All pictures used in this website are copyright
2008 – 2020 © Mulan Gallery. All Rights Reserved.
-
- Past Exhibitions
- Prints Through Time
- Leaf & Lore
- Ways of Seeing
- Celebrating Women Artists: CE5
- Moving Plates
- Mimesis
- CCB
- EveryDayDreams
- Ceramic Expressions 4th Edition
- Apposite Ground: A Remix of Media Art and Interactivity
- A Passage Through Colours
- 10 Years of Comics Art
- Ceramic Expressions 3rd Edition
- To Have and Not To Hold
- Within Without
- Ceramic Expressions 2nd Edition
- Singapore Stories
- Ceramic Expressions 1st Edition
- Working Proofs
- On Common Ground
- Heirloom
- The Duality of Love
- Kei - Memories In Clay
- Monthly Feature 1
- Future Imperfect
- French Kiss
- The Art of Readin @ Auxenxios
- The Art of Charlie Chan Hock Chye
- Beyond Reality
- Looking In Is The Only Way Out
- Not All Dreams are Dreams
- Kaleidoscopic
- Kopi Culture
- IPOS
- Skinny Beautiful Woman
- Lines of Poetry
- Unbound
- Contingency
- Between Lines
- NHN: Change The World
- The Dream Weavers
- Colours of Innocence
- Let's Go On a Merry Go Round
- Confluence: Sojourn
- Singapore, In Heart and In Soul
- Ethereal Roots
- Placidity of Nature
- Chinese Contemporary Art
- The Power of Life
- Sequential Art Attacks
- SurfaceScapes
- Spellbound 以女为美
- All The World’s A Stage人生如戏
- Sequential Arts. A Comic Art Exhibition
- Official Launch of 2nd Edition Gallery Profile Booklet and Website
- Narratives of the East
- Masquerade
- Graceful Moods
- Luminosity
- Monochromatism
- Different Strokes, Modern Visions of Asia
- Lucky Plazas
- Illusory Worlds
- Beyond Simplicity
- Images Breakdown II
- Man Heroes Myths & Gods
Past Exhibitions
Looking In Is The Only Way Out
By Soh Ee Shaun
21 November 2015 - 9 January 2016 (Reception: 20 November 2015)
In LOOKING IN IS THE ONLY WAY OUT, we’re seeing Ee Shaun’s art rounding a curve. His latest works see him decisively striking out on a trajectory that was up to this point incipient but backgrounded in his art. It’s a risky move for him, artistically – where much of what we might characterise as the ‘kooky’ first phase of his art made him immediately accessible and appealing – with its renderings of faces clearly marked by blissful delight or trepidation, he seems to be continuing deeper into abstract territory, where colour, composition and shapes serve as the vehicles for emotion and meaning.
At a first glance, the shapes are the same, the composition familiar – but what we might term the elements of human action – the factory chimneys and their cloudpuffs, the funnels and forlorn fingers and paint spills and teardrops – these are gone, resolved into bands of colour. The sense of haste and waste are gone, transmuted into a second innocence.
It’s that mastery and ease of perspective shifting, of ways of seeing - that really jumps up, when you look at his exhibition it its totality. There are pieces which feel like we’ve zoomed in on parts of his other artworks. With other works, like ‘What’s done is finished’ (2015), there’s a clarification of vision, a zooming out and defocusing. It’s as if his gaze has become more versatile in its ability to focus and unfocus at will. As if there’s a message in there for us, somewhere.
Individually, Ee Shaun’s pieces are invitations to play, to just for a little while get caught up in the gloops, whorls, ridges and pleats of his shapes. It is in likening Ee Shaun’s newest art to mandalas, that we can perhaps most productively understand the turn that his art is taking. As a carrier of positive intention, as an expression of deep levels of the unconscious, as a contemplative tool for the stilling of what has been termed the monkey mind and for experimenting with new ways of seeing – Ee Shaun’s artworks check all of these boxes. This is art as the contemplation of sheer magical possibility, the artwork as a crystallisation of one set of potentialities, one pearl in a string of infinite worlds.
