The Pocket Arts Guide (February 2011)

ISSUE 16 | FEB 2011
FEBRUARY 2011 / 1
2 / THE POCKET ARTS GUIDE
FEBRUARY 2011 / 3
CONTENTS
12
34
17
13
24 26 44
CM
MY
12 COMING UP 17 SPOTLIGHT 50 INTERVIEW CY
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 SINGAPORE

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

64 DIRECTORIES
Chui 不变 50 年 Unchanged For 50
Years 14 34 FEATURES Singapore Art Galleries
‘No si hijomiono’o jabesi soré Other Listings
Gurerro Habulan –
jajivo’ The Warrior of pop! 34 Tourist Spots
Malaysia Art Guide
Limelight Blossoms by Keith Haring - The Journey of a
Steve Chua Graffiti artist 38
InFORMATION The Legend of Lichtenstein 44
Out in the Streets

FEBRUARY 2011 / 5
CONTENTS
SPOTLIGHT
INTERVIEW
SINGAPORE
ART MAP

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 / remo@thepocketartsguide.com
Guest Editor
Saskia Joosse / saskia@thepocketartsguide.com
Art Director
Amalina MN / ama@thepocketartsguide.com
Contributors
Bharti Lalwani
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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,
Pop Art!
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, Singapore Tourism Board’s Singapore Visitors
Centre at Orchard (junction of Cairnhill Road and Orchard
Road), 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 Sculpture Square 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

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Recycle.
Pass THE POCKET ARTS GUIDE forward.

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
has revitalised it in the form of a digital installation. ‘Castle
— Second of the Trilogy:
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.

COMING UP
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 Singapore River, 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.”

COMING UP
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.
As these ‘Blossoms’ took shape, Chua continued to pursue

Limelight Blossoms by
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 The Substation. 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

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
F arhad Hussain is an Indian artist whose pro-

vocative canvases often present a dissonant
crowd of mischievously grinning bourgeoisies
out chappals (slippers), carrying an unsightly
hand bag. She proceeded to queue up next to
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

FARHAD
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

FARHAD
FEBRUARY 2011 / 21
SPOTLIGHT
Living Room, Acrylic on Canvas 305 x 601cm

FARHAD
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 Warhol.
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

FARHAD
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

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
I nternationally acclaimed
Pop 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
Andy Warhol 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?
Roy Lichtenstein, 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

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

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

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
T here was a time when Guerrero Z. Habulan’s

artwork was mistaken for that of his father’s
work, but that of course can be easily under-
the Social Realist Movement in the Philippines,
therefore dinner guests often included the likes
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.

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

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
M aybe to be a true legend, your lifespan has

to be short. It therefore has to be intensive
and explosive, such as that of James Dean and
as well as his honesty. Therefore, in 1982, when
Haring began to look for representation he de-
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 Tony Shafrazi, 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

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-
ning, although brief, career. Roy Lichtenstein
cial vinyl silk-screening ink that dried almost im-
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.

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 “Pop Shop” 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

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 “Tuttomondo”.
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
A rguably one of the greatest Pop artists to encouraged to take drafting classes and had a
have 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 zenith 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!”

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, “Look
Mickey” 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-

Untitled Head Screenprint 47.7 x 54.8 cm
ages from sources such as the yellow pages,
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
“M – Maybe” and “As I Opened Fire”. Perhaps
this train of thought further artists began to turn
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

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. Brushstroke Screenprint 58.4 x 73.6 cm

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- Brushstrokes” 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 :phunk!
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

:PHUNK
A lvin Tan, Melvin Chee, Jackson Tan and William Chan are four Singaporean pop artists / de-
signers 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, Fluxus, 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 Lee Kuan Yew. 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?
We like to explore new ways to communicate
ner worlds so as to build our collective universes
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-

: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

: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

To learn more visit: www.socialcreatives.com
Our
o
To be bjective
s
non- come the :
gove lead
nurt r i
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thro C o mm o up
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a
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wind a h
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why n o il
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Social Cr
eatives
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Communi
ty Art
FEBRUARY 2011 / 57
Art Trove
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, enquiry@art-trove.com
ww.art-trove.com
HO
LLA
SINGAPORE’S ART MAP ND
RO
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Singapore
Botanical Garden NAS
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SIM
ROA
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EA NAPIER RO
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NG
TA
Galerie Joaquin,
The Gallery of Gnani Arts
Antiquaro,
AD
Boon’s Pottery,
RO
Bruno Gallery,
HaKaren,
IN
Kwan Hua,
GL
Li Fine Art,
N
Mulan Gallery,
TA
Peter’s Frame,
Sun Craft,
Yang Gallery
AY
SW
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Sealey Brandt Photography Studio,
AD
Geeleinan Art Gallery & Studio
TANGLIN RO
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Pop and Contemporary BU Kelly Reedy -
N
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LA
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Fine Art T
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OR
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ST
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DR 51 Waterloo Street
RO
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#02-01/2/3
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Foundation Oil T: +65 6336 0915
H
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Painting F: +65 6336 9975
EP
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E: enquiry@art-trove.com
C
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The
Picture-
P W: www.art-trove.com
Young Musicians’ Society
house
Forest Rain Gallery Opening Hours
Singapore
Calligraphy Centre
Art Trove,
RO Wed- Sun: 11am to 6.30pm
BR C Call for private viewing.
AS The Private M. H
M Gallery O
BA Yavuz FA 8Q SAM R
OVAS Art Gallery SA RO
Action Theatre H Singapore AD
RO Art Museum
AD
RIVER VALLEY ROAD
National Museum Eagle’s Eye
of Singapore Art Gallery Foundation Oil
Fort Canning Painting
Park
AY
R ESSW
The Substation K EXP
OAS T PAR
Peranakan Museum E ASTC
KIM
SE
NG
Singapore Philatelic Chan Hampe

Museum Galleries
RO
RI
VE
AD
R
VA
72-13 L LE
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RO
AD
Art Trove
GANGES
AVE
The National
M
ER
Art Gallery, The Esplanade

CH
Singapore
ET
AN
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NG
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TO
AD
EU
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

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 Penang 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
Tasa Gallery 89 Short Street
Y2ARTS
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
Singapore Art Museum 71 Bras Basah Road
X
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

DIRECTORIES
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
artswithray@gmail.com
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
petersframes@hotmail.com
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
The Arts House 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
Escape Theme Park 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
Johore Battery Cosford Road +65 6546 9897
Barrosa Studio 4 Woking Road #01-02
Jurong Bird Park 2 Jurong Hill +65 6265 0022
Kranji War Memorial 9 Woodlands Road
Chieu Sheuy Fook Studio Lim Bo Seng Memorial Esplanade Park
Studio 102 Malay Heritage Centre 85 Sultan Gate +65 6391 0450
91 Lorong J Malay Village 39 Geylang Serai +65 6748 4700
Telok Kurau Road
Mandai Orchid Garden 200 Mandai Lake Road +65 6269 1036
Singapore 425985
Marina Barrage 8 Marina Gardens Drive +65 6514 5959
+65 96690589
e: chieusf@gmail.com Marina Bay Sands 10 Bayfront Avenue +65 6688 8868
Masjid Sultan Kampong Glam
DreamSpace Art Studio Merlion 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 Sentosa 39 Artillery Avenue +65 6577 8888
155 Waterloo Street St. Andrew’s Cathedral 11 Saint Andrew’s Road
#01-04 Stam ford Arts Centre Science Centre Singapore / 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
Singapore Expo 1 Expo Drive +65 6403 2160
Ketna Patel
35 Jalan Puteh Jerneh Singapore Flyer 30 Raffles Avenue +65 6734 8829
Chip Bee Gardens, Holland Village Singapore Turf Club 1 Turf Club Avenue +65 6879 1000
Singapore 278057 Singapore Zoo 80 Mandai Lake Road +65 6269 3411
+65 6479 3736 SKI360° 1206A East Coast Parkway +65 6442 7318
www.ketnapatel.com Snow City 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: koehsy@singnet.com.sg
Taxis
www.yessy.com/koehsiayong
www.koehsiayong.artfederations.com - Comfort/YellowTop +65 6552 1111
- CityCab +65 6552 2222
- Premier +65 732 2516
Marisa Keller 28 Woking Road #03-05
- 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

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 learn
70 / THE more about
POCKET ARTS GUIDEour Public Murals or to donate please email: info@socialcreatives.com
FEBRUARY 2011 / 71

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ISSUE 16 | FEB 2011

12 COMING UP 17 SPOTLIGHT 50 INTERVIEW CY

LAND-TA-MORPHOSIS — Artist in Focus - Farhad Hussain An Interview — What the CMY

Second of the Trilogy: Castle :Phunk?

Dorit Feldman: A Solo Exhibition

Glimpses: A Solo Exhibition by 26 COVER STORY 61 SINGAPORE

Solo Exhibition By Seah Kang

4 / THE POCKET ARTS GUIDE

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8 / THE POCKET ARTS GUIDE

Little did I know what a difficult feat it would be, as I tried to

The philosophy of my gallery is to treat people in the way that I

I have chosen to dedicate this issue to Pop art as it is art that I

To accompany your daily dose of caffeine, browsing copies

For the environmentally-conscious, the PDF format of TPAG

Subscription price is SGD48 within Singapore and USD40

10 / THE POCKET ARTS GUIDE

The 21st century art world is bustling with hi-tech mediums

Since Art Facet was founded in Singapore in January, 2010

Art Facet presents the works of neo-conceptual artist Dorit

12 / THE POCKET ARTS GUIDE

As National Artist of the Philippines Benedicto Cabrera, better

BenCab’s new work continues to embody his fascination with

BenCab has redefined the appeal of works on paper and lim-

Since January 16, Hong Kong’s Amelia Johnson Contem-

The eye delights at following textures, patterns, and colours

S.Bin Art Plus presents a solo exhibition entitled ‘Unchanged

This series of 30 watercolour paintings is Seah’s homage to

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This artistically groundbreaking exhibition, which runs until

Powerfully tactile, the bark cloths, called nioge, featured in

Singaporean fine artist Steve Chua concludes eight years of

As these ‘Blossoms’ took shape, Chua continued to pursue

With its parallel worlds, ‘Limelight Blossoms’ tells a tale of

Intrigued by the notion of ‘infographics’ and the idea that de-

Singapore’s Chan Hampe Galleries will play host to interna-

Out in the Streets

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

Football, Acrylic on Canvas 183 x 601cm

F arhad Hussain is an Indian artist whose pro-

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Untitled, Acrylic on Canvas 152 x 183cm

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Living Room, Acrylic on Canvas 305 x 601cm

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canvas in a way that leaves no brush mark.

Having realized and recognized his own style,

For an artist influenced by the simplistic nar-

Michael Jackson, Acrylic on Canvas 152 x 183cm

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to critique contemporary society whose values are

Farhad’s figurative canvases seem to gestate all of

When asked which pieces he would like to be re-

Farhad Hussain is exhibiting at the Indigo Blue Art Gallery in

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

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Poparazzi Acrylic on Canvas 91.4 x 91.4 cm

Poparazzi Acrylic on canvas 91.4 x 91.4 cm