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  • Catalogue | soobinart.com.sg
    Content Area Home About us Artists Exhibition Press Catalogue Contact us Catalogue Vincent Leow Rhapsody of Non sense Shen Xiaotong 2010 Beginnings first previous 1 2 Copyright 2010 soobinart com

    Original URL path: http://www.soobinart.com.sg/catalogue?page=1 (2012-12-22)
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  • Soobin Art International Pte. Ltd. Contact Information | soobinart.com.sg
    International Pte Ltd Contact Information Soobin Art International Pte Ltd Ubi Techpark 10 10 Ubi Crescent Singapore 408564 04 90 92 93 95 Lobby E Tel 65 6837 2777 Fax 65 6339 7767 email art soobinart com sg Opening hour

    Original URL path: http://www.soobinart.com.sg/location/soobin-art-international-pte-ltd-contact-information (2012-12-22)
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  • User account | soobinart.com.sg
    us Artists Exhibition Press Catalogue Contact us Log in Request new password User account Username Enter your soobinart com sg username Password Enter the password that accompanies your username Copyright

    Original URL path: http://www.soobinart.com.sg/user (2012-12-22)
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  • User account | soobinart.com.sg
    Main Content Area Home About us Artists Exhibition Press Catalogue Contact us Log in Request new password User account Username or e mail address Copyright 2010 soobinart com sg All

    Original URL path: http://www.soobinart.com.sg/user/password (2012-12-22)
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  • Woodcuts in Monochrome - Dong Kejun 董克俊 - 刻刀下的黑与白 | soobinart.com.sg
    is but a stranger who focuses on listening to himself Despite the apparent complexity of Dong Kejun s creative trajectory his kaleidoscopic oeuvre actually delineates the path of his formal explorations quite clearly The point of uncovering this underlying thread here is not to deduce some sort of regular pattern for art in general but to try to understand on the basis of the real life creative evolution of an artist how art can present itself as constant flux via an individual s experiences There is a single thread running through Dong Kejun s artistic practice that has remained unbroken all this time namely the constant demolition of established rules of visual language More significantly such demolition is more directed towards the artist s personal experiences rather than distinct reference points that have arisen in art history Take for example two opuses completed in 1988 Juxtaposition of Four Fig 4 and Unbounded Fig 5 both of which epitomise Dong Kejun at his best in employing the expressive language of monochromatic woodcut to deconstruct pictorial representation of three dimensional space These physically large black and white woodcuts did more than taking the dissolution of visual pictorial story representation to its apogee They actually opened up a new concept through a re interpretation of what the medium of print itself signifies As the artist puts it Why did I make prints of such large dimensions at that time I felt that historically prints had always been seen as something small opera parva to be hung and admired in a room rather than public art for the public and society at large And so I wanted to change the way people see prints such that they would no longer merely be pieces of home decoration but also represent an art form that delivers visual impact in public spaces a visual format which is not unlike advertisement in nature and which bears a grand sense of design When we compare these works with the earlier ones Fig 6 Fig 7 Fig 8 we can easily see that Dong Kejun s de re construction experiments on the aesthetic language of black and white woodcut prints had begun as early as the 1960s It was to go on uninterrupted for the next twenty odd years Even though a good number of works with a distinctly realist bent Fig 9 were also produced along the way much of their carving work meant for image shaping show traces of a countermovement against realism nonetheless But then again it was precisely the abundance of experience in realist representation that constituted sufficient reason for the tireless progress towards abstract expression After all how else may we explain the ample visual potency of the patternised large scale works from the later years given that the patterns they contained could have easily degenerated into vacuous conceptual signifiers in the absence of representational images Judging from the timeline of Dong Kejun s studies and practice in painting it is obvious that he had been deeply influenced by foreign art and the aesthetic notions associated with them Considering that Dong was born and raised in China one has to wonder Could traditional culture so inseparably connected to the land and its customs really have been annulled in the process of absorbing foreign knowledge A clear answer to that question is given in Dong Kejun s ink practice which began in the early 1990s The fact is Dong had started to pay attention to China s traditional culture and arts as early as the mid 1980s While Juxtaposition of Four and Unbounded may appear to echo examples of Western modernist art evolving towards abstraction their inspiration was really drawn more from traditional Chinese culture and arts As the artist puts it They are more or less related to Chinese writing But I was inspired to a greater extent by Taoist talismans From this we come to a further understanding of the profundity of Dong Kejun s de re construction experiments with formal language These experiments of his are neither a simplistic reductive process nor a turning from content to form They are more like a field of multiple meanings in a stand off the conflicts and resolutions of which resist analysis in words This poses such an obstacle to interpretation that the significance of the formal language per se shines through brilliantly It is here that we realise one thing Dong s inclination for the flat scorper was never for striving towards some kind of abstract purity or extremity it was linked instead to an aesthetic attachment ingrained in his being by the subtle influences of traditional culture For this reason we can discern in the body of work ranging from small pieces like The Fable of Feng Xuefeng to larger examples like Unbounded a certain pervasive appeal associated with traditional Chinese epigraphy and the artist s pursuit of the right aesthetic mood is evident as every minute detail works in concordance with the general aura of each opus As far as Dong Kejun was concerned his artistic work in the medium of print had come to completion here at the rendezvous of Eastern and Western culture The artist states By the late eighties I felt I have basically said enough through articulation in the idiom of prints I also felt that print making was a lengthy process encumbered with factors that set constraints on ideas I always had to make a draft first transfer it to a block for carving and then go through the printing process In addition I was influenced by the trends of artistic thought that was sweeping across the nation such that I felt I ought to explore other areas Being dissatisfied with print making I could engage upon ink painting with which I could unfurl my ideas on paper very quickly and see results And so I started producing those modern ink paintings of the nineties Interestingly as Dong Kejun began to work with nothing but traditional Chinese painting

    Original URL path: http://www.soobinart.com.sg/exhibition/woodcuts-monochrome-dong-kejun-%E8%91%A3%E5%85%8B%E4%BF%8A-%E5%88%BB%E5%88%80%E4%B8%8B%E7%9A%84%E9%BB%91%E4%B8%8E%E7%99%BD (2012-12-22)
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  • Past Exhibition | soobinart.com.sg
    Monday January 31 2011 18 00 Chun Mu s works convey fuzzy imageries Semantically speaking they are infinitely Details Vincent Leow Rhapsody of Non sense Friday September 3 2010 09 00 Thursday September 30 2010 22 00 Shades of Vincent

    Original URL path: http://www.soobinart.com.sg/past-exhibition?page=1 (2012-12-22)
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  • Past Exhibition | soobinart.com.sg
    22 00 The recent creations that Shen Xiaotong is currently exhibiting basically show an extension of Details Writ Large 2010 Thursday June 10 2010 09 00 Saturday July 24 2010 22 00 Size does matter in these paintings from China

    Original URL path: http://www.soobinart.com.sg/past-exhibition?page=2 (2012-12-22)
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  • Past Exhibition | soobinart.com.sg
    00 Friday November 20 2009 18 00 Details Group Exhibition Harmony The Atrium MICA Building Thursday October 8 2009 18 00 Sunday October 18 2009 18 00 In much of Asia the ideal of differences coexisting in harmony is held

    Original URL path: http://www.soobinart.com.sg/past-exhibition?page=3 (2012-12-22)
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