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
- 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
The Power of Life
By Kamol Tamseewan
10 November – 31 December 2012 (Exhibition Opening: 9 November 2012)
Kamol's latest series offers an expressive study of emotions amassed as a result of everyday human struggle. "The Power of Life" presents a bold and resolute declaration of the emotional life of local, ordinary folk, including farmers, labourers and villagers, who are confronted by concrete as well as intangible conditions and socioeconomic limitations exerted over their day-to-day strivings. The works bring us along the artist's journey and quest to discover how one might live free from such shackles, and unearth the true fountainhead of authentic inner freedom.
Hailing from the rural Mae Wang District, Kamol, as in his earlier works, looks to subjects close to his heart for this body of work. Its subjects are people he has grown up with and among, whose lives, feelings and experiences constitute the material he has undertaken to know and relay through his work. "My inspiration comes from living experience. I paint beings I have seen," says the artist. Like Affandi, the late Indonesian expressionist master he admires, Kamol's chosen struggle lies in becoming a human artist, to feel "enough as a human". Thus, his bold thesis: "Life's learning lies in expressing the life [lives] of other lives."
Hailing from the rural Mae Wang District, Kamol, as in his earlier works, looks to subjects close to his heart for this body of work. Its subjects are people he has grown up with and among, whose lives, feelings and experiences constitute the material he has undertaken to know and relay through his work. "My inspiration comes from living experience. I paint beings I have seen," says the artist. Like Affandi, the late Indonesian expressionist master he admires, Kamol's chosen struggle lies in becoming a human artist, to feel "enough as a human". Thus, his bold thesis: "Life's learning lies in expressing the life [lives] of other lives."
