The Making of "Vibrant Youth" (Part 2)

At this stage, the buildings had had their first coating, but still needed a lot of details...

All the buildings were painted with reference to photos taken from URA, as well as going to their actual sites to make more observations. It had been a time-consuming yet rewarding journey...
The large figure at the bottom right was modelled after my second sister-in-law... Figures of different scales were distributed through out the painting, and much smaller ones in the distant, in order to create a deeper sense of space...

The man in yellow shirt, at the bottom of painting, was at first facing downwards; but I had changed it to facing upwards, to exhibit more liveliness. The model's face was actually painted according to my younger brother's features.

In the process of painting the buildings, I came to a greater appreciation of the architects' painstaking efforts and their wonderful designs... Each building was different and unique, indeed a pleasurable painting experience for me!

Finally, the painting was completed after four months. It is now being displayed at the new Library beside Bras Basah Complex, 10th level.


The sky-flyers represent our vibrant youth soaring confidently and courageously in the showers of light, beaming with hope and possibilities. As they are the future pillars of Singapore, they are open to endless opportunities laid before them. Each individual is encouraged to fulfil his dreams and potential in every way, and continue to contribute to the stability and prosperity of our young nation. The buildings in the vast green landscape are thus significant testimonies of our achievements. Whether living, working or playing, we abound in creativity and entrepreneurial spirit.

The artwork aims at shaping the vibrant image of our youth who champion personal development, value teamwork and support, and possess an indefatigably positive outlook in life.

The Making of "Vibrant Youth" (Part 1)

I started with stretching the canvas (6ftx12ft), followed by drawing in the composition.

Using Rembrandt oil paints, I began painting the figure most appealing to me. The model was actually my brother-in-Christ.

This shows a figure-study of a girl.

I filled in bright red for her dress... She was actually my niece... This pose was taken when she was lying on the sofa.

Using Manganese Blue Phthalo mixed with Titanium White for the sky...I felt bright and uplifted almost instantly.

Next, I continued painting my nephew on the left; His flying pose reminded one of Superman.

The sky had been painted in a layer of blue oil paint...followed by adding of clouds...

The buildings in the background were also filled with a coat of underpainting...the most challenging part had been to make sure the buildings were drawn in relation to the two-point perspective technique. I put in a lot of effort to get them right.

Thank you, Doctor Yong!

For over a decade, I used to live in Yishun with my mother, grandmother and two brothers, and till recently have frequented a clinic downstairs, owned by my family doctor-Doctor Yong. He is not only a good doctor, but has also been an excellent counsellor and friend to me all these years. He always encourages me whenever I feel troubled, giving me advice on how to overcome obstacles in life...
Even though I got married and moved to the west in 2002, I still visit Doctor Yong when I am unwell, and get medicine from him. However, recently I have decided to try consulting another doctor nearby, as it has been quite time-consuming to travel between the west and Yishun. This new doctor's treatment has been satisfactory so far... Nevertheless, I would like to express my gratitude to Doctor Yong for his care all these years, and hope that he may get to see this blogpost dedicated to him one day...
"Thank you, Doctor Yong!"

My First Solo Painting Show - "Worldly People", 1996

As some viewers have expressed their interest to see more of my works in this blog, I will continue to select suitable past and present works, and related writeups to share with you all. Please feel free to share your comments also... Thank you for your support!

( Extracts from " WORLDLY PEOPLE "exhibition writeup,1996 )

"Don't Worry...",1995.acrylic on canvas(private collection)

Process:
The creative source of this series goes back to my personal fascination with old black~and~white photographs. Beginning 1995, I have had an unutterable feeling towards black~and~white photographs. If forced to express this feeling in words, I can only say that their antiquity holds me spellbound( because those black~and~white photographs which first sparked my interest were some ancient family photographs ). Their purity and simplicity appeal to me deeply.

"New Mother & Child",1996.acrylic on canvas(private collection)

Maybe it's because I've been a downtown kid most of my life, having been born and lived my formative years in the town area. The whole city centre is one multi-coloured landscape: all kinds of shops, malls, fast-food restaurants, cinemas, of all varieties. They are radiant and spectacular and totally bedazzling. My long-term encounter with these attempts to catch the eyes has caused me to develop a tiredness and an averse reaction towards loud, gaudy, bright and colourful things.

I just think that ( some ) people's lives now are getting more complicated, and yet more superficial. This makes me welcome the sight of the basic and essential black~and~white photograph with rich emotion. This is, perhaps, a retrogressive move on my part; I know it is a response to ( their ) unrelenting pursuit of material wealth, a kind of reactionary behaviour. I always wonder why we cannot live more simply! What's wrong with being simple?

"The Tree",1996.acrylic on canvas(private collection)

Question of Aesthetics:
The origination of this series required me to relegate aesthetics to a subordinate position, putting the content and message above all else. The reason is that investing too much energy into questions of aesthetics ~~ such as composition and colour effects ~ may result in a product that, in the final analysis, attracts the viewer's mental resources to an examination of the technique and skill manifest in the work, at the expense of its content. In such a circumstance, my objective would not have been met.

So if I want the messages in my paintings to be smoothly transmitted, I must first achieve the aim of pushing aside aesthetics.

When I was in the process of creating each work, I would be constantly on the lookout: would it be too perfect in its execution and portrayal? I was very careful and attentive about not letting my own art be drawn too beautifully. Consequently, the viewer will eventually discover that the technique in my paintings is poor. This... preferred method of expression, is intentional. It is partly in this sense that I consider my work complete!

"New Vampire",1996.acrylic on canvas(courtesy of Singapore Art Museum)

Creation of Mood with Black and white:
One discovery that I made, upon observing the reactions of friends whom I invited to my studio on several different occasions to view my work, was that using black~and~white creates a serious, almost tense, atmosphere. No matter how jovial and beaming they were before they stepped in, I could sense their attitudes change automatically the minute they stood facing my paintings. Sometimes even the air in the surroundings is affected by this gravity in a tangible way.

But from my own viewpoint, I like this kind of seriousness because it makes it conducive for the audience's contemplation of moral values, reinforcing the importance of my central theme.

"Woman",1996.acrylic on canvas

A Moment Worth Remembering

I recalled casually browsing through some photos by my bedside cabinet on one recent morning, not long upon awakening. I soon came across a photo taken in the end of year 1991. In the photo, I was seen in the midst of baptism held on the rooftop balcony of a commercial building. (My previous church used to rent some rooms for service and Sunday school back then.)

There I was – half-immersed in a big water tank whilst attentively following Pastor Wee in prayer prior to the baptism. I can still remember that moment: my heart was so full of gratitude to God who had found me and saved me, and who had promised to be the Lord of my life. I was only 24 years old then, just started out to make a living…

As I was writing this article, my wife (much younger than me) was watching TV on the sofa. I curiously asked her what she was doing in year-end 1991, and she replied, “I was only studying in JC then.” We had a good laugh…

Sky Flyers 2

 "Sky Flyers 2", Oil On Canvas, Year:2004(Private Collection)

Sky Flyers 1

 "Sky Flyers 1", Oil On Canvas, Year:2004(Private Collection)

A Time of Adversity

"A Time Of Adversity", Oil On Canvas, Year:2004(Private Collection)

Pray No Fear

" For ye have not received the spirit of bondage again to fear; but ye have received the Spirit of adoption, whereby we cry, Abba, Father. " ( Romans 8:15, KJV )

Love Grows

In Love 2

Colourful Life

Transformation

"Transformation", Oil On Canvas, Year:2003(Private Collection)

" ..., Death is swallowed up in victory. " ( 1 Corinthians 15:54 , KJV )

All In One

"All In One", Oil On Canvas, Year:2004(Private Collection)

Love

" But God commendeth his love toward us, in that, while we were yet sinners, Christ died for us. " ( Romans 5:8 , KJV )

The Fun of Portrait-Painting (Part 5)

The Fun of Portrait-Painting (Part 4)

This is a close-up of portrait-painting of Amos, my brother-in-Christ. He is my favourite model, who has a good, angular body form that shows masculinity. I often use him in my artworks, and enjoy fellowshipping with him during the painting sessions. In each session, he would pose for me for approximately three hours (of course taking breaks in between), and we would exchange thoughts about life, and our walk of faith with God.

I think this is another fun part of portrait-painting, where I can build relationships with other people, to know more about the person I am painting – about their spiritual growth, their job challenges, their struggles in life, their relationships with loved ones… This sharing process is also helpful, as maybe my painting would gradually show more of their personality…

The Fun of Portrait-Painting (Part 3)

This painting “In Thee” took me nine hours to finish. The model, Wayne, came to my house for three Saturdays, each time posing for three hours. My concept was to have him portrayed in a rich man image, so I attempted to make him presentable by wearing a long-sleeved shirt, an expensive-looking watch, the tie that I wore at my wedding, and holding a bottle of wine. Wayne was then asked to sit on the sofa, with a golden-frame painting as backdrop…
The whole process of preparing a ‘glamour’ setting required some imagination, as I came from a humble family background: my father used to be a taxi-driver, later became a Chinese typesetter (which is now considered an outdated profession when computer came about), whilst my mum was a secretary, with two elder and one younger brothers. We managed to get by with whatever we had then…
On the contrary, this painting actually portrays a seemingly successful man resting on the sofa after work, browsing through bills and letters, and ignoring the tract entitled “In Thee”. The wine in his hand hints of pleasure, or rather an outlet of drowning sorrows or problems. Everyone faces struggles and challenges in life, and many choose to deal with them in their own ways. The tract suggests of dealing in God’s way, where all answers concerning life are found “In Thee”, and where His yoke is easy, His burden is light...
When this work was made, Wayne (my brother-in-Christ) had just started working. Upon its completion, he commented that the tummy area which I had painted looked quite flat, though I thought otherwise… Nevertheless, this work is very important to me, because I think it has a lot of “God’s touches” which I simply cannot grow tired of looking. For example: the facial expression, the colours and brushstrokes, the treatment on the hand holding the letter, the overall composition – all amazed me, and I thought if not for God, I would not have done it so beautifully, thank God! It gives me great pleasure and enjoyment to look at this painting, which is now hanging in my living room…

The Fun of Portrait-Painting (Part 2)

“My Niece” was done when she (Germaine) was only four years old. Painting her was a real challenge and a test on my concentration. Being young and energetic (unlike her brother, Daryl who was more quiet), she could hardly sit still! Within the one-hour painting session, she had made at least seven to eight different poses, as if assuming I could paint her every pose within a few minutes…This work was actually a combination of two poses captured – one pose of Germaine’s hands raised, with one hand playing with her hair; and another pose of her lips clinging onto the milk bottle…
Another fun part of doing this painting was my attempt to portray Germaine’s face like those that appear in the Chinese New Year paintings – having rosy cheeks and chubby, round forms…
Children are known to imitate adults very well. Sure enough, Germaine was influenced by me to start doing painting occasionally during my two years' stay at their house. She enjoyed mixing colours on the palette which surprisingly resembled those often used by me - colours with a greyish touch! I had even observed that the way she handled a pencil or a brush was similar to my gestures too, how amusing and astonishing to realize that I actually painted like that myself - seeing Germaine like my mirror-image...

The Fun of Portrait-Painting (Part 1)

“ My Nephew” was painted in year 2000, when he (Daryl) was only six years old then. What attracted me to paint him - was his adorable face and his black-and-white shirt that stood out well from the background.
Painting children is not easy, as they tend to move a lot. So this painting was also based largely on memory, and I even had to make some sacrifice to compromise with my nephew. For example: he would ask me to allow him to paint on my work, as a condition to carry on posing for me! Leaving me with no choice, I just had to oblige… Eventually, I decided to leave Daryl’s brushstrokes on my artwork (as seen on the grey part of the shirt). All that while, his mum and sister (Germaine) had been watching us in great amusement…
Nevertheless, I managed to complete this painting in an hour’s time. During my two years’ stay at my brother’s house, I had built up a strong bond with Daryl, through preparing milk for him, bathing him, fetching him to and from school... Watching him grow day by day also gave me a sense of hope. His innocence and gentle character had indeed brought me great joy, warmth and comfort during my personal trying times...