.rimbundahan.orgRougeArt www.rogueart.asiaShalini Ganendra Fine Art www.shaliniganendra.comThe Gallery @ Star Hill www.starhillgallery.comValentine Willie Fine Art www.vwfa.netWei-Ling Gallery www.weiling-gallery.comY 2 S Art Space www.y2sart.com.myZINC www.zinc.com.my

INTERNATIONAL ART GUIDEAmelia Johnson Gallery www.ajc-art.comI/O Input Output www.inputoutput.tv

Karin Webber Gallery www.karinwebbergallery.com

FLO PETERS GALLERYChilehaus CPumpen 820095 Hamburg, Germany+49 40 3037 4686www.flopetersgallery.com

© Elliott Erwitt/MAGNUM Photos

DIRECTORIES

FEBRUARY 2011 / 69


We do Community Art. Art to the Heart: Heartlanders into Artlanders.

Art for everyone and anyone.

To learn more about our Public Murals or to donate please email: [email protected]

is a registered charity with IPC Status that may provide up to

250% tax-deductibles for donations received.

Featured on

FEBRUARY 2011 / 71


C

M

Y

CM

MY

CY

CMY

K

FPad-Sunjin.pdf 1 1/19/11 12:55 PM

the pocket arts guide ( february 2011)

Documents