nostalgia in transformation
Ong Kim Seng On the cover:
West Bank, Singapore River. Water colour on paper 120 x 100 cm, 2014. nostalgia in transformation
Ong Kim Seng
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nostalgia in transformation
Foreword
By Jazz Chong Director, Ode to Art.
Watercolour virtuoso, prolific visionary and perhaps one of the most laurelled artists that have graced Singapore’s Art scene till date- Mr Ong Kim Seng is the embodi- ment of artistic passion. Through our years of professional collaborations, Mr Ong has never ceased to amaze me with his humility and undying vigour to explore, learn and achieve. On the occasion of this exhibition, the artist himself suggested the challenge of oversized works, deciding to take his personal road less travelled and push the limits of comfort. Breaking through all possible constraints of time, health and effort, the end products were not only breath taking specimens of aes- thetic beauty, but testaments to his perseverance and absolute mastery over his style. Mr Ong’s dedication to his Art is astounding and yet, it has become a facet so integral to his working that one has come to expect nothing else, but greatness.
In the process of this exhibitions culmination, Mr Ong frequently referenced his con- ceptual inspirations, citing the memory and emotion so closely woven into his work. As an individual who has witnessed an astounding amount of Singapore’s history take place in front of his very eyes, the nostalgia that Mr Ong references borders on a historical homage that is tinged with a personal acceptance of change. The artist wishes to express a social message through his work, leaning to neither yay nor nay but simply presenting Singapore’s rapid modernization as it is- allowing the audience to take their own expression from the view of historic gems nestled in a jungle of concrete and steel. His story is one that takes many cities into the heart of their development and yet, stays uniquely Singaporean.
However, in this title, I would like to share with you a different story; that of a boy that persued his passion with unwavering determination, passing pillar and post, experiencing strife and success and taking every hurdle as an oppurtunity of bet- terment. I would like to tell you a story of skill and fortune, and the melding of his- tory and fate into a vista of artistic scenery. In the pages that follow, you will see not only a conversation between the great artist and myself, but the tale of the man behind the artist. I invite you to share with us not only the stunning expositions of Mr Ong Kim Seng’s skill, but to partake in the journey of an artist placed in the back- drop of a pulsating, changing Singapore. Today I present to you not only memory, history or change; I present you the story of a city- the artist’s very own Nostalgia in Transformation.
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Artist Statement
Ong Kim Seng, 2014.
“When I approach a scene, I often ask myself what draws me to paint it; is it the structure itself or the environment? Sometimes it can be either building or environ- ment, or sometimes both. In this exhibition I paid particular attention the formation of the scene which comprises of different shapes of structures, especially the old buildings that are sandwiched or enclosed by ultramodern ones. This is what the modern Singapore cityscape has now become.
Most of my paintings for this exhibition were done on site, which is termed as “plein air”. Using a blend of colours to differentiate the new from the old and emphasizing the old against the new, the scenes have come together in different formations and contrasts, highlighting what has become a commonplace sight for Singaporeans. I also painted scenes of the container port, which will eventually be relocated, with the intention of commemorating the memories of its present location with its back- drop of the Central Business District off Tanjong Pagar. Using larger scale paintings I have incorporated as many details as possible in order to explore a new concept and style.”
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The Long Winding Road
A history of the man behind the artist; as told by Jazz Chong – Director, Ode To Art.
“Some of the greatest satisfactions of a genius are his will power and obstinacy” — Man Ray
Watercolour veteran, international art celebrity, cultural demise of his father to keep them afloat. A bright and medallion winner and one of Singapore’s most prized inquisitive young boy, Ong carried an artistic kindling artistic scholars- Mr Ong Kim Seng is a man who hardly from as long as he can remember. Going as far back needs an introduction. A self- taught artist with a thirst as 1954, when he first enrolled in Radin Mas Primary for observant detailing, exploration and the unending School, the artist can still fondly recount his incessant pursuit of knowledge, Mr Ong has steadily climbed the doodling and sketching of figures that would occupy ranks of formal appreciation to claim his title as one of his interest and time without any external persuasion. the most celebrated water colourists of our age; break- Winning a few awards for his art at this tender an age, ing international barriers and surpassing local ones the young Ong found unlikely support and inspiration to firmly establish his name as a modern-day cultural in a teacher at his school, who left an impression that treasure. would continue for the rest of his artistic career. Al- though holding no artistic ties of training himself, this However, behind the years of sediment, the honours particular primary school teacher recognized the ink- and accolades, lies the solid bedrock upon which Mr lings of real talent held within the young boy and took Ong’s skill rests. Feeding the roots of his humble life it upon himself to encourage and push the boy to sur- view and his exuberance as an artist is an unshaka- pass his own limits. Struck by his teacher’s encourage- ble passion, and behind the passion is an adamantine ment and the realization of the extent of his interest in chain of determination- the cultivation of his genius that creating art, the young Ong Kim Seng’s passion for art began its journey in symbiosis with the nurture of his was, thus, firmly established, and paved the way, so to very own will power and obstinacy. speak, for his growth as a painter.
But before all of this, there was a boy. Mr Ong’s foray into secondary school in 1958 allowed him his first glimpse of the world of formal art training. The Birth of an Artist As part of the school’s art club, the young Ong was put into the company of other young artists for the first time Born in 1945 in a humble kampong in Tiong Bahru, Sin- and marvelled at the versatility of art backgrounds they gapore, the boy Ong Kim Seng was an only child, sup- held- be it in watercolour, oil, charcoal or crayon. The ported by his mother who worked double jobs after the art teacher himself held a penchant for outdoor paint-
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ing or plein-air painting, as it is known, which perhaps, was the seed of the artist’s own interest in the field that would grow to bloom in the years to come. As part of his art classes, he was introduced the painting and sketching of still life, of live models (not nude models, however, the artist jokingly clarifies) and was even tak- en out to the school grounds to experience and learn the art of landscape painting. The young artist found encouragement once again in his teachers and fondly remembers how once submitted, the teachers would refuse to return his work- enjoying it so immensely, that they wished to retain it as keepsakes. He had his first taste of recognition when he partook in interschool art competitions, with one particular competition earning him three wins at once- a feat so impressive, that it was even covered by local newspapers such as the Singa- pore Free Press. A premonition, perhaps, to the scores of newspapers that would flock to him since. ing or plein-air painting, as it is known, which perhaps,
In 1960, the adolescent Ong Kim Seng was awarded three top prizes earned at a school art competition- an achievement that was covered by the Singapore Free Press as a headlining story
was the seed of the artist’s own interest in the field that would grow to bloom in the years to come. As part of his art classes, he was introduced the painting and sketching of still life, of live models (not nude models, however, the artist jokingly clarifies) and was even tak- en out to the school grounds to experience and learn the art of landscape painting. The young artist found encouragement once again in his teachers and fondly remembers how once submitted, the teachers would refuse to return his work- enjoying it so immensely, that they wished to retain it as keepsakes. He had his first taste of recognition when he partook in interschool art competitions, with one particular competition earning him three wins at once- a feat so impressive, that it was even covered by local newspapers such as the Singa- pore Free Press. A premonition, perhaps, to the scores of newspapers that would flock to him since. The young Ong Kim Seng with his mother Goh Choon Hoon, who worked as a washer woman and grass cutter to support her family after the demise of her husband.
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Ong Kim Seng had his first taste of first of outdoor painting with the Pasir Panjang Secondary School Art Club in 1959
Stepping Stones
“Perfection is no small thing, but it is made up of small things.” — Michelangelo
Though speckled by illustrious artistic revelations, Ong Kim Seng’s childhood gave way to a variety of profes- sional excursions in an attempt to carve out a livelihood that art itself did not make pragmatically possible. In a time where art was more avocation than vocation, the artist pursued financial stability, though never for- getting his passions- practicing his art whenever he garnered free time or a weekend free of work. After graduating secondary school in 1962, the artist landed on his first profession- an apprentice at an advertising agency. Following this, he would continue to work as a policeman, a welder, a line technician at an electronics firm and an audio/visual technician at an established College. However, it was during his time as an advertis- ing agency apprentice that Mr Ong made associations and friendships that would forever alter his future.
Longing to continue his artistic passions any way he Working at a refinery in Pulau Ayer Chawan, 1972 could, Mr Ong found himself a participant in a group of outdoor painters- a group that met at the banks of the breaking first and second generation artists such as Singapore River to pursue their common passions; a Lim Cheng Hoe, Ong Chye Cho, Tong Chin Sye, Hua group that would go on to form the distinguished Sin- Chai Yong and Chew Yew Seng, the group was Ong gapore Watercolour Society. Led by writer, artist and Kim Seng’s first introduction to the active art societies lecturer, Chia Wai Hoon, and Comprising of ground in Singapore at the time; namely: The Singapore Art
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Society and the Society of Chinese Artists. The annu- his offer of purchase, the artist remembers ally held exhibitions from these art societies were held asking the gallery owner if he was sure he as considerable achievements at the time, with artist’s wanted to buy his work. On confirmation, Mr having to pay an entry fee, and if selected, a hanging Ong was overjoyed, and gave away the rest and catalogue fee to facilitate their exhibition. Mr Ong of his works along with the purchased few- an diligently submitted his work every year, often receiv- act he humorously contemplates till today as ing selections and occasionally, rejections as well. Only perhaps one of folly. Was it a mistake? When 17 years of age at the time, this was also when the art- asked, the artist looked away thoughtfully and ist joined the controversial Equator Art Society and at- stated simply, “I don’t want to think about it. tended his first ever formal art classes- held by none Life goes on.” The gallery still holds a few of other than the great Chua Mia Tee. Being a self-trained his early works till date that the artist whimsi- artist, such classes were eye-opening the young Mr cally visits on occasion. Ong, who found them inspiring and of immense aca- demic assistance to the development of his art. The Summit
“A journey of a thousand miles begins with a single step”— Lao Tzu
1978 was a turning point in the life of Ong Kim Seng. With many years of experience behind him, the artist muses, in retrospect, that the at- tainment of fame is a very difficult feat indeed. Talent in itself does not command renown: it is uniqueness- the difference one holds beyond his peers that acts as a springboard into rec- ognition; and it was during his time as an au- dio/visual technician that the artist was struck by an avenue for his own, personal brand of expression. As part of his profession, Mr Ong was exposed to persons of various national- Ong Kim Seng worked a variety of jobs to keep himself financially ities, spanning from Bangladesh, India, Paki- stable, including a stint at a refinery in Pulau Ayer Chawan in 1972. stan, Bhutan and Nepal, to Burma, Cambodia, This would later inspire his Painting, ‘Welders in Jurong’ Laos and Vietnam. On a chance interaction (above: 52 x 72 cm, 1976) with a native of Nepal, the artist found the pho- tographic images of the snow strewn country Continuing his struggle of maintaining bal- breath taking, captivated by the landscapes ance between his artistic inclinations and his and forms it was comprised of. The Nepal na- professional demands, Mr Ong admits to his tive urged the artist to visit Nepal and see the possible naivety at a time when art was only sights for himself- an idea that took root within beginning to take off as a luxury commodity. It him and began to grow. Within a few months, was only during the 70’s, the artist recalls, that Ong Kim Seng was in Nepal, embarking on a he began to see the sale of art become more new activity that would decorate his artistic commonplace; however, the art sold then was journey; an activity called trekking. priced far far below what they sell at today, with artist’s selling for thousands of dollars Trekking is not mountaineering, the artist clar- per work being virtually unheard of. The artist ifies; it is not the commandeering of a peak, vividly remembers his first dalliance with sell- but a walk through it; walking as far as possi- ing art when he was approached by a gallery ble, as high as possible, and as close as possi- owner interested in his work. Taken aback by ble- if not to the peak itself. Nepal is a country
8 nostalgia in transformation known for its mountain ranges and most no- held in Singapore followed a common regime tably, for hosting the magnificent Mount Ev- and pattern; title and theme wise, there was erest. The Great Himalayan Range that forms a commonality of structure, with showings al- the northern region of Nepal also houses a ways named and shaped after the artists who significant Rain Shadow area- a region that created them. Defying this commonality, Ong lies on the lee-side of a mountainous area, de- Kim Seng turned the convention on its head, void of the wind and rain that are blocked off and put up a show themed and named en- by the mountains before them. This particular tirely on its subject. Instead of putting up ‘An geographic composition makes Nepal a fasci- Exhibition by Ong Kim Seng’, the artist put up nating destination of unique sights, structures, ‘Himalayan Pilgrimage’. and flora and fauna, and it is these precincts that Ong Kim Seng captured in the most im- portant watercolour series of his artistic life.
Ong Kim Seng painting at the Bogda Base Camp, XinJiang, in 1983
Ong Kim Seng returned from his 1978 Nepal trip with over 20 art- works in hand.
Setting out on a solo expedition, the artist em- ployed a guide, a cook, and porters to carry his artistic and other supplies as he trekked up one of the most difficult trails in existence- the trek to the Everest Base Camp. The trek lasted 16 days, during which the artist not only soaked in his glorious surroundings, but fre- Post the completion of his first trip, the artist returned to Nepal every quently set up his easel and painted them- re- successive year. Here, he is seen at the Annapurna Peaks, Nepal, turning from his enlightening trip with over 20 in 1981 works of art under his arm. On his return to Singapore, Ong Kim Seng held his first ever one man show- a decision that accompanied Drawing crowds of viewers and publicity- most an epiphany that would mould his career. At enticed simply by the diversity and intrigue of this point of time, the manner of exhibitions the exhibition’s titles and subject matter- the
9 Ong Kim Seng exhibition was a rousing success, selling over or more awards from the AWS. Laurels con- 85% of its holdings. The artist proudly recounts tinued to shower down on the artist and he how even some of Singapore’s pioneering art was made president of the Singapore Water- icons such as Cheong Soo Pieng, Liu Kang color society in 1991, coinciding with his being and Lim Tze Peng came by to view his works. awarded Singapore’s most prestigious cultur- Moved and humbled by the discovery of a al award- The Cultural Medallion. He tenured new avenue for his artistic expression, the as president till 2001, after which he contin- artist swears by the happenings as a point of ued his duties as honorary president. In 1993, no turning back- the cornerstone to his career The artist’s work, ‘Bhaktapur’ was auctioned that effectively put him at the precipice of suc- and sold by Sothebys , Hong Kong, making it cess. Invigorated by his discoveries, the artist the first Singaporean watercolour work to be returned every year since, going on to paint auctioned by the house. Kathmandu, Dhaulagiri and other surrounding areas. The artist has made a whopping nine The allure of Ong Kim Seng’s artistic work far treks so far with the last being in 1996; follow- extends the limitations of simple aesthetics in ing which, he was reluctantly pushed to put imagery; as Mr Ong says himself- there are 3 a hold on his trips due to the constraints of parts to being a successful artist- aesthetics, health and age. He refuses to give up, howev- statement and passion. A great piece of art er, and in a testament to his spirit of explora- channels all three aspects, and the absence of tion and the incessant vigour that drives him, any one leaves something to be desired. Bring- Mr Ong plans to visit again but perhaps, he ing together a multileveled understanding of humorously adds, traverse the lower ranges art, Ong Kim Seng’s work projects impecca- better suited to his age. ble technique, his thirst for excellence, as well as a structural composure that highlights the natural appeal and history of a scene. A self- The Eye of the Beholder proclaimed naturalist-impressionist, as well as an ardent supporter of the Plein Air technique “To be an artist means to never avert one’s of painting, the viewer can easily establish the eyes”— Akira Kurosawa artist’s signature focus on colour, the interplay of light, and enhancing the natural appeal of a At a time when artistic recognition was a rare scene. Plein air, or simply put, outdoor paint- and revered achievement, Ong Kim Seng was ing, is a spontaneous technique that requires not to be stopped. Refusing to stagnate and the artist to be situated by the actual scene yield to the solidarity of acclaim, the artist per- he is painting- as opposed to painting from a severed in his form, breaking far more bound- picture or photograph. As the artist explains, aries than he could have conceived. In 1983, painting from an existing image holds many Ong Kim Seng participated in his first Amer- subjective aspects that may hinder the scope ican Watercolor Society (AWS) exhibition, of an artwork. For example, the image a pho- consequently winning his first award from the tograph depicts relies heavily on the level of prestigious society. In 1990, he became the colour and detail it has captured, its compo- first ever Asian artist out of the USA to gain sure and situational aspects decided wholly membership into the AWS, joining ranks with by the photographer. However, when the art- some of the world’s finest water colourists in- ist is actually present, he is able to identify cluding Robert E Wood, Rex Brandt, and Rob- and depict aspects such as hue, lighting and ert Vickrey. His international accolades do shade- a feature found most prominently in not stop there, however, as the artist went on the work of Ong Kim Seng- as well as dictate to win a stunning 6 awards from the coveted his own composition and angles. organization, a feat which later led him to be conferred as a Dolphins Fellow in 2000- the There are definite difficulties to art form as criteria to which was being the recipient of 4 well, as the artist clarifies. Missing the crea-
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Ong Kim Seng was both awed and humbled to have the illustrious Lee Man Fong attend his 1982 exhibition at the National Art Museum, Singapore
In 2004, The Singapore Philatelic Bureau released a special series of ten stamps featuring the artist’s water colour works.
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Having won an astounding six awards from the American Water Colour Society, Ong Kim Seng was conferred with the coveted Dolphin Felowship in 2000. ture comforts of a studio, an artist working in stereotype, however, the artist also practices the outdoors faces the uncertainties of weath- other manners of watercolour painting such er such as sudden outpours of rain, or the as the California style, that brings out very dis- scorching sun beating down their necks; they tinct impressionist uses of colour and altered face distractions in the form of people collect- forms that border on surrealism. ing around their work, or even animals, the artist jokes, such as ferocious dogs that have The art of Ong Kim Seng is steeped in emotion, forced him to double his easel as a weapon relying heavily on the artist’s perceptions and of self-defence! As an artist who significantly emotions that lie behind his choice of subject enjoys the dynamism of light as well as the and its composition The artist considers the tonality of colour- an outcome of the impres- statement in his work as such that resonates sionist’s coveted vibrancy- Ong Kim Seng easily with the audience in terms of meaning; finds joy in creating his own compositions with feeling melding into aesthetics to form a and highlighting the nuances extended by single comprehensive work of expression. In natural light. Light is an important aspect, the recent series of works, such as his 2011 pro- artist observes, that is reflective of our times. ject, ‘Heartlands: Home and Nation in the Art Classical art and gothic art often emphasized of Ong Kim Seng.’, the artist expresses his gloomy days and darker frameworks; but passion for the changing landscape of Singa- modern audiences enjoy the exhilaration that pore, channelling his emotional involvement sunlight brings, and the positive connotations as a born and bred Singaporean watching his of a bright day. The concurrent shadows in his home transform in front of his very eyes. As a works function not only as positive space but water colourist, the artist explains, the involve- also add a three dimensional accent that es- ment of emotion is subtly weaved into the sentially forms a distinct part of the feel the choice of colours and composition; a far more work communicates. Escaping the bracket of delicate and implicit procedure as compared
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The artist was honoured with the prestigious 1990 Cultural Medallion for Visual Arts by the National Arts Council, Singapore. to, say, a work of abstract or expressionist art. A Landscape of Change Take for example, the artist’s AWS award win- ning painting of a wall by Bencoolen Street; “The object of art is not to reproduce reality, although crafted masterfully, the subject it- but to create a reality of the same intensity.” self often draws interest as it is simply a vast — Alberto Giacometti white wall with no striking structural unique- ness. However, it is the same emptiness in its Every year, on the 1st of January, Mr Ong Kim expanse that is what drew Ong Kim Seng to Seng travels to the UOB plaza area in Singa- this particular structure, who found emotional pore, and paints. A practice he has observed resonance and meaning in its unbounded ex- for decades and continues to till today, the ritu- tents set in the middle of a bustling city. This al of sorts has opened the artist’s eyes to the vision and correlation inspired him to depict it rapidly changing landscape of Singapore, and in a manner that both exalted and subdued its the concurrent changes within himself. Every implications; the result was an award winning, year he paints the same scene, but every internationally acclaimed piece of art. year brings new additions; he paints differ- ent strokes and colours as new coats of paint As Mr Ong explains, an artist often asks him- appear on old buildings, he paints different self why he has decided to choose a certain angles as he tries to assimilate the new rises place, or to depict it in a certain way. Such in- on a familiar skyline. In the workings of a city, trospection allows the artist to better under- change is a necessity in the linearity of time; stand his motives, and builds the enthusiasm it is an invigorating and exhilarating practice to create a work that fulfils, if not exceeds, the that attempts to establish a constant upsurge- motivation behind it. an unending journey of betterment and evolu- tion. Where, however, does one draw the line between history and modernity? Where does
13 Ong Kim Seng heritage end and development begin? Such In a testament to skill required of his art and questions lie very close to Ong Kim Seng’s the unending perseverance of the man be- heart, turning and yearning and eventually hind it, the artist has also chosen to create finding their expression in the loudest voice this new series with a number of works that an artist knows- his art. far exceed the size of his other works. Large scale paintings, as the Mr Ong explains, are An extension of sorts to his 2011 ‘Home and enormous not only in size, but in the concep- Nation…’ series, that focussed on the erection tualization and labour that go into their crea- of new buildings and the alteration of the old, tion. A demanding form of artwork, the sizable Mr Ong now takes on his newest project as pieces differ greatly from simply expanding a an endeavour to capture the isolation and ab- smaller piece of art; the composition, strokes surdity of heritage surrounded by indifferent and maintenance of fluidity as translucent wa- modernity. In a social statement of sorts, the tercolour require a greater degree of control, artist brings forward a perspective that often pushing the thresholds of balance between escapes the view of the average Singapore- the variables of a work. Why does he choose an- that of the structural repercussions of a this form of expression? It’s simple, the artist shifting composition that leaves older build- responds. One is the greater statement they ings to fend for themselves in a crowd of mod- make, the impact (both aesthetic and concep- ern upheaval. The center of the city, the artist tual) being drawn out as palpable even from a explains, is an example of structural support; distance; and two, is the challenge of the pro- the Victoria Memorial Hall, City Hall and the cess itself. As a man who constantly pushes Supreme Court, flanked by the Old Parliament boundaries, the idea of exceeding expecta- Building, hold each other up in cultural soli- tions is not only thrilling but an essential part darity. However, buildings like the Thong Chai of his identity as an artist. This newest chal- Hospital, the Old Hill Street Police Station- lenge forms only a leaf in the book of Mr Ong’s these are heritage buildings that stand alone, unending journey to artistic exultation. holding a space that is slowly but surely being taken over by the gleaming mask of nouveau But of course, the artist does not plan to stop offerings. Clarke Quay too, creates deep stir- here. On the completion of this series, Mr Ong rings within the artist’s consciousness, who plans on continuing painting, devising more considers its refurbishing as almost resem- and more series as and when the stirrings of bling an old lady donning the appearance of a new project dawn upon him- possibly result- an adolescent girl. However, the artist clari- ing from his next trip to the Himalayas. Acrylic fies that there is a distinction in the message may be next, the artist says with a twinkle in he is trying to convey. While the alteration of his eye, losing himself momentarily in the de- historically significant areas inevitably incites scription of acrylic as a medium that beautiful- feelings of loss and nostalgia, adaptation and ly balances the translucent smoothness of wa- assimilation form equally important parts of tercolour and the thick richness of oil. Leaving growth- more so in the view of uniquely Sin- all in the room in awe of his rhapsodic energy, gaporean culture. Singapore is a city of both the artist simply shrugs and says, “We are in old and new, an amalgamation of tradition and the eye of history, everything is changing be- upstarts; this unique coalescence is precisely fore our eyes. Every day is another day, a new what the artist wishes to represent in his art. chapter; you have make it worth it. You have to Some artists paint only the old as a statement, live to the fullest” some artists paint only the new; but Mr Ong wishes to represent the present as it is, pre- And so our conversation ends; and our jour- serving and communicating through multiple ney through the picturesque landscapes of layers of depth that are left to the viewer to change begins. decipher at will.
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The Art of Ong Kim Seng
An Essay by Choy Weng Yang
In 1983, Ong Kim Seng went to New York to receive the Art of Ong Kim Seng’ – observed: prestigious Paul Remmy Award for his painting titled ‘Heart of Kathmandu’, from the American Water Colour “Widely admired for their rich and meticulous details, Society, New York. Dong Kingman, the reputable Chi- as well as strong contrasting effects of light and shade, nese American Water colourist, renowned for his bril- Kim Seng’s Nepali images open up a wold of poetic liant watercolours with an oriental focus, said: grandeur even as what is being presented appears to be an ordinary moment on the street. While the fluid “He is versatile in his use of colour, rhythm, and imagi- strokes and efficiency of details in these paintings may nation; and there is freshness and vitality in his com- come across as effortless to the eye, the ability to control position and technique, whether depicting the soaring and wield such intricate brushwork, and the creative clouds of the Himalayas or the steaming tropics of the handling of colours in a medium known for its trans- Bay of Singapore.” parency and unpredictability all reflect the sound focus and mastery of techniques on the artist’s part.” In the compact schedule of a prolific artist, there is al- ways an intense pursuit of fresh ideas and untried pos- In the impressive watercolour fraternity in Singapore sibilities in his artistic endeavour. One singular work with its overwhelming participants, with more and more which emerges out of an accidental encounter can be- competent water colourists joining the ranks of water come an exhilarating artistic breakthrough, and, in turn, colour artists of calibre, and thus, an artistic force to becomes the crucial turning point which subsequently reckon with- Ong Kim Seng holds a special place. changes the course of the artist’s artistic progress. The painting ‘Heart of Kathmandu’ is one such artwork. In the popular plein-air watercolour practice, a number of practitioners have the ability to capture- without fail- So stark was the contrast between Singapore and Ne- the explicit details and atmospheric light of the scene pal that Kim Seng was, at first, at a loss so as to how before them through the fascinating art of visual ren- he could portray the exotic beauty of the city of Kath- dering with entrancing watercolour effects. Character- mandu in watercolour, the art medium which is his forte. istically, Kim Seng goes beyond this to explore new However, he immediately sensed that his watercolour possibilities which have the capacity to transform the repertoire, with which he so effective captured China- work from one of impressive virtuosity, to one that con- town, Singapore, would be inappropriate here. He re- nects with various facets of life: cultural, historical, so- alized that to depict Kathmandu vividly, he would have cial, and emotional and environmental. to approach it with a fresh perception- without any preconceptions. To capture the majestic ancient ar- “Most of my paintings were done on site, which termed chitecture and the clear, ethereal light, he would have as ‘plein-air’. When I approach a scene, I often ask to discover the building brick by brick, wall by wall, by myself, “What draws me to paint this scene?” Is it the exacting proportions. It was a daunting challenge; but building or the environment? Sometimes it can be the characteristically, Kim Seng plunged right into it. building or the environment or both. In this exhibition, Ma Peiyi - in ‘Passion for Landscapes: The Watercolour I pay particular attention to the formation of the scene
15 Ong Kim Seng
which comprises of different shapes of structure, espe- “The ability to use colours effectively to reveal the cially the old buildings sandwiched or enclosed by the emotional message of a painting contributes much to ultramodern ones. This is what is in the modern Singa- its success. I place importance on colours to achieve the pore cityscape.” clarity and transparency that I believe are only possible in this medium.” Throughout the history of Western painting, the element of colour has been a powerful force in the painting pro- The element of light is yet another indispensable force cess it infuses the painting with a presence, eloquence, in the art of watercolour. Here, Kim Seng has demon- drama, and even grandeur. With colour, Vincent Van strated his uncommon skills in the manipulation of light Gogh, the great Dutch artist of the 19th century, inten- in the creative process. In work after work, he deployed sified his imagination and evoked emotion, creating a the technique of light and shade to dramatize the theme: long list of memorable master works. He used the phe- whether this be a riverscape, cityscape, a scene at the nomenon of constant colour changeability to capture Himalayas, a scene in Bali, or a Chinatown street scene. the violent turbulence of the sea in his seascape ‘Fish- Even more impressive is his ability to sensationalize the boats near Saintes Maries’ (1988). In the insightful publi- atmospheric mood which determines the essence of a cation ‘Van Gogh and the Colours of the Night’ authors place. In his undated watercolour ‘Rays in the Hall’, he Maite Van Dijk and Jennifer Field revealed: “The night created a sublime mood so central to the spirit of the was a constant source of inspiration for Van Gogh” ambience with a singular streak of light. In ‘Myanmar’ (2012), he infuses the place with its enthralling majestic Kim Seng has demonstrated that with the element of atmosphere through a glow in the expansive floor. As colour he had the ability to instil enrichment in various the artist puts it himself: aspects of his watercolour art- aspects such as history, culture, environment, atmosphere- thus further enhanc- “When I observe a scene, I imagine the finished painting ing the work. In the watercolour work ‘China Street, before I begin the actual process of sketching and paint- Singapore’ (2013), he recaptured- with breathtaking ing. This is the moment I identify the darkest and light- effects- the Chinatown ambience of the 1960s with its est points of the scene in order to establish the contrasts. nostalgic spirit. As the artist says, Once contrast placement has been decided, I start to sketch with a pencil... while sketching the scene I elim- inate elements that obstruct the focal point- achieving the scene that I want to see.”
16 nostalgia in transformation
Elgin Bridge, Singapore.
Water colour on paper 120 x 90 cm, 2014.
17 Ong Kim Seng
Boon Tat Street.
Water colour on paper 120 x 90 cm, 2014.
18 nostalgia in transformation
Jinricksha Station.
Water colour on paper 120 x 90 cm, 2014.
19 Ong Kim Seng
Daybreak at the Container Port.
Acrylic on canvas 127 x 102 cm, 2014.
20 nostalgia in transformation
North Boat Quay.
Water colour on paper 120 x 90 cm, 2014.
21 Ong Kim Seng
22 nostalgia in transformation
West bank, Singapore River.
Water colour on paper 120 x 100 cm, 2014.
23 Ong Kim Seng
Temple Street.
Water colour on paper 120 x 100 cm, 2014.
24 nostalgia in transformation
Midday at the River.
Water colour on paper 57 x 76.5 cm, 1994.
25 Ong Kim Seng
26 nostalgia in transformation
Container Port at Shenton Way.
Acrylic on canvas 110 x 90 cm, 2014.
27 Ong Kim Seng
Misty Morning.
Water colour on paper 57 x 75.5 cm, 2014.
28 nostalgia in transformation
Aliwal Street.
Water colour on paper 36 x 51 cm, 2013.
29 Ong Kim Seng
Amoy Street.
Water colour on paper 52 x 72 cm, 2010.
30 nostalgia in transformation
At Marina Barrage.
Water colour on paper 52 x 72 cm, 2008.
31 Ong Kim Seng
Boon Tat Road.
Water colour on paper 35.3 x 51 cm
32 nostalgia in transformation
Cavanaugh Bridge.
Water colour on paper 52 x 72 cm, 2010.
33 Ong Kim Seng
Circular Road.
Water colour on paper 52 x 72 cm, 2008.
34 nostalgia in transformation
Chatting at the River.
Water colour on paper 76.5 x 57 cm
35 Ong Kim Seng
East Bank, Singapore.
Water colour on paper 55 x 77 cm, 2014.
36 nostalgia in transformation
Entrance to Mackenzie Road.
Water colour on paper 35.5 x 51 cm, 2013.
37 Ong Kim Seng
Jinricksha Station.
Water colour on paper 52 x 72 cm, 2011.
38 nostalgia in transformation
Lane off Little India.
Water colour on paper 52 x 72 cm, 1995.
39 Ong Kim Seng
Lim Teck Kim Street.
Water colour on paper 35.5 x 51 cm, 2013.
40 nostalgia in transformation
Mackenzie Road.
Water colour on paper 52 x 72 cm, 1994.
41 Ong Kim Seng
42 nostalgia in transformation
Entrance to Mackenzie Road (II).
Water colour on paper 35.5 x 51 cm
43 Ong Kim Seng
Morning Light at Emerald Hill.
Water colour on paper 40 x 50 cm, 2012.
44 nostalgia in transformation
Morning Light.
Water colour on paper 34.5 x 51 cm, 1995.
45 Ong Kim Seng
North Bank, Singapore.
Water colour on paper 54 x 74 cm, 1986.
46 nostalgia in transformation
Sunny Street, Chinatown.
Oil on canvas 62 x 92 cm, 2013.
47 Ong Kim Seng
48 nostalgia in transformation
Opposite Katong Park.
Water colour on paper 52 x 75 cm, 2009.
49 Ong Kim Seng
Telok Ayer Temple.
Water colour on paper 35.5 x 51 cm
50 nostalgia in transformation
Teochew Street Bank.
Water colour on paper 57 x 76 cm, 2014.
51 Ong Kim Seng
Unloading at the Singapore River.
Water colour on paper 57.5 x 77 cm, 2014.
52 nostalgia in transformation
Welders in Jurong.
Water colour on paper 52 x 72 cm, 1976.
53 Ong Kim Seng
West Bank, Singapore.
Water colour on paper 57 x 76 cm, 2014.
54 nostalgia in transformation
Angkor Wat, Cambodia.
Water colour on paper 52 x 72 cm, 2010.
55 Ong Kim Seng
Melaka River.
Water colour on paper 52 x 72 cm, 1999
56 nostalgia in transformation
Pulau Saigon Road.
Water colour on paper 57 x 76.5 cm
57 Ong Kim Seng
Singapore River.
Painted 1972
58 nostalgia in transformation
Street in Bhaktaphur.
Water colour on paper 52x72 cm, 2006.
59 Ong Kim Seng
Painting in Pasir Panjang Road on 22nd July 1986
60 nostalgia in transformation
Ong Kim Seng Biography
Ong, Kim Seng BBM. A.W.S. DF. N.W.S. was born in Singapore and has been a full- time artist since 1985. He has participated in group and solo exhibitions at Singa- pore and in the United States, China, United Kingdom, Japan, Australia, Belgium, Federal Republic of Germany, France, Middle East, Taiwan, Hong Kong, and the Asean countries.
He has won six awards from the AMERICAN WATERCOLOUR SOCIETY; the Paul B. Remmy Memorial Award in 1983, the Lucy B. Moore Award in 1988, the Clara Stroud Memorial Award in 1989 and the Barse Miller Memorial Award in 1992, Winsor & Newton Award in 2000 and the Ida Wells Memorial Award in 2001. He has been an active member of the AMERICAN WATERCOLOR SOCIETY since 1990 and was the first Asian outside the U.S.A. to be awarded membership. After having won five of its awards, Kim Seng was made a Dolphin Fellow of the AWS in 2000.
In 1999, he was awarded the Cultural Medallion for visual arts by the Ministry Of Information and the Arts, Singapore. He was conferred as Dolphin Fellowship in 2000. He won the Excellence for Singapore Award presented by the SINGAPORE TOTALISATOR BOARD 2000. He was also awarded the Singapore Internationale by the SINGAPORE INTERNATIONAL FOUNDATION in 2001. His most recent award is the2001 Arts Supporter Award presented by the NATIONAL ARTS COUNCIL.
Kim Seng is a signature member of the AMERICAN NATIONAL WATERCOLOR SO- CIETY and has had work selected for the NWS’s exhibition in California. He was also President of the SINGAPORE WATERCOLOR SOCIETY from 1991 to 2001 when he became Honorary President, in which capacity interacts with other watercolour organizations in other parts of the world.
61 Ong Kim Seng
Awards
2013 1991 ‘Master of ASEAN’ award at the World Watercolour Exposition, Awarded the 1990 Cultural Medallion, Presented by the Ministry of Thailand in June 2014 Information and the Arts, Singapore Presented the “PONNADAI” (Golden Shawl) by the Singapore Kai- 2010 ralee Kala Nilayam (Singapore Kairalee Arts Centre) in recognition of Winsor and Newton Award American Watercolour Society, New the artistic achievements given to Singapore. York, USA Friend of Heritage Award, National Heritage Board, Singapore 1990 Active member, American Watercolour Society (A.W.S) New York, 2003 U.S.A. Awarded the Silver Award by the organizing committee of the National watercolour Exhibition of the People’s Republic of China in 1989 Fuzhou, China. Clara Stroud Memorial Award by American Watercolour Society, New York, U.S.A. (3rd work to win the AWS Award, THIMI NEPAL). 2001 Supported of the Arts Awards presented by the National Arts Coun- 1988 cil. The Singapore Internationale by the Singapore International Lucy b. Moore Memorial Award by American Watercolour Society Foundation. , New York, U.S.A. (2nd work to win the AWS Award, Backyard, Singapore). 2000 Awarded the WINSOR & NEWTON AWARD presented by the Ameri- 1983 can Watercolour Society at the Salmagundi Club, New York on April Paul B. Remmy AWS Memorial Award by American Watercolour 28, 2000 for the painting “Old Corner, Nepal” Society, New York, U.S.A. (1st work to win AWS Award, Heart of Conferred the DOLPHIN FELLOWSHIP by American Watercolour Kathmandu). Society Awarded THE EXCELLENCE FOR SINGAPORE AWARD 2000 by the 1982 Singapore Totalisator Board on 4 August, 2000. Presented by Singa- P.J. Ireland Award, Macquerie University, N.S.W. Australia. pore Ex-President, Dr Wee Kim Wee. 1977 1995 Medal Award, Presented by the Ministry of Culture at the National Pingat Apad, awarded by the Malay cultural group, Angkatan Pelukis Art Exhibition for painting exhibited. Aneka Daya 9th December 1995, National Museum by Mr. Mohamad Packer Mohd. MITA. Perm-Sec. 1974 First Prize, Port of Singapore Authority Artist Encouragement 1992 Scheme Open Art Competition. Awarded the BASE MILLER MEMORIAL AWARD presented by the American Watercolour Society at the Salmagundi Club, New York on May 1st 1992 for the painting “Gyantse Market.” Paintings, Sentosa from Mt Faber and Raffles Hotel selected by the “LOOK JTB” travel magazine cover from 1992 to 1994, distributed in Tokyo, Osaka, Fukuoka, and Sapporo.
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Selected Solo Exhibitions Corporate and Public Collections 2014 Nostalgia in Transformation, Ode to Art, Singapore Queen Elizabeth II of England The Prime Minister of the People’s Republic Of China 2013 The Secretary-General of the United Nations Solo Exhibition with Quanhua Watercolour Art Gallery, Shanghai, President of the Republic of Korea China Prime Minister of the Kingdom of Thailand The President of the Republic of the Philippines 2010 The Prime Minister of Japan Poems in Watercolour, Galerie Belvedere, The Arts House, Singa- The Prime Minister of India pore The Governer of Hokkaido Singapore Arts Museum 2008 SingaporeMaritime Museum Home and Nation in the Art of Ong Kim Seng, Singapore Art Muse- The Agung Rai Museum and Neka Museum in Bali, Indonesia um The Ministry of Foreign Affairs headquarters, Foreign Missions and Embassies of the Republic of Singapore. 2005 Shanghai Land of Splendour, Shanghai Art Fair Guangzhou Art Fair, Guangzhou Commodity Fair Exhibition, China
2004 Moments of Light, Singapore Tyler Print Institute, Singapore
2003 Mastering Light and Shade, National University of Singapore
2002 Timeless Jiangnan- with Kwek Leng Joo, Singapore
2000 Recent works of Ong Kim Seng, Singapore History Museum
63 nostalgia in transformation Ong Kim Seng
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