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Singapore, In Heart and In Soul
Arron Teo, Singapore
Fong Kum Choon, Singapore
Irene Kuok, Singapore
James John P. Dycoco, Philippines
Lim Jiahe, Singapore
Shaun-Joel Liew, Singapore
7 – 31 August 2013
It's the time of the year when nationalistic fervour soars high as Singapore marks its 48th year of independence. Patriotic zeal revel the city's perimeters in assorted red and white ensembles. Join us at Mulan Gallery as we set the celebration of National Day with a body of works that examine the commemorative values and endearing sentiments through a varied artistry field of mediums.
Arron's contemplation on the nation's recent haze epidemic reflects the intensity that shrouded the city with blankets of thick fog. Arron's triptych presents an experimental piece that juxtaposed 3 images into a single final assemblage that explores the ambiguity of visual space and perception.
Kooky and whimsical drawings are Ee Shaun's iconic experiments in abstraction and humour. Based in Singapore, Ee Shaun is a self-taught artist and illustrator, with singular talent. His canvas works, enriched of pop art, surrealism and abstract strokes are synonymous with what his name bodes.
Old buildings, old times. Fong Kum Choon's genteel tendency for them is observed in his monochromatic works. This endearing sentiment is particularly extended to buildings that sit along the precint of Chinatown and Joo Chiat.
Irene's voyage with black and white photography is a rich confluence of pathos and reminiscence. Dilapidated, old and dark HDB flats entail profound emotional connections and intimate relations as viewers are treated to an optical buffet of nostalgia.
Doors swing, doors open, doors close. Do they merely function to admit passage in our everyday lives? James's series of photographic prints rejuvenate fresh perspectives to what Singapore is for those who are not Singaporeans by birth. The amassed works are a collection of back doors belonging to our shop houses, perched along the popular tourist spots of Clarke Quay and Boat Quay.
Jiahe's robust quality of work engages the eye immediately. His picture encapsulates a view of our iconic national flag, basking in the blankets of wondrous blues, fired aloud with national pride.
Shaun Joel Liew's exploration with traditional film photography, alchemy and darkroom experiments take us through a vicarious familiarity of the 1990s. Being purist in his practice, he disregards himself as a "photographer" and perceives himself as more of an alchemist – spending the bulk of his waking hours in the darkroom, using precision weighing scales and laboratory chemicals to create his works. Shaun's compositions demonstrate a relation of passage that transpires from fond memories of yesteryears till the maturity of today's present sightings. These pictures that Joel assembles reinforce the concept of unconditional love, regardless of Singapore's comprehensive urbanisation plans for the future.