S’pore Art Week 2016: More birds and lots of SCOUT-ing around

Yap Soke Kee's gel wax on plinth work (foreground) and Timothy Ng's performance relic newspaper installation at the pop-up show SCOUT at Gillman Barracks. Photo: Mayo Martin
Jane Lee's Coiling V at her STPI show Freely, Freely. Photo: STPI/Jane Lee
Jane Lee's Playing I, I at her STPI show Freely, Freely. Photo: STPI/Jane Lee
One side of Rofi's Fire & Rain at the APAD group show Beyond The Surface. Photo: Mayo Martin
Izziyana Suhaimi's The Birds Gather For The Homeless Men at the APAD group show Beyond The Surface. Photo: Mayo Martin
PG Lee's process-based project involving a huge ball of cement and sand is on display at SCOUT at Gillman Barracks. Photo: Mayo Martin
A quick look at shows by Jane Lee, APAD and emerging artists
Published: 12:05 PM, January 19, 2016
Updated: 12:08 PM, January 19, 2016
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SINGAPORE — It would seem that birds and forests are unofficial themes at this year’s Singapore Art Week. We’ve mentioned before the avian-related interactive installation Railtrack Songmaps at Gillman Barracks, courtesy of Lucy Davis’ Migrant Ecologies Project for the parallel M1 Singapore Fringe Festival (which had also staged the play The Shape Of A Bird last week). And at nearby FOST Gallery is Donna Ong’s solo show My Forest Has No Name.


Well, Jane Lee’s own solo show at Singapore Tyler Print Institute also has its winged creatures and trees. The Singaporean artist, who is known for playing around with the material aspects of paint in her sumptuously tactile paintings, has taken to paper with ease in the wonderfully assembled Freely, Freely.

You’ve got paper nests, paper wings, stacked paper built up into a green forest, and well-crafted works comprising coiled paper that evoke wood shavings and tree rings (slightly reminding us of the textures and patterns in works by Lee Jae-hyo and Suh Do-ho).

From the possibilities of paint to the possibilities of paper, Lee also goes representational and not just with wings and nests — paper peephole boxes contain images of birds and birds are also projected unto coiled plastic sheets. There’s a good balance here between rough and polished works, emphasizing both a whimsicality and a meticulous approach to craft-and-art-making. Definitely one of the must-see shows during Art Week.

Somewhat nearby is a group show that echoes Lee’s constant play with our perceptions of two-dimensional and three-dimensional mediums.

Beyond The Surface by Angkatan Pelukis Aneka Daya (APAD), which is up at Galeri Utama at The Foothills@Fort Canning, present 3D artworks created in response or reaction to 2D pieces.

Two portraits by Rofi, for instance, are re-created as one two-sided painting, with layered elements to create depth. Dzaki Safaruan’s papercut sculptures comprise layer-upon-layer of different anime drawings, while embroidery and weaving are at the core of Izziyana Suhami’s practice, here still seen attached to its wooden hoop. Kamal Dollah and Fajrina Razak take to batik, Nur Iman taps graffiti, and Nhawfal Jumaat uses masking tape to both create flat drawings and a huge ball.


And speaking of huge balls, you’ll find one at a pop-up group show at one of Gillman Barracks’ carparks: Artist PG Lee is showcasing a huge one made of paraffin wax and sand. A response to the death of his father, Lee had begun with a small ball that has slowly grown as he adds layers of the material, a kind of process-based Sisyphean project that comments on the accumulation of personal burden through time and — as it continues to grow — space.

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