EOY2010 Street Scene by Liu Kang, 1956

Street Scene by Liu Kang, 1956
oil on canvas
128 x 84 cm

a)describe the subject matter of the work.
The work shows a street scene which is probably situated in Bali. This is because Liu Kang went to Bali with the other pioneer artist such as Chen Cheong Swee in 1952. He was influenced by the naive innocence untouched by urbanization in Bali. Another clue is that the women in the work are dressed in colourful Batik sarongs which is the typical type of clothing that women wear in Bali. In the foreground of the picture, there are 4 women, 1 sitting on the floor dressed in a dark green blouse with flower prints with her back facing the viewer. Her hair is wrapped in a cream coloured cloth. To her left, there is a woman wearing a striped white shirt and bright orange sarong with black bird prints. She is sitting on a stool. In front of her,  is a table with fruits like bananas and mangoes on it. there are also jars with colourful contents on the table. Perhaps they are pickled fruits. To the left of the table, there a bunch of unripened bananas and some green and red fruits placed on the floor. Perhaps she is a fruit seller setting up her stall by the street. This shows the simple lives of Bali women.
At the background, there are more women dressed in batik sarongs.They seem to be getting arond with their everyday activities. One example is a mother bending down and picking up something while a young naked child is tugging at her sarong. This shows the innocence and purity of the people there.
Also in the background, there is a man with a straw hat carrying a stick behind the group of women. He seems to be transporting something. At the very back of the cork, there are 2 women.They are not drawn with much detail. The viewer only can tell their positions one women is carrying a basket on top of her head while the other is putting her left hand on her hip. They seem to be walking on the street.
The daily and simple activities that occur on the street in Bali is portrayed in this work. It shows that though their lives are simple, they work hard at their work and are a group of happy and contented people. Lui Kang did this work as he liked scenes that were rustic. On his trip to Bali, he was inspired by the simple, innocent, contented lives of the Bali people.

b)Discuss the use of colour, brushwork and pictorial space in this painting

Liu Kang uses complementary colours. One example is the women in the foreground mending her stall and the woman sitting behind her. The former is wearing a bright orange-pink sarong while the latter is wearing a dark green blouse. The juxtaposition of the 2 colours make both look brighter. Another example is the woman squatting down in the middle. Her Batik sarong is dark red while the dots on it are light green in colour. The use of complementary colours make the dots stand out. Perhaps this is to hint that although the lives of the Bali people seem boring and mundane, if you look closely, their lives are actually very colourful and interesting.
Liu Kang painted in flat areas of colours. Hence the paintings seems rather flat and 2- dimensional. However, he does use darker tones of the same colour to show shadows. This can be seen in the woman sitting in the foreground, sitting diagonally behind the fruit seller.Her arm has 2 different tones. This gives volume and a sense of roundness to her arms.
Depth is created by the size of objects and people and the amount of detail present . People in the foreground are larger in size and are painted with more detail while people in the background is smaller in size and have little detail. This can be seen in the 2 ladies at the very back, they are smaller in size and their facial features are not painted. However in the foreground, the details of the fruit seller's clothes are clearly painted, like the black bird prints on her sarong.
Other than the people and the important objects related to what they are doing, everything else is black. For example the space on the left centre of the work is completely black. This perhaps is an influence from chinese painting ,留白，where areas are kept empty to balance the composition and prevent it from being too cluttered. This perhaps done also to draw focus to the activities of the people.

c)Explain what is meant by the "Nanyang Style" and how the art of Liu Kang exemplifies this style. Discuss with reference to the work above and a named work by another Nanyng Artist.


Nanyang style is the use of art techniques influenced by both western art and eastern art to depict a subject matter that is unique to the 南洋 region, local subject matter.
The work probably depicts a street scene in Bali which is only Characteristic to the 南洋 region.
Liu kang uses bold black calligraphic strokes as outlines to show forms, this may be an influence from the chinese calligraphic strokes used in chinese ink painting. An influence from the western post-impressionism is that paint is applied in flat areas of colours. This is evident in the works of Gauguin .The forms in the work are simplified. This may be an influence from the chinese style "xieyihua" where only the essentials are kept, details are ignored. "Bali Girl" by Cheong Soo pieng shows the side profile of a Bali girl in a Batik sarong The left top corner of the work is left completely empty. This may be an influence from the chinese technique of 留白. The The Bali girl and the sarong that she is wearing is something that is local and cannot be found anywhere else in the world. She is unique to this 南洋 region. Hence the subject matter is local. The medium in which the painting is painted is oil, which is typically a western medium. Yet, the painting is painted with a chinese flavour.

T.Venkanna ART Stage

T.Venkanna seated with a man infront of Frida Kahlo's The Two Fridas at Art Stage Singapore

At Art Stage Singapore, a man dressed only in his "birthday suit" sat  in front of Mexican artist Frida Kahlo's The Two Fridas. As part of the work, visitors could pay $250 to be seated next to him, hold his hand, and get a photograph taken.




T.Venkanna is an Indian artist known to be "one of his generation's most exciting, versatile, and unconventional artists." as quoted from Gallery Maskara's website. It is the gallery he represented at Art Stage Singapore. His art created quite a stir and there was controversy over if this was considered art and the appropriateness of his art at a public event.


So firstly, is this art? This would depend on one's definition of art. For me, art is self expression. Art is the expression of one's feelings, emotions, thoughts through any medium, be it drawing, painting, installation, performance, etc. Hence, i do consider his work art.


Secondly, is this good art? i feel that for art to be considered good, it has to be meaningful to the audience. If there is no connection between the art and the viewer, it would be just another performance, object or image, there is no significance to the work. 


According to T.Venkanna, the meaning of his work is about "removing the trappings of identity". However, i find it rather difficult in understanding his work. The Two Fridas by Frida Kahlo is a self portrait about the pain, turmoil and struggle during her martial crisis. It shows 2 of her personalities, one that loves her husband and one that was abandoned by her husband.


 i do acknowledge that there are some slight connections between the work and the meaning, however i find it very difficult to understand how sitting stark naked holding the hand of a visitor in front of the painting can show the removing of the outward signs, features, or objects associated with identity. Hence the work is not very meaningful to me. 


Furthermore, i also do not understand how charging $250 for a picture with the artist in front of the painting contributes to the meaning of the work, that is the  "removing (of) the trappings of identity". If taking a photo is necessary in the work, i am able to accept it, if collecting a token of money is necessary, i am able to accept it. However what i find very hard to accept is the charging of $250. $250 is not a small sum of money, hence it makes me wonder if the artist is doing his work for self expression or if he is just doing it for the sake of money. 


As for whether the such work is appropriate to be shown at Art Stage, i think it is appropriate.
Before the event, "permission was sought from the Media Development Authority (MDA) before Venkanna's exhibit was given the go ahead."(quoted from asiaone.com) Furthermore," additional measures taken were to screen the exhibit from the public area to avoid visitors from stumbling upon it by accident."(quoted from the deputy director of Art Stage Singapore). This was done by 
Mr T. Venkanna had sitting behind a black curtain and a sign warning viewers of the content and restricting viewers to those who are 21 years and older was posted in front of the booth.

Hence i feel that only those who knew what was the content of the work and of the appropriate age would see the work.

Furthermore, in other countries, works with more explicit content are also displayed in such a way, with signs warning viewers of the content. However instead of a restriction of age, the signs only encouraged parental supervision. For example at Centre Pompidou, there was an exhibition which contained some explicit content. That exhibition entrances were covered with black curtain and signs warning viewers of the content were placed outside. However i do acknowledge that these exhibitions probably did not have a real naked man behind the curtains. 

As for the artist's responsibility in creating one's art, society expectations, modesty,virtues, where do we draw the line between self expression and the society? i feel that before the work is done, the artist has the responsibility to ask himself if this is the only way to express what he feels, is this the only and best way? if it is still yes, i feel that the artist should warn potential viewers of the content and approach the authorities of the society before doing his work. This is to ensure that Innocent by-standers would not stumble onto the work and feel uncomfortable and be scarred.

 Overall, i felt that T. Venkanna's work lacked explanation and that Singapore's art culture is still not mature enough to accept such works.

BT2,2011, Looking Ahead by Ng Eng Teng vs Growth by Han Sai Por

Looking Ahead by Ng Eng Teng, 1987
Bronze,79 x 56 x 29 cm

Growth by Han Sai Por, 1985
Marble, 111.2 x 88.5 x 40 cm

a)Describe the subject matter of both works.

Looking Ahead by Ng Eng Teng shows a simplified head with 2 clasped hands holding it. The hands are at almost 90 degrees with the right elbow resting on 2 thighs with exaggerated proportions. The upper arms, the torso, the neck are all omitted while the thighs and legs are simplified into 2 round lumps which differ in size. The texture of the legs are much rougher than that of the lower arms and the hands. Among all the body parts, the texture of the face is the smoothest of all.

Coming out from the back of the head, is a long flat piece. It may suggest hair. The flat piece also seems to suggest movement of the head, as if it is flying forward. The facial features on the face are very simplified with eyes suggested by an indent and the nose suggested by a long thin protrusion. The mouth is also suggested by a small protrusion below the nose. Although the forms are rather simplified, the viewer is still able to tell that the face is looking forward. This is through the careful positioning of the head.

The omission of the upper arms, torso, and elimination of details such as the feet draw the viewer's attention to what is portrayed even more.  The absence of the parts also create a presence as the viewer can imagine the positioning of the parts and is able to easily tell the body language of the body.

The work seems to suggest that the person is deep in thought looking at the distance, dreaming. Perhaps the work is to encourage the viewer to dream and look ahead beyond the problems and limitations that surround us now.

Growth by Han Sai Por is 5 carefully carved out pieces of white marble that are semi-abstract. They seem to be like shoots growing out of the ground. They all have a round bottom and a slightly pointed tip at the top.They are placed in a circle with each pointing in different directions. Although they are similar in their form, size and texture, they have small differences light their height, thickness, and the curves that make each of them unique in their own way. This makes them look interesting to look at and seem that they are alive.

They are all very well executed, the surface is polished till it is very smooth and have very smooth and soft lines. This is rather ironic as it is made of marble, something that is hard, brittle and cracks easily. 

Because of their different heights and slightly different shapes, they seem to be like seedlings, fragile, soft, needing protection, yet at the same time full of life, curiosity and wanting to understand and discover the environment.

Through her sculptures, Hn Sai Por is able to make the work have a spirit that wants to break out, feeling of nature. It tells the audience of human's relationship with nature, that humans must protect nature.

b)Discuss similarities and differences that exist in their treatment of forms and use of materials

Both works are sculptures that have a meaning that each work is trying to show, they are not just pleasantly looking forms that are empty and meaningless. Looking ahead seems to be trying to encourage the viewer to dream, to look beyond the present. While Growth seems to suggest the beautiful silent beauty of nature and that we should protect it.

both works are simplified. They both do not have much details only the essential parts are kept. In looking ahead, Ng Eng Teng simplified the legs and thighs into just 2 lumps of different sizes. he also simplified the features of the face and omitted the upper arms,torso and legs. In Growth, Han Sai Por simplified the young seedlings to smooth teardrop-like forms, there is hardly any detail. However, despite their simplification, both works are still able to portray a message the artist is trying to express. The simplification further adds on to the clear message as there is less detail to distract the viewer. 

However, both have differences. For Looking Ahead, the texture is rough, making it seem like the texture of rough granite. this can be seen in the lumps which portray legs. The arms also have a slightly rough texture. However in Growth, all the forms are painstakingly sanded down and are as smooth as baby's skin. Even the points, the tip of their teardrop-like forms is also smooth, not one bit prickly.

Another difference is the use of material. Looking Ahead uses bronze while Growth is made of marble. The difference is probably because the artist wanted the characteristics of the material he/she choose. Bronze is dark brown in colour and is durable. This is perhaps to suggest that our dreams and aspirations should last long, we should not give up.

Marble on the other hand is white, hard and brittle, yet it can be polished till very smooth. This is perhaps to symbolise the fragility and beauty of nature.

c)In your opinion, which work would you choose to be displayed in Nanyang Girls' High School as part of our permanent art collection and where will the chosen work be exhibited? Disscuss with consideration given to the artist's background, repertoire of works, approaches to art, etc.

I would choose Growth by Han Sai Por to be displayed in Nanyang. i would choose the green grass patch at the front gate of the school as the location. However, because of the size of the work, it could be placed on a raised platform.

i chose Growth for a few reasons. 

Firstly, some of Han Sai Por's work is already in our school and this would add to the collection.

Secondly, Han Sai Por has taught in Nanyang as an art teacher before, hence it would be more meaningful to have her work in Nanyang.

Thirdly, i think the meaning of Growth is very suitable fro Nanyang.Growth seems to suggest little young seedlings in the midst of discovering their environment and growing up. This ties in very well with Nanyang. Nanyang is a plaace where young girls are given a good environment and the resources to discover about themselves, learning to grow and mature. In Nanyang we are given the protection and loving teachers to guide us. Hence the whole idea of growth that Growth presents is very apt for Nanyang.

Lastly, Han Sai Por Being a rather small and petite woman, has the courage and passion to pursue her interest in sculpture. she has to work with big machines, hard rock to slowly carve these rocks into her art pieces. I think that her attitude in life is very encouraging, to have the determination and courage to pursue an art  career as an artist which is not popular in Singapore.Her determination and courage is very admirable and i think that she and her work will be a great inspiration to Nanyang Girls.

aep essay- A valid interpretation of an artwork is dependent on an understanding of the artist’s intent and the context in which it was created.

A valid interpretation of an artwork is dependent on an understanding of the artist’s intent and the context in which it was created.

I feel that a valid interpretation of art does is dependent on an understanding of the context in which it was created. However, I feel that a valid interpretation is not dependent on the artist’s intention although it is important. I define a valid interpretation as one that is meaningful and is not superficial. I also think that there can be more than one valid interpretation for the same artwork.

Firstly, I do feel that a valid interpretation can only be made with an understanding context. This is because what an artist is trying to express in his art may not literal or that the images carry a special meaning, specific to a certain context For example, in the case of Srikandi by Lucia Hartini. If one does not understand the background of the artist, one would not understand why she painted a confident woman seemingly repelling floating eyes and the significance of such a painting. However with an understanding of the context, one would possibly understand the symbolism of floating eyes (which represent how society views women) and why she dressed the woman in blue cloth (women warriors who used to protect the feudal kings were dressed in blue). Without knowing the context, a viewer could possibly interpret the work as artist is trying to portray someone as a confident woman, unable to understand why she painted it. This would be a rather superficial interpretation.

Furthermore, with an understanding of the context of the work, one would understand why the artist used certain techniques in the work and the significance of doing so. For example, the romanticist used emotive colours and brushwork; in today’s context this would not be particularly shocking or surprising as we are already exposed to more shocking techniques of art. However, in that time, this was revolutionary. As art then was used to copy nature, hence to express such emotions through art was unheard of. Thus romantic works carries a meaning of breaking away from tradition, changing the definition of art.

I feel that an understanding of the artist intention is important but one should have their own judgment in interpreting a work and not be completely swayed by the artist’s intention. Understanding is important as it allows for further understanding of the work and helps the viewer to draw the link between the context and work. For example, in ready-mades in Dadaism, the context is World War 1 and the work is randomly chosen objects. However the link between the 2 is still rather unclear. With the understanding that the artist’s intention was to shock and mock serious art intention as artist felt that humans were too inhumane, the link is clearer and the work is more easily understandable. However, I do feel that one should look at the work without the knowledge of the artist’s intention and develop one’s own interpretation. Later, when one knows about the artist intention, one can rethink one’s own interpretation and decide on a final interpretation. I feel that the artist intention can influence one’s interpretation but should not be dependent on it.

Therefore, I feel that understanding of the context and the artist’s intention would allow us better appreciate the work and have a better interpretation of the work! (:

Essay on Lucia Hartini's Srikandi(1993)

Srikandi by Lucia Hartini 1993

Oil on canvas, 150 x 150 cm

(a) describe the use of space colour and brushwork

The painting depicts a confident woman dressed in a flowing piece of blue cloth situated centrally in the canvas. The woman has her legs wide apart, depicting that she is firmly standing on the ground. Her hands are at akimbo and her head is up, with wide-open staring eyes looking to her left. On her left there is a beam of converging light with many pairs of eyes which enters her eyes.

The foreground and right side of the canvas shows some brick walls which seem to form a maze. The walls have very sharp turns and have many cracks on them. It seems like the walls are going to crumble and fall apart anytime. The left background of the canvas depicts clouds and a moon. This suggests that the painting is situated in the sky

Overall, the figure of the woman is very large and takes up about ½ of the total space in the canvas. Hence this draws attention to the woman.

The colours used in the painting are rather realistic with red used for the bricks and beige for the skin. The colours are also very rich and vibrant. For example, the blue cloth is an electric blue. This is rather contrasting to the red brick walls surrounding the cloth. Hence this draws attention to the blue cloth and the woman wearing it. Colours are also used to depict light and dark areas. For example, white and light blue it used on the electric blue cloth to depict folds and creases on the cloth, thereby showing depth. It is also used to show that the cloth is glowing and flowing, giving it a very soft, silky and smooth texture. White and lighter tones of beige are also used to show the curves on the woman’s arms and legs. This allows the viewer to see the bulging veins on her arms caused by clenching her fist and her biceps and calf muscles. This suggests that she is very strong. The colour used for her skin tone is a tanned skin colour and the white highlights make her skin seem like it is glowing. This gives the impression that she goes out into the sun to do physical work and is very strong

The colour of the sky is blue and yellow, suggesting that the sun is rising. This gives the painting a rather positive atmosphere.

The brushwork in the painting is similar to that of neo-classicism. It is meticulously blended and brush strokes seem almost invisible. This accentuates the realistic nature of the painting making it seem more life-like.

(b) comment on the influences behind this work

Her culture influences her art. This can be seen in the title of the work, Srikandi. Srikandi is the archetypical “warrior woman” of south-east Asian legend. Lucia Hartini depicted her representation of Srikandi, one who is bold, strong, brave and confident in this painting. Another influence of her culture is the blue cloth used to dress the woman in the painting. Blue cloth was worn by members of the woman’s armies who historically protected the Sultans of federal Central Java. This adds on to the fact that the woman depicted is strong.

Her identity also greatly influences this work. Lucia Hartini grew up in Indonesia, where women were seen as less important to men. They were brought up to be obedient subjects to men and were only expected to cook, look good and have children. They were not given much freedom or choice. However, through Lucia Hartini’s struggles, experience and intuition, she realized that women should represent themselves as autonomous subjects having potential which is different but no less capable than that of men in this shared world. Hence she expressed this feeling of equality in sexes through this work, depicting herself as the woman in the painting, Srikandi. Her identity is one of a woman who is no longer constrained by social expectations and no longer afraid of the critical and doubting eyes of society. This can be seen in her seemingly repelling the many pairs of eyes. Her stance and body language also show that she is strong, bold and confident.

She is also influenced by cosmos. Painting the cosmos, such as the moon at the top left corner of this painting, allows her to escape from reality and to momentarily feel free and peaceful.

Another influence is the social environment that she is in. Her social environment is one where straightforward critical or confessional discourse is not acceptable. Hence Lucia Hartini is forced to create work in symbol-laden styles to carry out her social message. This can be seen is her using a warrior woman from the Hindu epic the Mahabharata to depict a strong and confident woman and many pair of eyes to depict the critical and doubting eyes of society.