As the émirgré artists of the mid 20 century settled down in Singapore, they began to explore their new surroundings and recorded in their own personal styles their perception of Nanyang and in particular what they saw in Singapore. They went on an expedition as a group and also individually beyond Singapore and were fascinated by what they saw and experienced: the light, the colours and the differences in culture within what was known to them as Nanyang. Hence, we see in those paintings; the recordings of artists’ expression of their new experiences. Many of the artworks were carried on en Plein air, or re-enactment of what they saw and like, as in their still-life paintings. That was the oeuvre of works that wee see of the artists in the period.
As time moved on, local artists were being trained and the local art scene matures and the art of Singapore moves beyond the art of the “Nanyang Days.” The works of the three artists discussed demonstrated the transition of: styles and idea, the narratives and the way of expression, the subjects and the way of seeing them and these also evolved in the Chinese-Ink Painting in Singapore through the last 50 years.
Lim Tze Peng being closest to the group of artists, in terms of his generational positioning to the era of artists touted as “Nanyang” artists shows in his artworks the maturity of the idea of syncretising the West and East (Chinese) style of painting, which Chen Chong Swee had been critical about in many of his essays. Lim too managed to incorporate the idea of Western perspective and post-impressionist colours into his Chinese-Ink paintings. He even introduces the idea of post-modern in his calligraphy (image 16_ as discussed above.
Tan Oe Pang develops the art form further, in that he incorporates western worldview and Modern narrative into Chinese-Ink Painting. The generation of artist-intellectuals he represented was conversant with both Chinese and Western ideas of art expression beyond painting styles; the concept of perspective or modern flatness in their artworks. Tan Oe Pang’s artworks often offer philosophical discussions that are both modern and also postmodern. His works, besides being good quality visuals, are also platforms where minds meet, not necessarily always in agreement but robust and probing, providing the serious connoisseurs’ much food for thoughts
Terence Teo’s artworks represent a new generation of artworks that query the meaning of aesthetics via abstractionism painted Chinese-Ink and colour pigments. This evolution can, perhaps, be understood against the pursuits and values of what Singaporean, now, embodies. Since independence, Singapore, in quiet ways, has been developing a unique identity of its own. Possessing material abundance and also being intersection of global ideas: local citizens largely maintaining the respective cultures and cultural values of the race they belonged to have developed diverse value models and logics. A subtle postmodern worldview laced with tinges of conservatism seemed to have evolved but still in a tussle. The development of abstract aesthetics, alongside the post-modern interaction of ideas that is beginning to happen can be seen an evolution of worldview that is unique to this nation-state. It shows that there is an urge to fill the mental, social and spiritual gaps in an evolving world and a realisation of the need to be “updated” yet not losing the traditions that have up till now has been the anchor of the nation's success and stability. These urges certainly include the exploration and definition of beauty beyond realism and query the very meaning of what art is.
These paragraphs were included in Dr Woo Fook Wah’s book The Journey of minds: Chinese Modernity And Chinese Ink-Painting In Singapore (Pg 90 - Pg92) published in March 2019.
Abstract Calligraphy by Lim Tze Peng
Summertime by Terence Teo