ISSUE 16 | FEB 2011

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LAND-TA-MORPHOSIS — Artist in Focus - Farhad Hussain An Interview — What the CMY Second of the Trilogy: Castle :Phunk? Beyond a Mountain 12 K Dorit Feldman: A Solo Exhibition by Art Facet Glimpses: A Solo Exhibition by 26 COVER STORY 61 BenCab ART MAP The Window Project 13 Pop! Back into the Future with Burton Morris Will Siber: Sculpture, Wall Object & Painting Solo Exhibition By Seah Kang Chui 不变 50 年 Unchanged For 50 64 DIRECTORIES Years 14 34 FEATURES Singapore Art Galleries Other Listings ‘No si hijomiono’o jabesi soré Gurerro Habulan – jajivo’ The Warrior of pop! 34 Tourist Spots Malaysia Art Guide Limelight Blossoms by - The Journey of a Steve Chua Graffiti artist 38 InFORMATION The Legend of Lichtenstein 44 Out in the Streets

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FEBRUARY 2011 / 7 Issue #16 (February 2011) ISSN 1793-9739 / MICA (P) 252/09/2010 www.thepocketartsguide.com

On the Cover Burton Morris Poparazzi Acrylic on canvas 91.4 x 91.4cm

Editor-in-Chief Remo Notarianni / [email protected] Guest Editor Saskia Joosse / [email protected] Art Director Amalina MN / [email protected] Contributors Bharti Lalwani Advertising Sales [email protected]

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8 / THE POCKET ARTS GUIDE When The Pocket Arts Guide invited me to be their guest editor, I was obviously delighted by the prospect of writing about the artists that I love and about a genre that always brings a smile to my face, !

Little did I know what a difficult feat it would be, as I tried to compress the lives of these legends and that of today’s post-pop artists into articles of 1,000 to 1,500 words. As I believe that it is the compilation of our past experiences that make us who we are today, I deliberated long and hard, as to what to include and to omit in order to stay true to each artist, whilst trying to convey their sheer brilliance.

After many years of brokering art and after some kind hearted badgering by some of my clients, I decided that the time was right to open up my own art gallery. Many people remark about the increased interest in art in Singapore and whilst the government has certainly begun to play a more active role we must not forget the hard work and dedication of the first pioneering galleries that have paved the way for people such as myself.

The philosophy of my gallery is to treat people in the way that I would like to be treated myself and to only show the best quality artwork in the best condition. Everything that is showcased at Pop and Contemporary Fine Art is owned by the gallery, from artists that I myself collect in depth.

I have chosen to dedicate this issue to Pop art as it is art that I find it easy to understand and appreciate and more importantly, because it has changed the way we look at art and continues to be relevant, still to this day, both in Singapore and around the world.

Saskia Joosse, Pop and Contemporary Fine Art Guest Editor

FEBRUARY 2011 / 9 Published monthly, complimentary copies of TPAG are available at several places around Singapore including the National Library, ’s Singapore Visitors Centre at Orchard (junction of Cairnhill Road and ), MICA Building on Hill Street, leading art galleries (Opera Gallery at ION Orchard, Galerie Joaquin at The Regent and Sunjin Galleries in Holland Village), art groups and venues (The Luxe Museum on Handy Road and on Middle Road), museums and lifestyle shops (STYLE: NORDIC on Ann Siang Road and Lai Chan at Raffles Hotel).

To accompany your daily dose of caffeine, browsing copies are also made available at all good coffee chains in town.

For the environmentally-conscious, the PDF format of TPAG can be downloaded from www.thepocketartsguide.com every month or simply flip through the magazine on the website using the online reader.

Subscription price is SGD48 within Singapore and USD40 internationally. For subscriptions, renewals and address changes, please email [email protected].

Recycle. Pass THE POCKET ARTS GUIDE forward.

10 / THE POCKET ARTS GUIDE FEBRUARY 2011 / 11 COMING UP

The 21st century art world is bustling with hi-tech mediums that offer interesting new aesthetics. As traditional art forms seek preservation, Taiwanese artist Barney Lin has melded the past with the present in a marriage of technology and tradition. As part of a series in which he recreates classical Chinese masterpieces, the I/O gallery in Hong Kong is show- casing Lin’s digital reinterpretation of the Song Dynasty Shui Mo painting ‘Travelers among the Mountains and Streams’ by Fan K’uan.

The work has often been alluded to by modern artists but Lin LAND-TA-MORPHOSIS — Second of the Trilogy: has revitalised it in the form of a digital installation. ‘Castle Castle Beyond a Mountain Beyond a Mountain’ is the second in a trilogy of Lin’s digital reinterpretations and it runs until February 8. 07.01.11-08.02.11/ I/O Input Output / www.inputoutput.tv

Since Art Facet was founded in Singapore in January, 2010 by Rajul Mehta, a renowned professional artist who lived in Israel for 20 years, it has grown into a platform to expose art to a culturally engaged Singapore.

Art Facet presents the works of neo-conceptual artist Dorit Feldman in a solo exhibition at the Volvo Art Loft that runs until February 11. Dorit’s works emphasise the construction of unity from multiplicity. Her approach is multi-disciplinary in terms of concept, matter and medium (photography, painting, Dorit Feldman: A Solo and sculpture) prompting the viewer to engage in ‘visual read- Exhibition by Art Facet ing ’. Feldman has presented 28 solo exhibitions and partici- pated in hundreds of group exhibitions in leading galleries and 11.01.11- 11.02.11 / museums in Israel, Europe and the United States. She has Volvo Art Loft / executed more than 95 public works of art, and a wide range www.artfacet.com of her works is kept in private collections globally.

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As National Artist of the Philippines Benedicto Cabrera, better known as BenCab, approaches the 50th year of his profes- sional life as an artist, an exhibition by the Singapore Tyler Print Institute entitled ‘Glimpses’ looks back at the pieces that best characterise his work, while presenting a new body of printmaking and work on paper.

BenCab’s new work continues to embody his fascination with the cultural, social and historical diversity of the Philippines. This is epitomised by the profound presence of ancient tribes- men, tribal women caught in the throes of modernity and the ‘Sabel’, an iconic female vagrant who opts for homeless in- dependence against the materially comfortable oppression of a philandering husband.

BenCab has redefined the appeal of works on paper and lim- ited edition prints in the Philippines, which has traditionally favoured oil on canvas works. For this second residency at Glimpses: A Solo Exhibition STPI, which runs until February 12, the institute enabled Ben- by BenCab Cab to return to using large-scale printmaking and painting using exclusively created pulp and paper. BenCab produced 15.01.11-12.02.11 / Singapore Tyler Print Institute (STPI) / four sets of limited edition prints, 36 unique works and 19 www.stpi.com.sg paper pulp paintings.

Since January 16, Hong Kong’s Amelia Johnson Contem- porary gallery has boldly transformed its gallery space into a spectacle for ‘The Window Project’. In an innovative artistic move, the gallery’s windows have been turned into impromp- tu performance venues for the video and projection work of four young artists. Each composition will play for a 10-day period. Opening the project was Dinu Li’s video installation, ‘Transformer’ (inspired by the song by Lou Reed). The nar- rative described three different characters (all performed by the artist) in the privacy of their apartments during one eve- ning, placing the viewer in the position of voyeur. Young Hong The Window Project Kong artist Lee Kai-chung presents a thought provoking work 16.01.11-28.02.11 / entitled ‘The Lost Roads’ that addresses the widespread Amelia Johnson Gallery / authorised destruction of historical structures and Chu Sin- www.ajc-art.com wa’s video work ‘Une Minute’ depicts the artist involved in two activities, one slowed down, one speeded up that take one minute. Also at the event is a split screen composition by photographer and video artist Lam Wai-kit entitled ‘Say Me as a Little Fish’ that depicts a minibus driver on one side juxtaposed by a goldfish on the other.

FEBRUARY 2011 / 13 COMING UP

For German artist Willi Siber, seeing the world means tran- scending rules, conventions, genres, and psychological frameworks. Siber succeeds at displaying strangely soothing juxtapositions of opposites and apparent contradictions, for the first time in Hong Kong, in an exhibition at the Karin We- ber Gallery that runs until February 12. Made from industrial materials and processes, but unmistakably individual, there’s something seductive about sculptures that would otherwise be jarring in their complexity.

The eye delights at following textures, patterns, and colours with white coral-like protrusions set next to smooth undula- tions of an inky black expanse, and layers of transparent co- lour that shift and change as they interact with each other on Will Siber: Sculpture, Wall a smooth surface. His work is an experiment in seeing, and in Object & Painting how he can alter perceptions not with iconography or com- mentary, but through the sheer force of the tangible: form and 18.01.11-12.02.11 / physicality. Siber studied sculpture under renowned German Karin Webber Gallery / artist Herbert Baumann (1927-90), and has an extensive ex- www.karinwebbergallery.com hibition history in Europe. His works have also been shown in art fairs across the world including ART Cologne, ART Frank- furt and KIAF Seoul.

S.Bin Art Plus presents a solo exhibition entitled ‘Unchanged For 50 Years’ by Seah Kang Chui, President of the Singapore Watercolour Society that runs until February 6.

This series of 30 watercolour paintings is Seah’s homage to the enduring beauty of places he has lived in. Depicting kam- pong scenes in Buangkok, Seletar Camp, the Seletar River as well as the , Seah presents worlds that have managed to elude urban development.

Solo Exhibition By Seah Kang The lush, fertile landscapes encapsulate a richness that is Chui 不变 50 年 Unchanged For immersed in the luminous tropical light of Singapore. Seah’s 50 Years story unfolds from his own loving memories, which he shares with the enduring spirit of the land. 20.01.11 – 06.02.11 / S.Bin Art Plus / “The works represent the depth of both memory and current www.sbinartplus.com representation,” said curator Bridge Tracy Tan. “It melds to- gether a vision that is sensitive to the soul of a landscape, compelled by the souls of its inhabitants, their way of life, their spirit of community, and their value of time and place. Seah is unapologetic about his persistence to paint these scenes. Their existence in watercolours is a testament to the deep longing by one man to give recognition to his heritage and the sensory experiences that made him the man he is today.”

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The ReDot Fine Art Gallery will bring a very special exhibition of bark cloth art to Singapore from the Ömie artists of Mount Lamington in Oro province, Papua New Guinea.

This artistically groundbreaking exhibition, which runs until February 4, is the fourth ever exhibition of art from the Ömie artists and as the first ever outside Australasian shores it signi- fies a culture coup for the Lion City.

Powerfully tactile, the bark cloths, called nioge, featured in the exhibition ‘No si hijomiono’o jabesi sor’e jajivo’ — (which translates as ‘We are painting the designs of our ancestors’), are made from thin veils of beaten paper mulberry tree bark. Traditional motifs and original visual expressions of ancestral Ömie knowledge are painted on using an earthy palette of ‘No si hijomiono’o jabesi colour made from bush dyes. soré jajivo’ These beautifully-crafted, spiritually-infused creations are part 02.02.11 – 02.04.11 / of a millennia-old preservation of knowledge. While being an ReDot Fine Art Gallery / affirmation of ancient culture, the nioge, which are made in www.redotgallery.com Ömie villages on the steep slopes of the volcanic Mount Lam- ington, are also an essential reminder of the power of nature over human life.

Singaporean fine artist Steve Chua concludes eight years of creative work by combining two contrastive collections in an upcoming solo exhibition entitled ‘Limelight Blossoms’ that runs from February 9 to February 19.

Chua first delved into abstract art in 2002 and his explorations soon gave rise to unusual forms, contours, patterns and or- ganic textures. These forms he christened ‘Blossoms’ and he continues to translate his discoveries onto canvases.

Limelight Blossoms by As these ‘Blossoms’ took shape, Chua continued to pursue Steve Chua his studies in graphic design through which he became ab- sorbed in the post-modern aesthetic of popular culture — a 9.02.11 – 19.02.11 / world in which viewers are bombarded by media content that SOCIETE GENERALE Private aims to dazzle their senses. This became the subject of his Banking Gallery / series ‘Limelight’, which has both contrasted and co-existed www.alliancefrancaise.org.sg with the abstract world of ‘Blossoms’. Seen through the hues of lipstick red clouds and a backlight that glows with fascinat- ing energy, though painted rather dim, and a green that fin- ishes the mystical element, Chua engulfs his subject without realising it.

With its parallel worlds, ‘Limelight Blossoms’ tells a tale of desire for the limelight that is illuminated by the materialisation of natural objects and magnified surfaces.

FEBRUARY 2011 / 15 COMING UP

Intrigued by the notion of ‘infographics’ and the idea that de- signed data can uncover otherwise concealed connections and hidden patterns in facts, five independent artists have collaborated to examine the nature of information and its pur- pose at Singapore’s . Eudora Rusli, Jacqui Rae, Lu-Fang, Tan Seow Wei and Yam Hoe Chee address elements of work, play, sleep, dreams, love and happiness, and tackle questions such as – what are the colours of your dreams, the sub-sets in your relationships, and the equations that give rise to your life and happiness? InFORMATION By playfully exploring the statistical side of visual curiosity, the 19.02.11 – 27.02.11 / artists have built an artistic playground from units of data, The Substation Gallery / both abstract and specific, and inadvertently created new www.substation.org ways of perceiving it. They derive joy in making sense of the phenomena around them and hope to present their findings in an alternative yet accessible manner for the audience’s in- terpretation.

Singapore’s Chan Hampe Galleries will play host to interna- tional duo KA’a’s solo exhibition entitled ‘Out in the Streets,’ which will be held from February 21 to March 11. KA’a is the collaboration of international aerosol and stencil artists Kirsty Furniss from the United Kingdom and Mathieu Augereau from France, KA’a’s eye for composition and bold imagery enables an atypical view of the familiar and unheralded facets of a place and this exhibition offers an honest view of Singapore with a focus on the city’s backstreets and unassuming char- acters. Paintings are characterised by contrasting and en- gagingly detailed stencils of people and scenes in a dynamic composition. Focus is placed on a mix of aerosol colours and texture work in combination with additional mediums and layered stencils. KA’a’s murals and private graffiti have a dis- tinct identity that has gained them international acclaim and aroused collectors’ interest, most recently in Australia and Malaysia.

Out in the Streets

21.02.11-11.03.11 / Chan Hampe Gallery / www.chanhampegalleries.com

16 / THE POCKET ARTS GUIDE ARTIST IN SPOTLIGHT Farhad Hussain

Text: Bharti Lalwani

Fun in the Sun, Acrylic on Canvas 168 x 201 cm

FEBRUARY 2011 / 17 SPOTLIGHT

Football, Acrylic on Canvas 183 x 601cm

arhad Hussain is an Indian artist whose pro- out chappals (slippers), carrying an unsightly Fvocative canvases often present a dissonant hand bag. She proceeded to queue up next to crowd of mischievously grinning bourgeoisies me (while loudly yakking away on her iphone), indulging in various scandalous acts. How- bemused I thought, “this” is the new rising ever, before I expand on his work, allow me to middle/ upper middle class of India; although start with an anecdote. Recently, while on my symbols of wealth could be bought and owned, vacation in India, I took an early morning walk “new money” did not necessarily correlate to to queue in front of a famous neighbourhood decorum, class or style. bakery; it seemed that no matter who you were, you had to queue up before it opened alongside Perhaps I was being harsh, but it is under such a crowd from the lower to the upper strata of a critical eye that contemporary artist Farhad society. The voyeur in me was intrigued when Hussain articulates on canvases spanning sev- a gleaming white Mercedes pulled up and an eral feet, the incongruities of the rising middle immaculately dressed chauffeur, complete with class of India and its far reaching aspirations a Mercedes logo embossed on his shirt pocket, and consumer mentality. The artist, in his typical stepped out to open the passenger door. My modus operandi, invites us into the homes of expectations of seeing someone distinguished “happy families” whose members seem vaguely step out, however, were dashed when out aware of an onlooker. The scenes which at first strode a lady wearing what looked like her old- rouse wonder, however, turn more and more est pair of jeans, faded discoloured polo, worn absurd by the minute. The viewer is put in an

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awkward position as a reluctant voyeur fighting bathrooms or living rooms but even out on the the impulse to look away from the individuals, football field. Somewhere between the flux of who are depicted in various stages of undress reality and fantasy, traditional culture and glo- while wondering why there would be, for in- balism, the satirical and menacing undercurrent stance, a miniature swimming pool in the centre leaves the viewer inquiring about the relation- of a living room or question the presence of a ships between these individuals and therefore flying pig or a fantastical pink elephant. his own status quo.

With a quirky narrative and a melange of candy Hussain was educated at the two best art colours, Farhad chronicles the spectacle of the schools in India, Shanti Niketan and Baroda middle class in various ridiculous scenarios; ev- Art School. This exposure has in turn provided ery depiction always features a manic gleam in him with the perspective to reassess the histori- the subjects’ eyes with impossibly wide sinister cal legacy of the narrative in the traditional paint- grins. Every image is also graced with the pres- ing styles of the miniature and Kalighat (folk art ence of a gleeful animal whose features mimic which originated in Calcutta), evidenced in the and morph into those of a human. In his recent way he intricately lines textile patterns against acrylic canvases, Farhad does not shy away flat backgrounds. When he first began painting, from controversy, as he illustrates contempo- his preferred mediums were tempera on silk and rary Indian families, especially women, indulg- water colour, but as the subject and scale of ing in scandalous activities not just within their his works grew, he started painting acrylics on

FEBRUARY 2011 / 19 SPOTLIGHT

Untitled, Acrylic on Canvas 152 x 183cm

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FEBRUARY 2011 / 21 SPOTLIGHT

Living Room, Acrylic on Canvas 305 x 601cm

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canvas in a way that leaves no brush mark. Progressing thereon, Farhad builds on these traditions and contemporizes his style by in- corporating images from popular culture and elements from erotic Japanese woodblock prints especially when depicting the human figure.

Having realized and recognized his own style, the artist continues to develop his work by translating the old into new through a fresh lens, nevertheless, in a country where ‘post- modernism’ in the western context does not apply, Farhad still considers himself a pop artist. In a recent conversation, he elabo- rates, “If Pop Art in the Indian Context can be defined as a form of art which questions pre- vailing approaches to culture as well as tradi- tional views of Fine Art and implications from such elements as mass advertising, movies, product design, comic strips, and science fic- tion within the class hierarchy and behaviour of contemporary India, then yes, I consider myself a Pop Artist. My art is not pop art only due to the use of bright neon colours, but because I am trying to question the new middle class mentality using imagery which is provocative by giving it a gimmicky comic strip feel through the use of a selective colour palette.”

For an artist influenced by the simplistic nar- rative styles of Santha patachtras, the tribal folk art of Orissa, and Bengal Pats or scroll paintings, he is also admittedly inspired by the grandmaster of Pop Art - Andy . But while Warhol’s canvases are widely a cel- ebration of consumerism, Hussain chooses

FEBRUARY 2011 / 23 SPOTLIGHT

Michael Jackson, Acrylic on Canvas 152 x 183cm

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to critique contemporary society whose values are changing with the rapid modernisation of India - where, within months, small towns are being trans- formed into modern cosmopolitans of homogenous shopping malls and multiplexes. Vanishing identities of cities much less individual are being taken over by international brands and global corporations; taste is being dictated by fickle billboards and glamour magazines, while mass mentality is being influenced by twenty four hour news (read cyclonic fear mon- gering) networks and mind numbing reality televi- sion.

Farhad’s figurative canvases seem to gestate all of these influences, which come together in a way to push traditional aesthetic sensibilities and generate a strong reaction from the viewer which may or may not be positive through images that are always con- frontational and awe inspiring due to their extrava- gant scale, colour and composition. He deliberately seeks to question the notion of beauty through cyni- cism, satire and associated symbolism from historic sources as well as from the current voyeuristic soci- ety. The portrayal of the ‘happy’ family is merely an allegory for the materialistic angst of the competitive and uninhibited middle class as India emerges as one of the world’s robust economic powers with its share of billionaires.

When asked which pieces he would like to be re- membered for, Farhad responded: “Definitely the Bathroom Series. I take the viewer inside, into the privacy of homes, just as in reality TV shows which take us into people’s lives voyeuristically. I immensely enjoyed this series for the many connections it holds with voyeurism, satire and Post-modernism.”

Farhad Hussain is exhibiting at the Indigo Blue Art Gallery in a group show titled “The Narrator, Protagonist and the Other” which opens on 24 Feb 2011. Other participating artists are Naina Kanodia, Vivek Vilasani and Murli Cheerooth.

The Michael Jackson painting is for the exhibition in Feb....

FEBRUARY 2011 / 25 COVER STORY

26 / THE POCKET ARTS GUIDE BURTON MORRIS Pop! Back into the Future!

Burton morRis Text: Saskia Joosse

Poparazzi Acrylic on Canvas 91.4 x 91.4 cm

FEBRUARY 2011 / 27 COVER STORY

nternationally acclaimed IPop artist Burton Morris answers a few questions for TPAG about his sources of inspiration, favourite pieces and art in general. Burton already has a hugely impres- sive and extensive CV with a list of celebrity and corporate owners that would make even envious!

Poparazzi Acrylic on canvas 91.4 x 91.4 cm

TPAG: What’s your favourite piece and why? BM: The Poparazzi photographer for its high energy and bold statement about celebrity and Hollywood Paparazzi. This image was seen by over a billion people worldwide as it was used as the feature image for the 76th Annual Academy Awards show. Bruce Davis, the Executive Director of the Academy Awards, asked me to create some sketches and ideas for a poster to try and create a new idea that hadn’t been done in the past and to reenergize the Oscars - something that would be a bold new statement, that was fun and exciting.

What artists inspire or have been an inspiration to you and why? , Keith Haring, Andy Warhol, were three great Pop Artists who had tremendous influence on me and my work. I love the comic nature and flat painting style of Lichtenstein, I admire the bold colours of Keith Haring and his energetic sensibilities. Andy Warhol opened up the doors to commercial objects and ideas to be interpreted as art.

Do you think of the potential value of your artwork when you`re considering on content? Never. There is no way to predict the future value of a painting and I don’t even consider it. I believe

28 / THE POCKET ARTS GUIDE BURTON MORRIS time will tell where I have made my mark on society also an influence for inspiration. This image of and hopefully I have a long career ahead of me. the trumpeter was used as the icon for the 38th Montreux Jazz festival in Switzerland. The Kernel of Knowledge painting was inspired from my interest in meshing my branded iconic images into other forms and objects.

Blue Louie Acrylic on canvas 91.4 x 91.4 cm

Coffee Cup Acrylic on canvas with cut wood extension 106 x 91.4 cm

What came first, Central Perk or your swirling coffee cup? The coffee cup image was created a few years before the inception of Central Perk as it was a statement on the coffee cup culture hitting the states at that time in the late `80’s. I remember thinking that there were Starbuck stores popping up all over and what symbol best represented that Kernal of Knowledge Acrylic on canvas 91.4 x 91.4 cm moment in time but the coffee cup itself. A few years later, the show “Friends” came on in 1992 and the coffee cup showed up in their first season. For your most recent exhibition in Singapore at Pop and Contemporary Fine art, what was your inspiration for the Blue Louie and Kernel of If you could talk to an artist that is no longer with Knowledge pieces? us, who would it be and why? The Blue Louie came from my love of jazz music. Andy Warhol. To hear what he really thought about Louis Armstrong, the great Jazz trumpeter was the art world as a whole. I have met so many

FEBRUARY 2011 / 29 COVER STORY

30 / THE POCKET ARTS GUIDE BURTON MORRIS

1. Rolex Acrylic on canvas 91.4 cm x 91.4 cm 2. Ferrari Logo Acrylic on canvas 91.4 cm x 91.4 cm 3. Dollar Acrylic on canvas 121.9 cm x 91.4 cm

FEBRUARY 2011 / 31 COVER STORY

Popcorn Acrylic on canvas 121.9 x 91.4 cm

32 / THE POCKET ARTS GUIDE BURTON MORRIS people who knew Andy or worked closely with him and as a Post-Pop Artist it would have been wonderful to have heard his thoughts about the art market.

You do a lot of work for charity, why is that important to you? I am so fortunate to have a wonderful career and family. I have always felt that it is important to give back to those not as fortunate as others. I have seen firsthand how my artwork has inspired young minds from all over the world and how my art can generate money to help others who don’t have the means to help themselves. This is what I strongly believe in .

On a personal level has the recent birth of your daughter made a difference to your artwork? Of course. Anything that happens in my personal life affects my art. Every day I witness through her eyes a whole new way to look at the world.

FEBRUARY 2011 / 33 FEATURE Guerrero Habulan — The Warrior of Pop! Text: Saskia Joosse

here was a time when Guerrero Z. Habulan’s the Social Realist Movement in the Philippines, Tartwork was mistaken for that of his father’s therefore dinner guests often included the likes work, but that of course can be easily under- of Adi Baens Santos, Antipas Delotavo and Bo- stood as they shared the same name! gie Tence Ruiz along with other artists. During these Soirées lively discussions on artistic and It is also arguably a difficult task to come out social movements often took place along with of someone’s shadow, especially if your father singing and poetry recitals from his mother, Syl- happens to be a legend in his own right. via who was an active participant in the militant performing group called Tambisan sa Sining. All In order to help distance himself from his father, these influences growing up helped sowed the in the artistic sense, Guerrero decided to stop artistic seed in the young boy. using his first name Renato, which he shares with his father, and replaced it with the dramatic Once Guerrero decided upon becoming an art- name of “Guerrero”, “warrior” in Spanish. ist it was actually his father that mentored him and pushed him to excel and find his own ar- Guerrero’s love of art was fostered in many tistic style through hard work and experimenta- ways thanks to his mother and his father. Their tion. home served as his father’s studio and whilst growing up, he found himself surrounded by Guerrero’s personal style is not that of creating canvases and paint and it was there that he works full of deep, dark emotions such as sad- learned about colour, shapes and forms, even ness or anger but rather as a Pop Artist, as he before learning how to spell his own name! In- uses images that are popular among urban Fili- stead of picture books he had the good fortune pinos and juxtaposes those with popular foreign of being able to appreciate and watch the cre- images to create satirical content. This style is ation of his father’s canvases, perhaps akin to understandable as growing up, Guerrero also a magical experience, similar to the pictures in found inspiration from legendary artists such a child’s story book. In the 1980’s, his father as Norman Rockwell, Andy Warhol, Jeff Koons, Renato Habulan, was one of the forefathers of Roy Lichtenstein and Robert Rauschenberg.

34 / THE POCKET ARTS GUIDE GUERRERO HABULAN

Spagetti Oil on canvas 91.4 x 61 cm

FEBRUARY 2011 / 35 FEATURE

1. Eats a Bird, eats a plane Oil on canvas 152 x 112 cm

2. Field Trip Oil on canvas 152.4 x 183 cm

3. Robot Oil on canvas 112 x 91.4 cm

4. Patikim Oil on canvas 142 x 142 cm

36 / THE POCKET ARTS GUIDE GUERRERO HABULAN

When Guerrero was in his twenties, he decided tweaked repeatedly until he feels that it is com- that it was time to embark on his own journey pleted. and find his own place in the art scene. He joined an Antipolo-based art group called Sangviaje Guerrero is quoted as saying: “Pop Art to me, (one journey in English) and during this period is highlighting the irony that one sees in popular joined several group shows and participated mass culture, Pop Art has removed boundar- in various art competitions which enabled him ies in the use of imagery, materials and tech- to meet new friends in the artistic community nique. Pop art has also elevated the kitsch and and receive feedback and recognition from his commercial to the level of fine arts. With each peers. He has thus, so far, participated in over piece I wish to convey contrasts and to high- 30 group shows and received several awards light the present conditions in society through which include being the recipient of the Paran- satirical realism with popular imagery. I draw gal sa Mag-aaral, recognition for students with inspiration from regular people I see every day outstanding achievements in their field, award- on the street… I monumentalize these ordinary ed by the University of the Philippines. scenes, with them, as key players. It was on my second show where the pop imagery in my When asked about the highlights of his career, work has become bolder.” Guerrero responds “My latest solo exhibition was given a feature in one of the leading con- Even though his works are social commentar- temporary art magazines in the Philippines, ies and satirical assessments of today’s society, which I found very flattering, that coupled with they are devoid of any anger and hatred. If any- art competitions I have won have obviously giv- thing they are comical and light hearted, filled en me great pleasure and helped open many with colour and perhaps even the dreams and doors for me”. aspirations for a better tomorrow. Guerrero may be a warrior of art but he chooses not to fight Guerrero’s preferred media are oil and acrylic but embrace the world with pop and colour. and the production of each piece takes about two weeks, during which time, the piece is

FEBRUARY 2011 / 37 FEATURE KEith haring — The Journey of a Graffiti artisT Text: Saskia Joosse

aybe to be a true legend, your lifespan has as well as his honesty. Therefore, in 1982, when Mto be short. It therefore has to be intensive Haring began to look for representation he de- and explosive, such as that of James Dean and cided in favour of Shafrazi and they began plan- Marilyn Monroe. Keith Haring is another such ning Haring’s first large solo show, which was legend, an artist who although at the time of his to be held at Shafrazi’s gallery in October 1982. death was only 31, had already helped to propel the Pop Art scene even further along its won- Up until now Haring had concentrated on draw- drous and diverse path. ing but with the upcoming show he wanted to experiment with large format paintings. Haring It was late in 1980, around Christmas time, that had always had an issue with using canvas as Haring first started his graffiti art in the New he felt it restricted his particular style as can- York subway, chalk on a soft matte black paper, vases already had its own characteristics before which Haring said was “dying to be drawn on”. he started. At the beginning he would add new elements to the drawings every couple of weeks often creat- It was around this time that Haring stumbled ing 30 - 40 a day and by 1981 Haring’s graffiti across using vinyl tarpaulins as his new medi- drawings would be the main theme in his life. um, which he thought would be the ideal sur- Over the four to five year period of his subway face for painting. As well being available in al- paintings, Haring was caught over 100 times by most any size, these industrial protective sheets transit police and issued with summons, all of were also available in a wide range of outlandish which he paid! colours, seemingly a perfect match for Haring’s new adventure. Early on Haring had worked for the famous gal- lerist , as his assistant, helping him The tarpaulins also had other advantages over to write press releases and serving drinks at his canvas in as much that they already had holes openings. Although Haring found Shafrazi neu- punched into them around the edges which rotic he respected his commitment to his artists made them easy to hang and the fact that they

38 / THE POCKET ARTS GUIDE HARING

Growing 1 Screenprint 76 x 101.5cm

FEBRUARY 2011 / 39 FEATURE

Growing III Screenprint 101.5 x 76cm were very easy to transport. Haring used a spe- Haring had launched what was to be a stun- cial vinyl silk-screening ink that dried almost im- ning, although brief, career. Roy Lichtenstein mediately and was drip free. later said that Haring’s ability was truly amaz- ing. He was astonished how quickly Haring Alongside his works on paper and vinyl he could produce one of his pieces but what really would also incorporate the walls of the gallery amazed him was the enormous control and tal- in his complete, all-over concept. And so the ent he showed whilst doing it and how he made gallery walls were covered with a myriad of run- the individual pieces into whole paintings. ning and dancing figures, crawling babies, three eyed smiling faces and Mickey Mouse. He was also impressed by the fact that Haring never went back and corrected his work, a feat The works on vinyl were incredibly simple and in itself. Perhaps the biggest compliment that graphic and concentrated on highly compre- Lichtenstein paid Haring was that he thought hensible themes such as the dancing dog and that once the piece was completed, there was two embracing figures surrounded by a halo of never anything that he’d like to have changed rays. Haring’s work distinguished only between about it, it was so beautifully drawn. outline and fill colour. The exhibition was a huge success which With the attendance of the likes of Roy Lichten- opened the door to other events which only stein and Robert Rauschenberg, among others, served to further Haring’s popularity.

40 / THE POCKET ARTS GUIDE HARING

some time before. Warhol’s invention and intro- Critical acclaim around the rest of the world now duction of the “Factory” (as Warhol’s studio was followed with works in the UK, Germany, The known) had already set the example for Haring Netherlands, Italy and Japan. Haring was on a to follow. roll and because of his now global popularity he hired Julia Gruen as his full time assistant. In 1983 Haring met Warhol who was already an Haring’s personal life had also taken an upturn established part of the New York party elite by when he met Juan Dubose, a DJ, who was to then and if something interested Warhol, it inter- become his long term partner. ested everyone.

Haring was never slow in marketing himself to Haring and Warhol became very good friends, the masses, although money was not his main both interested in each others art with a mu- motivation and this was shown later on when tual respect for each others respective talents. Haring donated the majority of his profits from They visited each others galleries and they the “” to various charities. Haring even worked together on projects. Haring fea- wanted to give everyone the opportunity to have tured Warhol in his work quite a few times with his artwork, therefore in 1983, he authorised the maybe the best example being “Andy Mouse” creation and distribution of posters and T-shirts. which was based on Mickey Mouse with a wig From here it was not a huge step in 1986 to and sunglasses and features clearly resembling open his own “Pop Shop” in Manhattan which Warhol. sold merchandise with his own designs and that of a few select artist friends. Whereas most art- By combining Mickey Mouse with Warhol, Har- ists base merchandise on existing original work ing was awarding Warhol the same iconic status Haring went completely the other way by creat- and importance as that of Walt Disney. ing specific motifs for his. Needless to say the critics cried “commercialism”, but Haring knew Although Haring could never be perceived as that there would always be the cynics that saw a children’s artist, he loved children and tire- this purely as a promotion for his ground break- lessly championed their causes and charities. ing approach to selling art.

Of course, Haring’s mentor and friend Andy Warhol had already laid the groundwork for this new relationship between art and commerce

Pop Shop 1 - Best Buddies Silkscreen 30.5 x 38 cm Andy Mouse Silkscreen 96.5 x 96.5 cm

FEBRUARY 2011 / 41 FEATURE

Story of Red & Blue - 16 Lithograph 55.9 x 41.9 cm

42 / THE POCKET ARTS GUIDE HARING

Haring enjoyed interaction with children and focused support on children’s charities and the gave workshops all around the world and for fight against AIDS. the centenary of the Statue of Liberty, Haring had children fill in the outline of the Statue of Unlike most pop artists that take inspiration Liberty which he had created. Whenever Haring from everyday objects Haring had once said worked in public he was sure to attract a large that he actually tried to create and invent life, audience of children and young people and he not imitate it. It was art that came directly from always made sure he had stickers and buttons within Haring himself. This was part of the ge- etc to give to them, free of charge of course! nius that was Keith Haring. Haring also said that he left the interpretation of his work to others 1988 marked the death of Haring’s friend Jean- and while there is certainly a dark side to his Michel Basquiat, only a year after Warhol’s death work, there is also a lot of fun and joviality and, and AIDS was now a daily reality for Haring and depending upon the piece of course, one takes away from it what one wishes.

Haring, towards the close of his life, could still not understand the resistance to his work form the American art establishment and museum world. In a strange way he said he was glad of the resistance as it gave himself something to continue to fight against. He was happy and proud however that the real body of support for his work was from normal, everyday people and not from museums and curators.

Haring always believed that the acknowledge- ment and recognition, the acceptance for his work would come later...when he was not around to appreciate it. How right he was. Har- ing passed away on February 16th, 1990, and as is usually the case, it was only after his death that the “art world” recognized the huge impor- tance of his work and honoured it with major Story of Red & Blue - 12 Lithograph 55.9 x 41.9 cm exhibitions around the world. the rest of New York. Almost inevitably Haring This was a boy that took graffiti and fused it with eventually succumbed to the disease. After a form of hieroglyphics to produce a new style his diagnosis Haring created deeper, stronger of art, which continues, still today, to give joy, works with an added new complexity that dealt stimulation and pleasure to those that view it. with AIDS along with other social issues. The world is certainly a better place thanks to the creativity of Keith Haring. In Haring’s final years he began to experiment including with form and colour and also did vari- ous commissioned works such as the BMW art car and an exterior mural wall of the Church of Saint Antonio in Pisa, Italy. This was to be his last public work and was titled “”. Haring described his Pisa experience as one of the high points of his career. During this period he set up a foundation bearing his name which

FEBRUARY 2011 / 43 FEATURE The Legend of Lichtenstein Text: Saskia Joosse

rguably one of the greatest Pop artists to encouraged to take drafting classes and had a Ahave ever lived, Roy Lichtenstein’s career passion for examining art itself and its technical was different to other artists in many ways. processes, something that would be seen in the different array of work that he would complete Lichtenstein was born on the 27th September throughout his career. 1923 to a middle class New York family and at- tended a public school until he was 12 and then By 1951 Lichtenstein had not been rehired at went onto a private academy. Strangely enough Ohio State and with his wife having a job in there were no art classes at the academy but Cleveland they moved there where they would Lichtenstein became interested in art neverthe- remain for the next six years. Between his artis- less. He began to draw and paint in oils. During tic spells Lichtenstein did jobs ranging from an his last year at the academy Lichtenstein took engineering draftsman and window decorator summer art classes at the Arts Students League to a sheet metal designer. in New York. After graduation from high School in 1940 Lichtenstein was convinced that he Lichtenstein’s early work was very experimental wanted to become an artist. with his first recognized Pop art piece being the lithograph of a ten dollar bill in 1956. Although Li- Whilst his parents supported his wish, they also chtenstein was selling pieces during the 1950`s urged their son to get a teaching degree from a it was not enough to support his family which by regular liberal arts college so that he would have now, 1956, included two sons. In 1957 teach- a proper profession to fall back on should his ing beckoned once more and he took a job at artistic ambitions fail. Oswego, a small college in upstate New York where he taught for the next three years. Lichtenstein left New York for Ohio State Uni- versity, a move that would be incomprehensible Whilst in Oswego Lichtenstein stopped painting today, but New York pre World War II was not the “historical” subject matter that he had been the art that it is today. Ohio State offered doing and adopted a new style called Abstract studio courses and a degree in fine arts. With Expressionism, a style championed by the likes a three year break to serve in the army due to of Jackson Pollock, Willem de Kooning and WWII, Lichtenstein completed his undergradu- Robert Motherwell. ate degree there. It was during his time at Ohio State that Lichtenstein met a teacher, Hoyt L. In 1959 Lichtenstein showed his new work in Sherman who was to prove highly influential New York to muted reviews. Still obviously during his career. searching for the style that really suited him he began to make drawings of comic strip figures Lichtenstein entered the graduate program at such as Mickey Mouse, Donald Duck, and oth- Ohio State and was later hired as an art instruc- ers. Asked later why he began the use of car- tor, a job which he would be involved with on toon characters, Lichtenstein replied very sim- and off for the next decade. Lichtenstein was ply, “desperation!”

44 / THE POCKET ARTS GUIDE LICHTENSTEIN

Two Paintings: Dagwood Woodcut and Lithograph 136.8 x 98.9 cm

FEBRUARY 2011 / 45 FEATURE

come in American culture. Lichtenstein realized that the inclusion of a text bubble added a new dimension to his pieces. The first piece to use the now easily recognizable Lichtenstein trade- marks (hard-edged figures, industrial colours and benday dots) was the oil painting, “” in 1961. It was this piece that was pivotal in cementing Lichtenstein’s new own, unique style, the industrial style of the printed comic. Lichtenstein would paint another six paintings of recognizable characters from bub- ble gum wrappers or comic books; he would Composition IV Screenprint 56.6 x 69.5 cm pencil the outline directly onto canvas and then paint them over in oil.

In 1961 Leo Castelli agreed to show Lichten- stein’s comic work in his gallery. A few weeks later, unbeknown to Lichtenstein, Andy Warhol showed his own work using comic figures to Castelli. Warhol`s work whilst strong was not as good as that of Lichtenstein and Warhol was the first to acknowledge the fact. It was there and then that Warhol decided never to do another comic strip and go in a different direction, quan- tity and repetition, an area that Warhol would be the first to exploit and claim as his own.

Lichtenstein now turned to inspiration and im- ages from sources such as the yellow pages, Untitled Head Screenprint 47.7 x 54.8 cm mail order catalogues, small advertisements and war comics and the Disney characters were left behind. 1960 saw Lichtenstein take up a teaching post once again at Douglas College, the women’s Lichtenstein’s first solo exhibition at Leo Castel- branch of Rutger’s University. Artist and art his- li’s gallery in the February of 1962 was a sell out torian, Allan Kaprow was a colleague now of success and this was finally the end his teach- Lichtenstein and was responsible for organizing ing career. “environments” and “happenings”. Kaprow ex- plored the ideas of his teacher, John Cage, who Lichtenstein virtually never used photogra- believed that commonplace items possessed phy as the inspiration for his work instead us- their own aesthetic importance. Eager to take ing teen and action comics for pieces such as this train of thought further artists began to turn “M – Maybe” and “As I Opened Fire”. Perhaps everyday objects into works of art; two such his most famous image, “Whaam” executed in artists were Robert Rauschenberg and Jasper 1963 and hanging in the Tate Gallery in London Johns, both Cage students. was “appropriated” and adapted from a 1962 DC comic issue “All-American Men of War”. The Lichtenstein began to draw bubble gum wrap- vast majority of Lichtenstein’s best works are al- pers at the end of the 1950’s and with his sons most, but not quite, exact copies of comic book instant enjoyment of the images he realized panels. Lichtenstein suffered many accusations how important that cartoon characters had be- of plagiarism because of his use of comic book

46 / THE POCKET ARTS GUIDE LICHTENSTEIN

Sweet Dream Baby! Screenprint 95.6 x 70.1 cm

FEBRUARY 2011 / 47 FEATURE

1. Venetian School II Screenprint 120.7 x 86.3 cm 2. Still Life with figurine Lithograph and screenprint 118.6 x 95.8 cm 3. Screenprint 58.4 x 73.6 cm

48 / THE POCKET ARTS GUIDE LICHTENSTEIN

characters, but if one takes a close at his work, ceived intellectual superiority. Lichtenstein firmly one can see that that there are indeed a lot of believed that art should be enjoyed by everyone alterations, both in subject and technique, to (a common Pop artist theme) and he was only change them into an original work of fine art. too happy to poke fun and continue to poke fun at the establishment and recognized move- Lichtenstein would later focus on various con- ments. sumer items and when viewed in contrast to ad- vertising one can see similarities in as much as Sculpture was also within his varied repertoire both have a simple, visual attraction and appeal and Lichtenstein’s use of form and industrial to the viewer, very much in keeping with the Pop colours lent itself to this particular medium. It art mantra. Whilst Lichtenstein could see the had been a deep desire of Lichtenstein to show benefits and quality of certain commercial art- his artwork in Singapore and one of the last ists and their work, critics of the day were ready examples of Lichtenstein’s monumental sculp- to lambast such work as inferior and not fine art tures can actually be seen in Singapore, “Six but art created by commercial artists pretend- ” at the Roy Lichtenstein Plaza, a ing to be “real” artists. One could always sense commission for Millenia Singapore which he fin- Lichtenstein’s commercial art background in his ished not long before his death. With the pieces sparse use of the number of different colours ranging between four to twelve metres in height, that he used. the sculptures, made from aluminium, depict abstracts of nature, land and seascapes. Apart from the black outline of figures and the use of industrial colours, perhaps it’s the use of Lichtenstein took inspiration from most of the Benday dots (a technical printing process) that recognized art movements and whether his was and still is associated with Lichtenstein’s muse was Picasso or Cezanne, he used them work. Benday dots were named after Benjamin to great effect in his own inimitable style. Lich- Day (Ben Day), an artist and inventor. Lichten- tenstein refused to use his canvas as a pulpit stein played around with Day’s process, refin- and project his politics and views on society in ing it for his own use as he had experienced his artwork, instead concentrating on the art- issues with the consistency of the patterning of work. the dots using Day’s exact process. After much experimentation Lichtenstein finally settled on a There are not many artists that can make only stencil derivation of Day’s application, a meth- two dimensions both interesting and engaging, od that gave Lichtenstein the final mechanical Lichtenstein was one of those greats. His work finished look he was searching for, seemingly can be seen in museums all around the world, devoid of human interaction; however, Lichten- both paintings and sculpture and his name is stein didn`t stop there. With the Benday dot pro- as synonymous with Pop art as that of Andy cess resolved he later went on to use different Warhol. dot sizes, directions and graduations. Roy Lichtenstein died on the 29th Septem- After 1969 Lichtenstein introduced diagonal ber,1997, his legacy that of taking the best stripes into his work which together with the that commercial art and it processes could of- Benday dots gave a more textured surface and fer and blending them into his own unique style a new optical effect. Lichtenstein’s arsenal of of Pop art! technical processes was now complete.

When one looks back at Lichtenstein’s hugely successful career it is clear that from his middle class background, he was constantly fighting the battle against the artistic elite and their per-

FEBRUARY 2011 / 49 INTERVIEW

An Interview — What the :!

Text: Bharti Lalwani

1. Day Dreamer Triptych 1 2010, Silkscreen print on Canvas with Diamond Dust, 140 x 300cm 2. Day Dreamer Triptych 2 2010, Silkscreen print on Canvas with Diamond Dust, 140 x 300cm

50 / THE POCKET ARTS GUIDE :PHUNK

lvin Tan, Melvin Chee, Jackson Tan and William Chan are four Singaporean pop artists / de- Asigners who met whilst in LASALLE College of the Arts, Singapore and teamed up in 1994 to form :phunk, an art and design collective.

In a world where the lines between commerce, popular culture and art have long been blurred :phunk has rigorously propagated a visual signature, seamlessly blending diverse influences be it traditional Chinese craft, Japanese Manga or Western Pop culture into creative depictions of a universe densely populated with ancient gods and modern cartoonish creatures. Engaging bold strokes and colours which “pop” at the viewer, the :phunk collective illustrate social satire, moral- ity and contemporary culture with zest and humour.

Sourcing heavily from mass culture, and being not the only ones to do so, :phunk have been compared to other pop artists who employ similar themes. TPAG interviews the rising stars to explore what sets them apart from the fray.

TPAG: You are a four person artist collective; then gets interpreted into visual imageries. Each how does the dynamic work when it comes to of us have our role; one of us makes the initial producing artworks? concept sketch, another draws the illustrations, PS: We are a multi-disciplinary art and design another composites and colours, oversees the collective, our approach is therefore best de- production, reinterprets the idea into sculptural scribed as “an aesthetic collective conscious- form and the process continues, it is never a ness” focused on experimenting with new ap- fixed arrangement or order as we switch roles proaches to visual expressions. When we first all the time. met at Lasalle, we found that we shared many common interests, ranging from old Hong Kong To further expand on the analogy, the “band” is kungfu TV serials, Chinese mythology and Jap- at the core of the creation and vision but is sur- anese manga, to British indie music, American rounded by technicians, producers and other pop culture, pretty girls, alcohol, and parties. musicians to help actualize the production of We tried forming a band initially, but gave up the “album” as well as simultaneously manag- after realizing that we sucked musically. Out of ing the PR, publishing and distribution. boredom, we started ‘jamming’ with visuals and graphics on the Mac in Jackson’s bedroom and sent the ‘EPs’ out to people we liked. Do you consider yourself Pop Artists or do you find yourselves framed within the Graphic The rock and roll ethos, DIY spirit and working design genus? dynamics of a band was developed into our We are not really concerned with labels or collective’s DNA. We approach the creation genres; there is not much difference in :phunk’s of our original artworks like a band producing creative process where our fine art and com- an album. First, we decide on the main artis- mercial design works are concerned. We like to tic theme of the series. Decide on the number explore, express and communicate our ideas of tracks (each artwork = one visual track), and through different mediums. Our projects en- start working on each artwork collectively. We compass art, design, publishing, fashion, mu- usually make one “art album” of around 40 “vi- sic, film and interactive media. We like to blur sual tracks” a year. One band member writes the lines and push the boundaries between the songs, the other adds the lyrics, makes the creativity and commerce, craft and technology, musical arrangements, performs, and so on. fantasy and reality, control and chaos, love and We talk and think of the original idea, which hate, audio and visual.

FEBRUARY 2011 / 51 INTERVIEW

What does Pop Art mean to you, how would rock music, both bands were British but had you best define it? distinctly different sounds and images. Popular Art...Like Pop Music...is art which is in- formed by visual language, imagery, symbolism We as a “collective” will never be the same as and iconography of a popular culture. We liked a solo artist but we have chosen to create and a poster from Gagosian Gallery for one of its ex- sign our works as a single entity. We managed hibitions, which said it best: to create a common artistic vision the four of us can share and build on. We believe that every- “POP ART IS: one is different and originality comes naturally POPULAR, TRANSIENT, if you believe in yourself but having said that, one of our “borrowed” ethos in :phunk is “Steal- EXPENDABLE, LOW COST, ing from Thieves” - Talent Imitates and Genius MASS PRODUCED, YOUNG, Steals. We did not invent Rock music or Pop WITTY, SEXY, GIMMICKY, Art but neither did The Beatles or Andy Warhol GLAMOROUS, BIG or Murakami. BUSINESS.” What do you wish to convey through your art? Which artists have been your influences? How do you think audiences relate to your We have had a number of influences - Archi- works? gram, Jin Yong, Andy Warhol, , George We hope to share the stories from our inner Orwell, Osamu Tezuka, Stephen Chow, Walt universe.... and the message is LOVE. The Disney and . Ten years ago, we audiences can relate to our Collective’s visual called ourselves “Visual Junkies”, five years ago language and ideology, which is global, multi- we became “Information Junkies” and recently disciplinary and diverse. This assorted mix of we have become “Cultural Junkies”. We used cultural influences and visual iconography have to be inspired and expressed ourselves cre- inspired and informed the Collective’s artistic vi- atively through designing and creating visuals, sion. then through information...and now its culture. When we were younger, we were influenced by everything external around us however, in the Which media do you use, your preferences last few years, we have been looking into our in- and why? ner worlds so as to build our collective universes We like to explore new ways to communicate and expand the themes of our worlds. our ideas through different mediums. Our proj- ects span across different mediums such as painting, sculpture, prints, art installation, ani- Your works resemble the reigning Japanese mation, design, publishing, fashion, music, film Pop Artist Takashi Murakami, how would you and interactive. explain your distinction from his art? Well yes, there have been a few remarks and comments from critics and the audience re- How do you feel Pop Art has influenced Sin- garding :phunk and Murakami, but it does not gapore as well as on a global level? matter to us. We do indeed share certain com- Pop is celebrated globally by a generation which mon cultural influences, genre and themes with grew up watching Michael Jackson on MTV, him such as Japanese Anime, Cartoons, Pop while wearing Nike sneakers and Levis jeans, and youth culture. However, we are distinctively eating McDonald’s and while playing Pong on different in our artistic approach, age, back- their Ataris. We realized that we are part of a ground and medium. It’s like The Beatles and larger group of a “globalized” generation which Rolling Stones, they played the same genre of grew up watching television. “Children of Televi-

52 / THE POCKET ARTS GUIDE :PHUNK

3. Control Chaos (Giant) 2009 - 10 Acrylic on Canvas, 600 x 1200 cm 4. Electricity (Neon) 2010 Carbon Ink Transfer on Wood Panel, 320 x 830 cm

FEBRUARY 2011 / 53 INTERVIEW

Underworld 2 2010 Acrylic on Canvas 210 x 300 cm

54 / THE POCKET ARTS GUIDE :PHUNK

FEBRUARY 2011 / 55 INTERVIEW

sion” is a term we coined for our peers in cit- have accomplished what they did if not for the ies such as Paris, Tokyo, New York, Taipei and atelier system. It is also a healthy environment Barcelona who share our passion for Star Wars, whereby to nurture and train the next genera- Sesame Street, British Indie-Pop music, Dorae- tion of artistic individuals. The TRANSMISSION: mon, Buddha’s Palm and Journey to the West. LAB in our mind was envisioned to be a cross These influences are more demographical than between Yoda’s Jedi Academy, Shaolin Temple geographical. and Warhol’s Factory. The relationship between the master and disciple is reciprocal and not one sided; it is not about “outsourcing” work but Tell us about your current and future projects? rather like growing a style or school of Kung Fu We are currently working on a new series of not unlike the Shaolin monks or Jedi Knights. original artworks based on the theme “DAY- DREAM NATION”. The series will be launched in various exhibitions in early 2011. We will be showing some works from the series at ART STAGE, Singapore 2011. We are also working on various creative collaborations with brands on products and campaign projects. We will be launching the second annual exhibition of TRANSMISSION: LAB, an experimental multi- disciplinary visual laboratory which we initiated to mentor and transmit our collective experi- ence, knowledge and skills to a new generation of creators.

TRANSMISSION: LAB is a collaboration be- tween you and Lasalle, whereby you nurture select young talent through an “atelier”. Do you as a group see yourself evolving into a “Warhol factory” system with numerous assis- tants (a la Jeff Koons/ Murakami/ Hirst)? We realized many years ago when we first started our career that there was no one be- fore us to mentor or guide us, and certainly no platform so as to broadcast our ideas to If there were one or two images you would like the rest of the world. We therefore formulated to be remembered for, which piece(s) would TRANSMISSION as a channel for us to share it be? our works and create opportunities for collabo- The two works would be CONTROL CHAOS rations. Eventually, we decided to avail that to and ELECTRICITY. the younger generation of creative students so that our knowledge, network, experience and skills would be utilized for their benefit.

We believe that you cannot be a true master if you do not leave a legacy as well as share your experiences and knowledge with the young. The “atelier” or “mentor” system has been around for ages; the renaissance masters could never

56 / THE POCKET ARTS GUIDE To learn more visit: www.socialcreatives.com

Our objectives: To become the leading non-government group nurturing Community Art through youth development Ask ours Whe elve n as s: we ked t draw o dr wit a sq aw a h a t uar hous wi rian e sha e ndow gula ped s, wh r ro build y no of w ing t a H ith t DB wo flat?

Social Creatives does Community Art

FEBRUARY 2011 / 57 TPAG Cover Dec 2010.pdf 1 11/16/2010 7:06:32 PM

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51, Waterloo Street, #02-01/02/03, Singapore 187969 Operation hours: Wed - Sun: 11am to 6:30pm, All other times by appointment Call for private viewing, Tel: +65 6336 0915, Fax: +65 6336 9975, [email protected] ww.art-trove.com TPAG Cover Dec 2010.pdf 1 11/16/2010 7:06:32 PM

Art Trove

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51, Waterloo Street, #02-01/02/03, Singapore 187969 Operation hours: Wed - Sun: 11am to 6:30pm, All other times by appointment Call for private viewing, Tel: +65 6336 0915, Fax: +65 6336 9975, [email protected] ww.art-trove.com HOLLAND ROAD SINGAPORE’S ART MAP

Singapore Botanical Garden NASSIM ROAD

QUEENSWAY COMMONWEALTH AVE

NAPIER ROAD

TANGLIN ROAD

Galerie Joaquin, The Gallery of Gnani Arts

Antiquaro, Boon’s Pottery, Bruno Gallery, HaKaren, Kwan Hua, Li Fine Art, Mulan Gallery, TANGLIN ROAD Peter’s Frame, Sun Craft, Yang Gallery

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Sealey Brandt Photography Studio, Geeleinan Art Gallery & Studio

TANGLIN ROAD

AYER RAJAH EXPRESSWAY

QUEENSWAY

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Mercedes-Benz PORTSDOWN AVE Center

AYER RAJAH EXPRESSWAY

ALEXANDRA ROAD

JALAN BUKIT MERAH

LOWER DELTA ROAD 60 / THE POCKET ARTS GUIDE BUKIT TIMAH ROAD SINGAPORE’S ART MAP

SCOTTS ROAD LEGEND KALLANG ROAD AY W S S E CAIRNHILL ROAD R P MAIN ROAD X E SERANGOON ROAD L A TR SMALL ROAD N E C EXPRESSWAY

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Third Floor Hermes E C

BIDEFORD ROAD GALLERY

M.A.D SPOTTED (Museum of Art & Design) ORCHARD ROAD SELEGIE ROAD Art Trove Gallery 51 Waterloo Street #02-01/2/3 T Singapore 187969 E E BENCOOLEN STREET R NICOLE HIGHWAY T Foundation Oil T: +65 6336 0915 S P Painting E F: +65 6336 9975 C IN E: [email protected] The PR W: www.art-trove.com Picture- Young Musicians’ Society house Forest Rain Gallery Opening Hours Singapore Calligraphy Centre ROCHOR ROAD Wed- Sun: 11am to 6.30pm BRAS BASAH ROADArt Trove, The Private M. Call for private viewing. M Gallery 8Q SAM OVAS Art Gallery Yavuz FA Action Theatre RIVER VALLEY ROAD National Museum Eagle’s Eye of Singapore Art Gallery Fort Canning Foundation Oil Park Painting

The Substation

KIM SENG ROAD EASTCOAST PARK EXPRESSWAY

Singapore Philatelic Chan Hampe Museum Galleries RIVER VALLEY ROAD

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Art Trove

GANGES AVE

MERCHANT ROAD The National Art Gallery, The Esplanade Singapore

AY W HAVELOCK ROAD S HILL STREET ES R P EX L A TR EN C SOUTH BRIDGE ROAD

ESPLANADE DRIVE

HAVELOCK ROAD EASTCOAST PARK EXPRESSWAY EASTCOAST PARK EU TONG SENG FEBRUARY 2011 / 63 Sotheby’s Institute of Art, DreamSpace Art Studio DIRECTORIES

GALLERIES Chan Hampe Galleries A 328 North Bridge Road #01-04 Raffles Hotel Arcade AndrewShire Gallery 5 Swiss Cottage Estate Singapore 188719 Aratong Galleries 26 Mount Pleasant Drive T: +65 6338 1962 Art Forum 82 Cairnhill Road www.chanhampegalleries.com Art Glass Solutions 30 Kuo Chuan Avenue Art Seasons 7 Kaki Bukit Road 1 #02-12 Art Tree Gallery 333A Orchard Road #04-11 Art-2 Gallery 140 Hill Street #01-03 D artcommune 133 New Bridge Road #02-77 Artesan 793 Bukit Timah Road #02-01 Artfolio 328 North Bridge Road #02-25 DaTang Fine Arts Singapore ArtGoGo 402 Orchard Road #02-08 177 River Valley Road, ARTINNO 391B Orchard Road #23-01 Liang Court , #02-09A Singapore 179030 T: +65 9846 2098 / +65 9721 3718 Art Trove www.9911art.com 51 Waterloo Street #02-01 to 03 Singapore 187969 Dynasties Antique & Art Gallery T: +65 6336 0915 18 Boon Lay Way www.art-trove.com #01-136 TradeHub 21 Singapore 609966 T: +65 67383268 Arty Art Gallery 686A Woodlands Drive 73 #15-52 www.9911art.com Aryaseni 10A Bukit Pasoh

d’Art 5 Westbourne Road #02-03 B D’Peak Art Space Kaki Bukit Road 1 #01-07 DLR Gallery 22 Marshall Road

Boon’s Pottery 91 Tanglin Road E #01-02A Tanglin Place Singapore 247918 Eagle’s Eye 39 Stamford Road #01-01 T: +65 6836 3978 Echo Art Galerie 19 Tanglin Road #02-59 www.boonspottery.com Evil Empire 48 Niven Road

Bruno Gallery F 91 Tanglin Road #01-03 Tanglin Place Singapore 247918 fill your walls T: +65 6733 0283 21 Tanjong Pagar Road www.brunoartgroup.com #04-02 Singapore 088444 T: +65 6222 1667 Bartha & Senarclens 75 Emerald Hill Road www.fill-your-walls.com

C Forest Rain Gallery 261 Waterloo Street Cape of Good Hope #02-43/44 140 Hill Street Singapore 180261 #01-06 MICA Building T: +65 6336 0926 Singapore 179369 www.forestraingallery.com T: +65 6733 3822 www.capeofgoodhopeartgallery.com FOST 65 Kim Yam Road

CdeM ART & DESIGN Blk 5 Westbourne Road #01-02 G Collectors Contemporary 5 Jalan Kilang Barat #01-03 COMBINART 27 Woodlands Industrial Park E1 #01-08 Galerie Belvedere 168 Robinson Road #36-01 Galerie Waterton 39 Keppel Road #02-01

64 / THE POCKET ARTS GUIDE DIRECTORIES

Living Portraits 31 Tanjong Pagar Galerie Joaquin 1 Cuscaden Road #01-03 The Regent Hotel Lukisan Art Gallery Singapore 249715 110 Faber Drive T: +65 6725 3113 Singapore 129421 www.galeriejoaquin.com T: +65 6774 1609 www.lukisan-art.com

The Gallery of Gnani Arts 1 Cuscaden Road #01-05 The Regent Singapore 249715 T: +65 6725 3112 M www.gnaniarts.com M Gallery 51 Waterloo Street #03-03B/04 Metakaos 1 Kaki Bukit Road 1 #03-22

Mulan Gallery H 19 Tanglin Road HaKaren 19 Tanglin Road #02-43 #02-33 Tanglin Shopping Centre Heng Artland 290 Orchard Road #04-08 Singapore 247909 T: +65 6738 0810 www.mulangallery.com.sg I

Muse The Art Gallery Impress Galleries 268 Upper Bukit Timah Rd 1 Kim Seng Promenade #03-09 @ The Old Fire Station #02-07/08 Great World City Singapore 588210 Singapore 237994 T: +65-8388 0044 T: +65 67362966 www.musetheartgallery.com www.impressgalleries.com

Indigo Blue Art 33 Neil Road INSTINC 12 Eu Tong Sen Street O iPRECIATION 1 Fullerton Square #01-08 Ode to Art 252 North Bridge Road #01-36E/F Opera Gallery 2 Orchard Turn #03-05

K OVAS Art Gallery 9 Road #02-21 Park Mall Ken Crystals Singapore 238459 133 New Bridge Road T: +65 6337 3932 #01-45 Chinatown Point www.ovas-home.com Singapore 059413 T: +65 6339 0008 www.lifineart.com P Kwan Hua 19 Tanglin Road #02-09

Pop and Contemporary Fine Art 390 Orchard Road L #03-12 Palais Renaissance Larasati www.larasati.com Singapore 238871 Linda Gallery 15 Dempsey Road #01-08 T: +65 6735 0959 Light Editions Gallery 39 Keppel Road #02-02B www.popandcontemporaryart.com

Li Fine Art 19 Tanglin Road #03-32 Tanglin Shopping Centre R Singapore 247909 ReDot 39 Keppel Road #02-06 T: +65 6235 3306 Red Sea 9 Dempsey Road #01-10 www.lifineart.com

FEBRUARY 2011 / 65 DIRECTORIES

S Yisulang Art Gallery 6 Handy Road S.Bin Art Plus #01-01 The Luxe 140 Hill Street MICA Building Singapore 229234 #01-10/11/12 T: +65 63376810 Singapore 179369 www.yisulang.com T: +65 6883 2001 www.sbinartplus.com Your MOTHER gallery 91A Hindoo Road

Galerie Sogan & Art 33B Mosque Street # Singapore 059511 2902 Gallery 11 Mount Sophia Block B #B2-09 T: +65 6225 7686 www.soganart.com ART AUCTIONEERS / DEALERS

Soobin Art International 10 Ubi Crescent #04-90/92/93/95 Black Earth Auction Sun Craft 19 Tanglin Road #02-08 367 Joo Chiat Road Singapore 427559 Sunjin Galleries T: +65 6346 3767 43 Jalan Merah Saga www.blackearth.com.sg #03-62 Work Loft @ Chip Bee Singapore 278115 T: +65 6738 2317 www.sunjingalleries.com.sg Borobudur www.borobudurauction.com Masterpiece www.masterpiece-auction.com 33 Auction www.33auction.com T Y2ARTS Tasa Gallery 89 Short Street 140 Hill Street Tembusu 140 Hill Street #01-05 #01-02 MICA Building The Gallery of Gnani Arts One Cuscaden Road #01-05 Singapore 179369 The Peach Tree 129 Tanglin Road T: +65 6336 8683 The Tolman Collect 82 Cairnhill Road www.y2arts.com U Utterly Art 229A South Bridge Road 2nd Level MUSEUMS V Asian Civilisations Museum www.acm.org.sg Valentine Willie Fine Art 39 Keppel Road #02-04 Changi Museum 1000 Upper Changi Road North VITRIA 17 Chee Hoon Avenue MAD Museum of Art & Design 333A Orchard Road #03-01 VUE PRIVÉE 20 Cairnhill Road MINT Museum of Toys 26 Seah Street National Museum of Singapore 93 Stamford Road W Peranakan Museum 39 Armenian Street Wetterling Teo Gallery 3 Kim Yam Road Post Museum 107/109 Rowell Road White Canvas Gallery 78 Guan Chuan Street Red Dot Design Museum 28 Maxwell Road RSAF Museum 400 Airport Road X Singapore Art Museum 71 Bras Basah Road SAM at 8Q 8 Queen Street Singapore Coins and Notes Museum Xuanhua Art Gallery 2 Trengganu Street Level 3 70 Bussorah Street Singapore Navy Museum 32 Admiralty Road West Singapore 199483 Singapore Philatelic Museum 23B Coleman Stree T: +65 6392 2556 www.xuanhuaart.com The Luxe Art Museum 6 Handy Road #02-01 The Luxe Singapore 229234 Y T: +65 6338 2234 Yang Gallery 19 Tanglin Road #02-41 www.thelam.sg YAVUZ Fine Art 51 Waterloo Stree #03-01

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ART SERVICES The Private Museum 51 Waterloo Street #02-06 Ray’s Transport & Services Singapore 187969 Artwork Installation & T: +65 67382872 Delivery Services www.theprivatemuseum.org All other Art related services +65 91522511 [email protected]

VENUES / ASSOCIATIONS / GROUPS FRAMERS Alliance Française de Singapour 1 Sarkies Road Ace Framing Gallery 226 River Valley Road Art Retreat (Wu Guanzhong Gallery) Frame Hub Gallery 46A Lorong Mambong 10 Ubi Crescent #01-45/47 ARTSingapore www.artsingapore.net ArtSpace at Royal Plaza Hotel 25 Scotts Road Impress Galleries 429 East Coast Road COMBINART 27 Woodlands Industrial Park E1 #01-08 Singapore 429016 Esplanade 1 Esplanade Drive T: +65 64404533 Emily Hill 11 Upper Wilkie Road www.impressgalleries.com Give Art 65 Spottiswoode Park Road

Gnani Arts Space 190 Middle Road Peter’s Frames #02-30/31, Fortune Centre 19 Tanglin Road #02-02 Singapore 188979. Tanglin Shopping Centre T: +65 6339 1230 Singapore 247909 www.gnaniarts.com T: +65 6737 9110 [email protected]

Jalan Bahar Clay Studios 97L Lorong Tawas JENDELA (Visual Arts Space) 1 Esplanade Drive Level 2 La Libreria 50 Kent Ridge Crescent Level 3 CONSERVATION / RESTORATION Little Red Shop www.littleredshop.org Benaka Art Conservation Private Ltd Mercedes-Benz Center 64 Taman Warna 301 Alexandra Road Singapore 276386 Singapore 159968 T: +65 9105 4377 / +65 6100 2707 T: +65 6866 1888 www.benakaartconservation.com www.mercedes-benz.com.sg

Ngee Ann Cultural Centre 97 Tank Road Night & Day 139 A/C Selegie Road Osage 11B Mount Sophia #01-12 Post-Museum 107+109 Rowell Road Public Art Space (Pan Pacific) 7 Raffles Boulevard Sculpture Square 155 Middle Road Sinema 11B Mount Sophia #B1-12 Singapore Art Society 10 Kampong Eunos Singapore Contemporary Young Artists www.contemporaryart.sg The Art Gallery 1 Nanyang Walk 1 Old Parliament Lane The Gallery (SMU) 90 Stamford Road The Picturehouse 2 Handy Road The Substation 45 Armenian Street Third Floor – Hermès 541 Orchard Road Victoria Theatre & Concert Hall 11 Empress Place Volvo Art Loft 249 Alexandra Road 72-13/TheatreWorks 72-13 Mohamed Sultan Road

FEBRUARY 2011 / 67 DIRECTORIES

ART SCHOOLS TOURISTS SPOTS Bhaskar’s Art Academy 19/21 Kerbau Road Armenian Church 60 Hill Street LASALLE 1 McNally Street Battle Box 51 Canning Rise Nanyang Academy of Fine Arts 38/80/151 Bencoolen St Botanic Gardens 1 Cluny Road +65 6471 7361 NTU (School of Art, Design & Media) 81 Nanyang Drive Buddha Tooth Relic Temple 288 South Bridge Road NUS Museum 50 Kent Ridge Crescent Bukit Timah Saddle Club 51 Fairways Drive +65 6466 2782 School of the Arts (SOTA) 1 Zubir Said Drive CHIJMES 30 Victoria Street +6336 1818 Sotheby’s Institute of Art 82 Telok Ayer Street Chinatown Heritage Centre 48 Pagoda Street +65 6221 9556 The Republic Cultural Centre 9 Woodlands Avenue 9 Chinese Garden 1 Chinese Garden +65 6261 3632 The Singapore Tyler Print Institute 41 Robertson Quay Crocodilarium 730 East Coast Parkway +65 447 3722 1 Pasir Ris Close +65 6581 9112 Fort Canning Park 51 Canning Rise +65 6332 1302 ARTIST STUDIOS Goethe-Institut Singapur 163 Penang Road #05-01 Barrosa Studio 4 Woking Road #01-02 Johore Battery Cosford Road +65 6546 9897 2 Jurong Hill +65 6265 0022 9 Woodlands Road Chieu Sheuy Fook Studio Esplanade Park Studio 102 85 Sultan Gate +65 6391 0450 91 Lorong J 39 Geylang Serai +65 6748 4700 Telok Kurau Road Singapore 425985 Mandai Orchid Garden 200 Mandai Lake Road +65 6269 1036 +65 96690589 8 Marina Gardens Drive +65 6514 5959 e: [email protected] 10 Bayfront Avenue +65 6688 8868 Masjid Sultan Kampong Glam DreamSpace Art Studio Park Fullerton 艺术创作，专业绘画教育。 Mount Faber +65 6270 8855 19 China Street National Archives of Singapore 1 Canning Rise +65 6332 7909 #03-04/05 Far East Square National Library Singapore 100 Victoria Street +65 6332 3255 Singapore 049561 National Parks Board 1800 471 7300 +65 9168 7785 Night Safari 80 Mandai Lake Road +65 6269 3411 www.hill-ad.com.sg Parliament House 1 Parliament Place +65 6336 8811 Raffles’ Landing Site North bank of the Singapore River Foundation Oil Painting Reflections at Bukit Chandra 31K Pepys Road +65 6375 2510 (conducted by Mr Wee Shoo Leong) Resorts World 39 Artillery Avenue +65 6577 8888 155 Waterloo Street St. Andrew’s Cathedral 11 Saint Andrew’s Road #01-04 Stam ford Arts Centre / Omni Theatre 15 Science Centre Singapore 187962 Road +65 6425 2500 +65 9726 2028 Sentosa 1800 736 8672 www.foundationoilpaintingclass.com SIA Hop-on +65 9457 2896 Singapore Botanic Gardens 1 Cluny Road +65 6471 7361 Geeleinan Art Gallery & Studio 1 Whitchurch Road #02-03 Singapore Cable Car +65 6270 8855 Jeremy Ramsey Fine Art 16 Bukit Pasoh Road Singapore City Gallery 45 Maxwell Road +65 6321 8321 Kelly Reedy - Studio Arts 27 Woking Road #01-01 Singapore Discovery Centre 510 Upper Jurong Road +65 6792 6188 Ketna Patel Singapore Expo 1 Expo Drive +65 6403 2160 35 Jalan Puteh Jerneh 30 Raffles Avenue +65 6734 8829 Chip Bee Gardens, Holland Village Singapore Turf Club 1 Turf Club Avenue +65 6879 1000 Singapore 278057 80 Mandai Lake Road +65 6269 3411 +65 6479 3736 SKI360° 1206A East Coast Parkway +65 6442 7318 www.ketnapatel.com 21 Jurong Town Hall Road +65 6560 2306 Sri Mariamman Temple 244 South Bridge Road Sun Yat Sen Nanyang Memorial Hall Koeh Sia Yong 许锡勇 12 Tai Gin Road +65 6256 7377 10 Kampong Eunos Supreme Court 1 Supreme Court Lane +65 6336 0644 Singapore 417774 Sungei Buloh Wetland Reserve 301 Neo Tiew Crescent +65 +65 9671 2940 6794 1401 e: [email protected] www.yessy.com/koehsiayong Taxis www.koehsiayong.artfederations.com - Comfort/YellowTop +65 6552 1111 - CityCab +65 6552 2222 Marisa Keller 28 Woking Road #03-05 - Premier +65 732 2516 - Smart +65 6485 7777 Sealey Brandt Photography Studio - Tibs +65 6555 8888 1 Westbourne Road #01-02 - Transcab +65 6555 3333 Telok Kurau Studios 91 Telok Kurau Lorong J Thian Hock Keng Temple 158 Telok Ayer Street

68 / THE POCKET ARTS GUIDE DIRECTORIES

Touristline 1800 736 2000 Underwater World 80 Siloso Road +65 6275 0030 Universal Studios 8 Sentosa Gateway +65 6577 8888 War Memorial Park Bras Basah Road & Beach Road intersection

MALAYSIA ART GUIDE +Wondermilk Art Gallery www.theclickproject.com 12 (Art Space Gallery) www.12as12.com A2 Gallery www.a2artgallery.com Annexe Gallery www.annexegallery.com Art Case Galleries www.artcase.com.my Art Expo Malaysia www.artexpomalaysia.com Art House Gallery www.arthousegallery.biz Art Loft www.artloftgallery.net Art Salon @ Seni www.theartgallerypg.com Artseni Gallery www.artseni.com CHAI (Instant Cafe House of Arts and Idea) www. instantcafetheatre.com City Art Gallery Edi.A Art Gallery www.ediarts.blogspot.com Galeri Chandan www.galerichandan.com GALERI PETRONAS www.galeripetronas.com.my Galeri Shah Alam www.galerisa.com galleriiizu @ Shangri-La Hotel www.galleriiizu.com House of Matahati (HOM) www.matahati.com.my Islamic Arts Museum www.iamm.org.my Lookiss www.lookissgallery.com Lost Generation Space www.lostgenerationspace.blogspot.com Malaysia National Art Gallery www.artgallery.gov.my MERAH: Mansion for Experimentation, Research, Arts and Horticulture www.facebook.com/pages/MERAH/148050170487 Metro Fine Art www.metro3gallery.com NN Gallery www.nngallery.com.my Pace Gallery www.pacegallery.net Pelita Hati www.pelitahati.com.my Pinkguy Gallery www.pinkguymalaysia.com Richard Koh Fine Art www.rkfineart.com Rimbun Dahan www.rimbundahan.org RougeArt www.rogueart.asia Shalini Ganendra Fine Art www.shaliniganendra.com The Gallery @ Star Hill www.starhillgallery.com Valentine Willie Fine Art www.vwfa.net Wei-Ling Gallery www.weiling-gallery.com Y 2 S Art Space www.y2sart.com.my ZINC www.zinc.com.my

INTERNATIONAL ART GUIDE Amelia Johnson Gallery www.ajc-art.com I/O Input Output www.inputoutput.tv FLO PETERS GALLERY Chilehaus C Pumpen 8 20095 Hamburg, Germany +49 40 3037 4686 www.flopetersgallery.com

© Elliott Erwitt/MAGNUM Photos

Karin Webber Gallery www.karinwebbergallery.com

FEBRUARY 2011 / 69 Featured on

is a registered charity with IPC Status that may provide up to 250% tax-deductibles for donations received.

We do Community Art. Art to the Heart: Heartlanders into Artlanders. Art for everyone and anyone.

To le70a / rTHEn mPOCKETore ARTSabo GUIDEut our Public Murals or to donate please email: [email protected] FEBRUARY 2011 / 71 FPad-Sunjin.pdf 1 1/19/11 12:55 PM

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