吴启基,“新作骨头历历可鉴”,联合早报,现在,2003年10月8日, 5页
Goh, Kay Kee, “New Works with Vivid Bone Structures”, Lianhe Zaobao, zbNow, Singapore: Singapore Press Holdings, 8 Oct 2003, p 5 (Translation) 2012-09-30

Perhaps it is apparent to all that photography is the most direct way to depict and document a disaster.  If one opts to paint, it may still be possible; but it is difficult to imagine it being captured in ink.  At the second solo exhibition by Quek Kiat Sing at Plum Blossom Gallery, I discovered that she is attempting to do just this.
Fundamental to her is the fact that the Universe is volatile and change is an inevitable phenomenon. She feels so especially after returning from Bali last year because the hotel that she lived in was bombed by the terrorist attack shortly after her departure, killing many tourists. This has certainly shocked her.  She realized that beauty is so fragile and peace is not unchangeable.  It gave her a new direction for her creation.
She created three pieces of works entitled “Lotus” where the composition is divided into higher and lower portion or left and right divides. The second piece contains a huge lotus pond where dark clouds hang low over it threatening to pour.  Disaster can befall unexpectedly destroying the beautiful and peaceful lotus pond.  Life is unpredictable and this governs the working of the Universe.
She explained that she changed the title from “The Unknowing Lotus” to “Lotus” as she wanted to give more space for the audience interpretation. Her previous works focused on ink experimentations, making use of the spread of ink with water.  Her new works differ distinctly from the past as these ink mass are now propped up with vivid bone structures.
In her opinion, such paintings may have expressed the artists feeling and sentiment but it is still distant from the actual disaster.
Kiat Sing explained that she continued to experiment with the accumulation and spread of ink on rice paper as she also wanted to explore the idea of gathering and separation using circles.  The overlapping circles depart at intersecting points but would then encounter each other again on the same trail. Such visual representations denote the endless beginnings and ends of one’s life experience.  This also explained how one’s environment is always changing.
In expressing her ideas, she borrowed imageries from nature such as mountains, lakes, the sun and the moon, and the earth.
Worth noting is the method she employed which is rather unique.  For instance, she loves the Chinese couplets format.  She would draft the mountains, lake, sun and moon, and the earth on one side and later split it into two; thus the left and right couplets will divide the same subject into two parts.  This is similar to the classical literature of echoing the couplets in text.
Kiat Sing’s interest in art started at the age of 5.  She graduated with Sociology and Political Science Honours Degree before completing her Art Degree at Curtin University and Nanyang Academy of Fine Arts.  At present, she lectures part-time at Nanyang Academy of Fine Arts, teaching Art History.  She is exhibiting 12 pieces of her works in this exhibition.
Translated by Quek Kiat Sing

Quek Kiat Sing画家介绍

Quek Kiat Sing juxtaposes modern-day subjects with traditional Chinese Ink to emphasise the relevancy of Asian culture in contemporary life.» read more

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