Tuesday, December 29, 2009
Sunday, December 27, 2009
The girl at the bus stop
Car broke down at the eve of Christmas. Started to travel with public transport. Hum...... actually it wasn't too bad for me. For not driving my car, I get to observe things around me. At the very first day of my trip to my studio, I saw a girl at the bus stop. There wasn't anyone else. So, when I reached my studio, she eventually become the subject of my painting. Then, there were the trees, more people in the bus, shopping mall, on the road ......... There are just so many things that I could turn into my artwork. Afterall, it is not too bad for not having a car, at least for a few days!
Thursday, December 24, 2009
The girl and the wine
Hong and myself were having dinner, we talked about the figuring works that I painted over the years. She likes in particular the girl and the wine that I painted around mid 90s. She said that the work was so naive and all lines and forms just came so naturally. She likes the simplicity of the work and how the strokes of lines shaped the details of the work. To some extent, I agree with Hong. However, over the years, my skills improved and I think I can handle strokes better. Nevertheless, I have lost the touch of naivety. In life, we gain some and we lose some.
Sunday, December 20, 2009
Windows
Met up with Lian Khion, a friend that I haven't talked to for months. He asked to show him my latest works, and we met in my studio. He has been busy travelling around the world sharing his experiences and yet he wish to be an art communicator. Out of his passion for arts, he wrote about arts! Music, paintings and literature, a person who spread his love for arts from the east to the west. An unusual friend indeed. And this is what he wrote about my latest series of works titled "Windows".
First Glimpse of Ling Yang Chang’s “Windows Series”
An empty space
cut out of
strong, solid wall
often unadorned,
sometimes a pair of curtains hangs by its side
light, flimsy, yet tangible
sometimes set with black vertical rods
strong, solid and subduing.
The doors of the casement
can be firmly shut
but most of the times
wide open
Yet there are times when they are
half open and half shut
Once in a while
a solitary figure appears,
silent, pensive and pondering,
at times, just a slumbering head on the sill.
a cat even jumps up once,
regal and imposing
It is all about Windows…the latest platforms chosen by Ling Yang Chang to play out Life’s mini dramas; and the Singaporean artist has aptly christened this group of paintings as the “Windows Series”.
Ling views windows as an interface, and indeed, a link between two adjoining spaces. Windows are the link between two physical spaces: one confined space with another, one physical reality with another or the “interior” versus the “exterior”. Although they confine us to a restrictive space and they also provide us a glimpse to the outside world. At times, they take on a spiritual dimension as in the case of 心灵之窗 (xin ling zhi chuang, loosely translated as the “window of the heart”) where one can get a glimpse of the artist’s inner feelings and his reaction to the physical reality of the outside world.
The interfaces are viewed from many perspectives. Sometimes we see the window from the interior of the house, but more often the glimpse is from the outside looking in or looking up. The interaction can be in the form of a solitary reposing head, eyes closed, resting tranquilly on the window sill. This is a portrayal of perfect contentment, where the inner self is totally in sync with the elements without. One can almost feel the warmth of the sunlight on the face or sense the refreshing spring breeze that gently caresses the sleeping figure.
The ambiguity of Windows as postulated by the classical Taoist thinkers is not lost to the artist who is well schooled in Chinese classics. Windows are useless “voids” hacked out of solid walls which give security to the inhabitants and provide protection from the elements. Yet, it is through these useless voids that the sunlight comes in and lights up the confined space within the walls. It is also through these useless voids that refreshing air flows in from outside and through which the stagnant stillness within is driven out.
Indeed, Windows are ambiguous objects, even as they allow one to reach out to embrace the outside world; they also frame the interior action within a limited, almost static, perspective.
This ambiguity is best depicted in a painting that shows a solitary female character standing at the window in a reflective mood. She carries on her face an air of ambivalence. This ambivalent mood is further heightened by the subtle contrasting touches of the artist: a door of the casement window hangs open, while another is firmly shut. Then the interior is lighted up with bright warm golden light; but viewing from the exterior one becomes aware of the rugged bleakness of the outer wall. However, one can still sense the dominant uninhibited space outside the window.
If you like, while Shakespeare may proclaim that All the World’s a stage….Ling’s Windows series is a mini theatrical stage on which adjoining spaces interact, interplay and play out their subtle mini life dramas.
So, next time, when you come across a window, do not hasten your footsteps; slow down and ponder about the spatial-spiritual interactions that are being played out on this innocuous window platform.
Chin Lian Khion, 19 December 2009
First Glimpse of Ling Yang Chang’s “Windows Series”
An empty space
cut out of
strong, solid wall
often unadorned,
sometimes a pair of curtains hangs by its side
light, flimsy, yet tangible
sometimes set with black vertical rods
strong, solid and subduing.
The doors of the casement
can be firmly shut
but most of the times
wide open
Yet there are times when they are
half open and half shut
Once in a while
a solitary figure appears,
silent, pensive and pondering,
at times, just a slumbering head on the sill.
a cat even jumps up once,
regal and imposing
It is all about Windows…the latest platforms chosen by Ling Yang Chang to play out Life’s mini dramas; and the Singaporean artist has aptly christened this group of paintings as the “Windows Series”.
Ling views windows as an interface, and indeed, a link between two adjoining spaces. Windows are the link between two physical spaces: one confined space with another, one physical reality with another or the “interior” versus the “exterior”. Although they confine us to a restrictive space and they also provide us a glimpse to the outside world. At times, they take on a spiritual dimension as in the case of 心灵之窗 (xin ling zhi chuang, loosely translated as the “window of the heart”) where one can get a glimpse of the artist’s inner feelings and his reaction to the physical reality of the outside world.
The interfaces are viewed from many perspectives. Sometimes we see the window from the interior of the house, but more often the glimpse is from the outside looking in or looking up. The interaction can be in the form of a solitary reposing head, eyes closed, resting tranquilly on the window sill. This is a portrayal of perfect contentment, where the inner self is totally in sync with the elements without. One can almost feel the warmth of the sunlight on the face or sense the refreshing spring breeze that gently caresses the sleeping figure.
The ambiguity of Windows as postulated by the classical Taoist thinkers is not lost to the artist who is well schooled in Chinese classics. Windows are useless “voids” hacked out of solid walls which give security to the inhabitants and provide protection from the elements. Yet, it is through these useless voids that the sunlight comes in and lights up the confined space within the walls. It is also through these useless voids that refreshing air flows in from outside and through which the stagnant stillness within is driven out.
Indeed, Windows are ambiguous objects, even as they allow one to reach out to embrace the outside world; they also frame the interior action within a limited, almost static, perspective.
This ambiguity is best depicted in a painting that shows a solitary female character standing at the window in a reflective mood. She carries on her face an air of ambivalence. This ambivalent mood is further heightened by the subtle contrasting touches of the artist: a door of the casement window hangs open, while another is firmly shut. Then the interior is lighted up with bright warm golden light; but viewing from the exterior one becomes aware of the rugged bleakness of the outer wall. However, one can still sense the dominant uninhibited space outside the window.
If you like, while Shakespeare may proclaim that All the World’s a stage….Ling’s Windows series is a mini theatrical stage on which adjoining spaces interact, interplay and play out their subtle mini life dramas.
So, next time, when you come across a window, do not hasten your footsteps; slow down and ponder about the spatial-spiritual interactions that are being played out on this innocuous window platform.
Chin Lian Khion, 19 December 2009
The seated cat
Painted a painting of a cat resting on a chair. I got the idea from an examination topic. The word "SEAT" allows me to associate my works in many ways and the seated cat is just one of them. In life, we can always interpret happenings around us according to our understandings and experiences. What I see might not be totally the same as the rest, but it is okay! SEAT can merely be a chair! It can also be a lady sitting on a log! The combination of art creativity never ends and that make art so interesting and challenging. I love art and I like the challenges that come along with it.
Friday, December 18, 2009
my dancer paintings
Dug a painting from a stack of my older works. The dancers series was a group of black and white Chinese ink paintings with expressive strokes. There were lots of lines involves in these series of work that outline the movements of dancers, eastern and western. Did not manage to publish them as there isn't any opportunity to do so. As the January exhibition is on, perhaps it is the right time to let go these works to the public. Still need the organising committee to agree to it as the printing of the catelogue is on the way. I hope they will allow me to change the image that I submitted earlier. I really do.
Tuesday, December 15, 2009
Red Horse Seal
Have not been engraving for quite some time. Last Friday, a group of students arranged a lesson. It was pretty fun! I am very happy that the kids are motivated and learnt quite a bit on Chinese seals. As for me, having picked up my chisel again, I have engraved several seals since then. Perhaps this is the time for me to prepare for the coming seal engraving exhibition too. Still thinking what to do - the theme, the idea behind the presentation.
Monday, December 14, 2009
My Pink Tree Series
Got lucky with pink recently. The pink trees series has being doing well. The series was initially commented to be too bright of a colour. For me it is just a happy colour! Even though it is not widely used by many artists, I asked myself why not. The work should be a reflection of our lives and environment. Why should we hide it away? So i pick up my brushes, painted a few more artworks and I got rewarded. I am happy indeed.
Thursday, December 10, 2009
cat on the roof
Painted a new painting. It was a cat standing on the roof. I got the idea from the recent visit to China. The old buildings always fascinated me. Took some picture of it, of which, the roof structures is one of my favourite subjects.
I begin to organise them for coming exhibition which is planned sometime in January. I asked myself why not adding the cat and the TV antenna to give some Singapore touch to it. It just like the old China town or those old shop houses in Siglap!
I begin to organise them for coming exhibition which is planned sometime in January. I asked myself why not adding the cat and the TV antenna to give some Singapore touch to it. It just like the old China town or those old shop houses in Siglap!
Monday, December 7, 2009
Ling Yang Chang
Born in Singapore, Ling Yang Chang has been involved in many aspects of art-making over the last twenty years: artistic creations, group and solo exhibitions, workshops, public lectures and art teaching. As a graduate in Chinese Studies, Yang Chang finds a natural affinity for Chinese brush painting, with its close attention to beauty of liens, poetical resonance and philosophical depth. In this medium, Yang Chang is a complete artist in the Chinese scholarly tradition; not only does he carve his own seals, he also appends his artistic creations with his own calligraphical writings. Moreover, the steely discipline required in establishing a solid brush and ink control technique has built a strong platform for Yang Chang's exploration into other artistic fields, namely, Contemporary Chinese Art, and Modern and Abstract Painting. Hence, Yang Chang's work is characterised by a delicate balance of Chinese and Western influences. Even in the free rein of Western Abstract expression, the fine lines and tonal qualities of Chinese painting are never absent.