Nostalgia in Transformation

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 Proudly sponsored by 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 history 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. 3 Ong Kim Seng 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 environment, 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.” 4 nostalgia in transformation 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- 5 Ong Kim Seng 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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