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ISSUE 16 | FEB 2011

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The Journey of a Steve Chua Graffiti artist 38 InFORMATION The Legend of Lichtenstein 44 Out in the Streets 4 / THE POCKET ARTS GUIDE .Farhad Hussain An Interview — What the CMY Second of the Trilogy: Castle :Phunk? Beyond a Mountain 12 K Dorit Feldman: A Solo Exhibition by Art Facet Glimpses: A Solo Exhibition by 26 COVER STORY 61 SINGAPORE BenCab ART MAP The Window Project 13 Pop! Back into the Future with Burton Morris Will Siber: Sculpture. Wall Object & Painting Solo Exhibition By Seah Kang 64 DIRECTORIES Chui 不变 50 年 Unchanged For 50 Years 14 34 FEATURES Singapore Art Galleries ‘No si hijomiono’o jabesi soré Other Listings Gurerro Habulan – jajivo’ The Warrior of pop! 34 Tourist Spots Malaysia Art Guide Limelight Blossoms by Keith Haring .CONTENTS 12 34 17 13 C M Y 24 26 44 CM MY 12 COMING UP 17 SPOTLIGHT 50 INTERVIEW CY LAND-TA-MORPHOSIS — Artist in Focus .

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No part of this publication may be reproduced.Issue #16 (February 2011) ISSN 1793-9739 / MICA (P) 252/09/2010 Guest Editor Saskia Joosse / saskia@thepocketartsguide. is published 12 times a year by THE POCKET ARTS GUIDE MAGAZINE. please email sales@thepocketartsguide. advertising bookings and materials for February issue of TPAG should be received by 10th February 2011. Submission of press releases pr@thepocketartsguide. The advertisements in this publication should also not be interpreted as endorsed by or recommendations by TPAG The products and services offered in the advertisements are provided under the terms and conditions as determined by the Advertisers. Even greater effort has been taken to ensure that all information provided in TPAG is correct. The views expressed in TPAG are not necessarily those of the publisher. ISSN 1793-9739. Every effort has been made to contact the copyrights Contributors Bharti Lalwani Advertising Sales sales@thepocketartsguide. mechanical. or transmitted in any form or by any means. If we have been unsuccessful in some instances. alterations or errors that may occur as a result of any last minute changes or production technical glitches. TPAG also cannot be held accountable or liable for any of the claims made or information presented in the advertisements. omissions. Copyright of all editorial content in Singapore and abroad is held by the publishers. #03-03.4 x 91. electronic. please contact us and we will credit accordingly. All editorial. without prior permission from the publishers. stored in a retrieval 8 / THE POCKET ARTS GUIDE . we strongly advise to confirm or verify information with the relevant galleries/venues. design requests. record- ing or On the Cover Burton Morris Poparazzi Acrylic on canvas General enquiries and feedback Art Director Amalina MN / ama@thepocketartsguide. photocopying. THE POCKET ARTS GUIDE (TPAG) cannot be held responsible for any loss or damage to unsolicited material. Henderson Industrial Park Singapore 048545 For advertising enquiries. THE POCKET ARTS GUIDE MAGAZINE. However.4cm Editor-in-Chief Remo Notarianni / remo@thepocketartsguide.thepocketartsguide. Printed in Singapore by International Press Softcom Limited. TPAG cannot be held responsible or liable for any THE POCKET ARTS GUIDE PTE LTD (TPAG) 215 Henderson Road.

The philosophy of my gallery is to treat people in the way that I would like to be treated myself and to only show the best quality artwork in the best condition. After many years of brokering art and after some kind hearted badgering by some of my clients. both in Singapore and around the world. Everything that is showcased at Pop and Contemporary Fine Art is owned by the gallery. as to what to include and to omit in order to stay true to each artist.500 words. As I believe that it is the compilation of our past experiences that make us who we are today. Pop Art! Little did I know what a difficult feat it would be. I was obviously delighted by the prospect of writing about the artists that I love and about a genre that always brings a smile to my face. as I tried to compress the lives of these legends and that of today’s post-pop artists into articles of 1. Saskia Joosse. I decided that the time was right to open up my own art gallery. whilst trying to convey their sheer brilliance. Pop and Contemporary Fine Art Guest Editor FEBRUARY 2011 / 9 . I have chosen to dedicate this issue to Pop art as it is art that I find it easy to understand and appreciate and more importantly.When The Pocket Arts Guide invited me to be their guest editor. Many people remark about the increased interest in art in Singapore and whilst the government has certainly begun to play a more active role we must not forget the hard work and dedication of the first pioneering galleries that have paved the way for people such as myself. still to this day. I deliberated long and hard. because it has changed the way we look at art and continues to be relevant.000 to 1. from artists that I myself collect in depth.

com every month or simply flip through the magazine on the website using the online reader. For the environmentally-conscious.thepocketartsguide. For subscriptions. leading art galleries (Opera Gallery at ION Orchard. Galerie Joaquin at The Regent and Sunjin Galleries in Holland Village).Published monthly. complimentary copies of TPAG are available at several places around Singapore including the National Library. browsing copies are also made available at all good coffee chains in town. Pass THE POCKET ARTS GUIDE forward. renewals and address changes. Singapore Tourism Board’s Singapore Visitors Centre at Orchard (junction of Cairnhill Road and Orchard Road). Recycle. 10 / THE POCKET ARTS GUIDE . art groups and venues (The Luxe Museum on Handy Road and Sculpture Square on Middle Road). MICA Building on Hill Street. To accompany your daily dose of caffeine. please email the PDF format of TPAG can be downloaded from www. Subscription price is SGD48 within Singapore and USD40 internationally. museums and lifestyle shops (STYLE: NORDIC on Ann Siang Road and Lai Chan at Raffles Hotel).

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inputoutput. Art Facet presents the works of neo-conceptual artist Dorit Feldman in a solo exhibition at the Volvo Art Loft that runs until February Since Art Facet was founded in Singapore in January. Feldman has presented 28 solo exhibitions and partici- pated in hundreds of group exhibitions in leading galleries and 11. Taiwanese artist Barney Lin has melded the past with the present in a marriage of technology and tradition. the I/O gallery in Hong Kong is show- casing Lin’s digital reinterpretation of the Song Dynasty Shui Mo painting ‘Travelers among the Mountains and Streams’ by Fan K’uan. As part of a series in which he recreates classical Chinese masterpieces. Europe and the United States. and a wide range www. She has Volvo Art Loft / executed more than 95 public works of art. ‘Castle — Second of the Trilogy: Castle Beyond a Mountain Beyond a Mountain’ is the second in a trilogy of Lin’s digital reinterpretations and it runs until February 8.artfacet. 2010 by Rajul Mehta. 07. Her approach is multi-disciplinary in terms of concept.11 / museums in Israel.11-08.01. a renowned professional artist who lived in Israel for 20 years. Dorit Feldman: A Solo and sculpture) prompting the viewer to engage in ‘visual read- Exhibition by Art Facet ing ’.COMING UP The 21st century art world is bustling with hi-tech mediums that offer interesting new aesthetics. 12 / THE POCKET ARTS GUIDE . The work has often been alluded to by modern artists but Lin LAND-TA-MORPHOSIS has revitalised it in the form of a digital installation. As traditional art forms seek preservation. matter and medium (photography.11/ I/O Input Output / www. Dorit’s works emphasise the construction of unity from multiplicity. it has grown into a platform to expose art to a culturally engaged Singapore. of her works is kept in private collections globally.

tribal women caught in the throes of modernity and the ‘Sabel’. Young Hong The Window Project Kong artist Lee Kai-chung presents a thought provoking work 16. the institute enabled Ben- by BenCab Cab to return to using large-scale printmaking and painting using exclusively created pulp and paper.11-12.02. social and historical diversity of the Philippines. one speeded up that take one minute. COMING UP As National Artist of the Philippines Benedicto Cabrera. better known as BenCab. an iconic female vagrant who opts for homeless in- dependence against the materially comfortable oppression of a philandering husband. which has traditionally favoured oil on canvas works. placing the viewer in the position of voyeur. the gallery’s windows have been turned into impromp- tu performance venues for the video and projection work of four young artists. BenCab has redefined the appeal of works on paper and lim- ited edition prints in the Philippines. which runs until February 12.11-28. an exhibition by the Singapore Tyler Print Institute entitled ‘Glimpses’ looks back at the pieces that best characterise his work. 36 unique works and 19 www. The nar- rative described three different characters (all performed by the artist) in the privacy of their apartments during one eve- ning. FEBRUARY 2011 / 13 . In an innovative artistic ‘Transformer’ (inspired by the song by Lou Reed).02. This is epitomised by the profound presence of ancient tribes- men. one slowed wa’s video work ‘Une Minute’ depicts the artist involved in two activities. Each composition will play for a 10-day paper pulp paintings.ajc-art.11 / Singapore Tyler Print Institute (STPI) / four sets of limited edition prints. For this second residency at Glimpses: A Solo Exhibition STPI.stpi. approaches the 50th year of his profes- sional life as an artist. while presenting a new body of printmaking and work on paper. Hong Kong’s Amelia Johnson Contem- porary gallery has boldly transformed its gallery space into a spectacle for ‘The Window Project’. Since January 16. Also at the event is a split screen composition by photographer and video artist Lam Wai-kit entitled ‘Say Me as a Little Fish’ that depicts a minibus driver on one side juxtaposed by a goldfish on the other.11 / entitled ‘The Lost Roads’ that addresses the widespread Amelia Johnson Gallery / authorised destruction of historical structures and Chu Sin- www. BenCab’s new work continues to embody his fascination with the cultural. BenCab produced 15. Opening the project was Dinu Li’s video installation.

01. Seah presents worlds that have managed to elude urban development. compelled by the souls of its hibition history in Europe.11 – 06. “It melds to- gether a vision that is sensitive to the soul of a landscape.11 / physicality. conventions. and colours with white coral-like protrusions set next to smooth undula- tions of an inky black expanse. for the first time in Hong Kong.karinwebbergallery.” 14 / THE POCKET ARTS GUIDE . Wall a smooth surface. genres.02. and their value of time and place. Seletar Camp.01. Siber succeeds at displaying strangely soothing juxtapositions of opposites and apparent contradictions.11 / S.11-12. but unmistakably individual.sbinartplus.COMING UP For German artist Willi Siber. Siber studied sculpture under renowned German Karin Webber Gallery / artist Herbert Baumann (1927-90). This series of 30 watercolour paintings is Seah’s homage to the enduring beauty of places he has lived in.Bin Art Plus presents a solo exhibition entitled ‘Unchanged For 50 Years’ by Seah Kang Chui. which he shares with the enduring spirit of the land. in an exhibition at the Karin We- ber Gallery that runs until February 12. The eye delights at following textures.02. Solo Exhibition By Seah Kang The representation. Made from industrial materials and processes. Seah is unapologetic about his persistence to paint these scenes. His works have also been shown in art fairs across the world including ART Cologne. and has an extensive ex- www. S. there’s something seductive about sculptures that would otherwise be jarring in their complexity. seeing the world means tran- scending rules. Seah’s 50 Years story unfolds from his own loving memories. ART Frank- furt and KIAF Seoul. their way of life. His work is an experiment in seeing.Bin Art Plus / “The works represent the depth of both memory and current www. patterns.” said curator Bridge Tracy Tan. and in Object & Painting how he can alter perceptions not with iconography or com- mentary. 20. the Seletar River as well as the Singapore River. their spirit of community. fertile landscapes encapsulate a richness that is Chui 不变 50 年 Unchanged For immersed in the luminous tropical light of Singapore. Depicting kam- pong scenes in Buangkok. and psychological frameworks. President of the Singapore Watercolour Society that runs until February 6. but through the sheer force of the tangible: form and 18. Their existence in watercolours is a testament to the deep longing by one man to give recognition to his heritage and the sensory experiences that made him the man he is today. and layers of transparent co- lour that shift and change as they interact with each other on Will Siber: Sculpture.

Chua continued to pursue Limelight Blossoms by Steve Chua his studies in graphic design through which he became ab- sorbed in the post-modern aesthetic of popular culture — a 9. Chua engulfs his subject without realising it. is the fourth ever exhibition of art from the Ömie artists and as the first ever outside Australasian shores it signi- fies a culture coup for the Lion with the abstract world of ‘Blossoms’. FEBRUARY 2011 / 15 .redotgallery. These forms he christened ‘Blossoms’ and he continues to translate his discoveries onto canvases. featured in the exhibition ‘No si hijomiono’o jabesi sor’e jajivo’ — (which translates as ‘We are painting the designs of our ancestors’). Chua first delved into abstract art in 2002 and his explorations soon gave rise to unusual forms. ‘Limelight Blossoms’ tells a tale of desire for the limelight that is illuminated by the materialisation of natural objects and magnified surfaces. As these ‘Blossoms’ took shape. COMING UP The ReDot Fine Art Gallery will bring a very special exhibition of bark cloth art to Singapore from the Ömie artists of Mount Lamington in Oro province. called – 19. soré jajivo’ These beautifully-crafted. though painted rather dim. which are made in www. spiritually-infused creations are part 02. With its parallel worlds. which runs until February 4.02. which has both contrasted and co-existed www.alliancefrancaise. the bark cloths. the nioge.04.02. and a green that fin- ishes the mystical element. Singaporean fine artist Steve Chua concludes eight years of creative work by combining two contrastive collections in an upcoming solo exhibition entitled ‘Limelight Blossoms’ that runs from February 9 to February 19. contours. While being an ReDot Fine Art Gallery / affirmation of ancient Ömie villages on the steep slopes of the volcanic Mount Lam- ington. Papua New Guinea.11 – 02.11 / of a millennia-old preservation of knowledge. are made from thin veils of beaten paper mulberry tree bark. are also an essential reminder of the power of nature over human life. Traditional motifs and original visual expressions of ancestral Ömie knowledge are painted on using an earthy palette of ‘No si hijomiono’o jabesi colour made from bush dyes. Seen through the hues of lipstick red clouds and a backlight that glows with fascinat- ing energy. patterns and or- ganic textures.02. This artistically groundbreaking exhibition.11 / world in which viewers are bombarded by media content that SOCIETE GENERALE Private aims to dazzle their senses. Powerfully tactile. This became the subject of his Banking Gallery / series ‘Limelight’.

Out in the Streets 21. Eudora Rusli. love and happiness. They derive joy in making sense of the phenomena around them and hope to present their findings in an alternative yet accessible manner for the audience’s in- terpretation. Singapore’s Chan Hampe Galleries will play host to interna- tional duo KA’a’s solo exhibition entitled ‘Out in the Streets.11 / Chan Hampe Gallery / ways of perceiving it. most recently in Australia and Malaysia. KA’a’s eye for composition and bold imagery enables an atypical view of the familiar and unheralded facets of a place and this exhibition offers an honest view of Singapore with a focus on the city’s backstreets and unassuming char- acters.COMING UP Intrigued by the notion of ‘infographics’ and the idea that de- signed data can uncover otherwise concealed connections and hidden patterns in facts. the 19. the sub-sets in your relationships. Paintings are characterised by contrasting and en- gagingly detailed stencils of people and scenes in a dynamic composition.03.11 / artists have built an artistic playground from units of data. Jacqui Rae.11-11.11 – 16 / THE POCKET ARTS GUIDE .chanhampegalleries. and tackle questions such as – what are the colours of your dreams. Lu-Fang. The Substation Gallery / both abstract and specific.02.substation. KA’a’s murals and private graffiti have a dis- tinct identity that has gained them international acclaim and aroused collectors’ interest.02. play. Tan Seow Wei and Yam Hoe Chee address elements of work. sleep. and the equations that give rise to your life and happiness? InFORMATION By playfully exploring the statistical side of visual curiosity. dreams. Focus is placed on a mix of aerosol colours and texture work in combination with additional mediums and layered stencils. and inadvertently created new www.02. five independent artists have collaborated to examine the nature of information and its pur- pose at Singapore’s The Substation.’ which will be held from February 21 to March 11. KA’a is the collaboration of international aerosol and stencil artists Kirsty Furniss from the United Kingdom and Mathieu Augereau from France.

ARTIST IN SPOTLIGHT Farhad Hussain Text: Bharti Lalwani Fun in the Sun. Acrylic on Canvas 168 x 201 cm FEBRUARY 2011 / 17 .


Football, Acrylic on Canvas 183 x 601cm

F arhad Hussain is an Indian artist whose pro-
vocative canvases often present a dissonant
crowd of mischievously grinning bourgeoisies
out chappals (slippers), carrying an unsightly
hand bag. She proceeded to queue up next to
me (while loudly yakking away on her iphone),
indulging in various scandalous acts. How- bemused I thought, “this” is the new rising
ever, before I expand on his work, allow me to middle/ upper middle class of India; although
start with an anecdote. Recently, while on my symbols of wealth could be bought and owned,
vacation in India, I took an early morning walk “new money” did not necessarily correlate to
to queue in front of a famous neighbourhood decorum, class or style.
bakery; it seemed that no matter who you were,
you had to queue up before it opened alongside Perhaps I was being harsh, but it is under such
a crowd from the lower to the upper strata of a critical eye that contemporary artist Farhad
society. The voyeur in me was intrigued when Hussain articulates on canvases spanning sev-
a gleaming white Mercedes pulled up and an eral feet, the incongruities of the rising middle
immaculately dressed chauffeur, complete with class of India and its far reaching aspirations
a Mercedes logo embossed on his shirt pocket, and consumer mentality. The artist, in his typical
stepped out to open the passenger door. My modus operandi, invites us into the homes of
expectations of seeing someone distinguished “happy families” whose members seem vaguely
step out, however, were dashed when out aware of an onlooker. The scenes which at first
strode a lady wearing what looked like her old- rouse wonder, however, turn more and more
est pair of jeans, faded discoloured polo, worn absurd by the minute. The viewer is put in an



awkward position as a reluctant voyeur fighting bathrooms or living rooms but even out on the
the impulse to look away from the individuals, football field. Somewhere between the flux of
who are depicted in various stages of undress reality and fantasy, traditional culture and glo-
while wondering why there would be, for in- balism, the satirical and menacing undercurrent
stance, a miniature swimming pool in the centre leaves the viewer inquiring about the relation-
of a living room or question the presence of a ships between these individuals and therefore
flying pig or a fantastical pink elephant. his own status quo.

With a quirky narrative and a melange of candy Hussain was educated at the two best art
colours, Farhad chronicles the spectacle of the schools in India, Shanti Niketan and Baroda
middle class in various ridiculous scenarios; ev- Art School. This exposure has in turn provided
ery depiction always features a manic gleam in him with the perspective to reassess the histori-
the subjects’ eyes with impossibly wide sinister cal legacy of the narrative in the traditional paint-
grins. Every image is also graced with the pres- ing styles of the miniature and Kalighat (folk art
ence of a gleeful animal whose features mimic which originated in Calcutta), evidenced in the
and morph into those of a human. In his recent way he intricately lines textile patterns against
acrylic canvases, Farhad does not shy away flat backgrounds. When he first began painting,
from controversy, as he illustrates contempo- his preferred mediums were tempera on silk and
rary Indian families, especially women, indulg- water colour, but as the subject and scale of
ing in scandalous activities not just within their his works grew, he started painting acrylics on

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Untitled, Acrylic on Canvas 152 x 183cm



Acrylic on Canvas 305 x 601cm 22 / THE POCKET ARTS GUIDE .SPOTLIGHT Living Room.

Andy Warhol. I consider myself a Pop Artist. Hussain chooses FEBRUARY 2011 / 23 . nevertheless. the tribal folk art of Orissa.” For an artist influenced by the simplistic nar- rative styles of Santha patachtras. My art is not pop art only due to the use of bright neon colours. “If Pop Art in the Indian Context can be defined as a form of art which questions pre- vailing approaches to culture as well as tradi- tional views of Fine Art and implications from such elements as mass advertising. Farhad builds on these traditions and contemporizes his style by in- corporating images from popular culture and elements from erotic Japanese woodblock prints especially when depicting the human figure. comic strips. and Bengal Pats or scroll paintings. product design. Having realized and recognized his own style. then yes. and science fic- tion within the class hierarchy and behaviour of contemporary India. he elabo- rates. he is also admittedly inspired by the grandmaster of Pop Art . FARHAD canvas in a way that leaves no brush mark. the artist continues to develop his work by translating the old into new through a fresh lens. movies. but because I am trying to question the new middle class mentality using imagery which is provocative by giving it a gimmicky comic strip feel through the use of a selective colour palette. Farhad still considers himself a pop artist. Progressing thereon. in a country where ‘post- modernism’ in the western context does not apply. But while Warhol’s canvases are widely a cel- ebration of consumerism. In a recent conversation.

SPOTLIGHT Michael Jackson. Acrylic on Canvas 152 x 183cm 24 / THE POCKET ARTS GUIDE .

Protagonist and the Other” which opens on 24 Feb 2011. Farhad responded: “Definitely the Bathroom Series. FARHAD to critique contemporary society whose values are changing with the rapid modernisation of India - where. colour and composition.” Farhad Hussain is exhibiting at the Indigo Blue Art Gallery in a group show titled “The Narrator. FEBRUARY 2011 / 25 . satire and Post-modernism. The portrayal of the ‘happy’ family is merely an allegory for the materialistic angst of the competitive and uninhibited middle class as India emerges as one of the world’s robust economic powers with its share of billionaires.. Vanishing identities of cities much less individual are being taken over by international brands and global corporations. I take the viewer inside. Other participating artists are Naina Kanodia. within months. into the privacy of homes. satire and associated symbolism from historic sources as well as from the current voyeuristic soci- ety. small towns are being trans- formed into modern cosmopolitans of homogenous shopping malls and multiplexes. which come together in a way to push traditional aesthetic sensibilities and generate a strong reaction from the viewer which may or may not be positive through images that are always con- frontational and awe inspiring due to their extrava- gant scale. Farhad’s figurative canvases seem to gestate all of these influences.. Vivek Vilasani and Murli Cheerooth. just as in reality TV shows which take us into people’s lives voyeuristically. while mass mentality is being influenced by twenty four hour news (read cyclonic fear mon- gering) networks and mind numbing reality televi- sion. He deliberately seeks to question the notion of beauty through cyni- cism. taste is being dictated by fickle billboards and glamour magazines. When asked which pieces he would like to be re- membered for.. I immensely enjoyed this series for the many connections it holds with voyeurism. The Michael Jackson painting is for the exhibition in Feb.


4 x 91. BURTON MORRIS Pop! Back into the Future! Burton morRis Text: Saskia Joosse Poparazzi Acrylic on Canvas 91.4 cm FEBRUARY 2011 / 27 .

COVER STORY I nternationally acclaimed Pop artist Burton Morris answers a few questions for TPAG about his sources of inspiration. This image was seen by over a billion people worldwide as it was used as the feature image for the 76th Annual Academy Awards show. What artists inspire or have been an inspiration to you and why? Roy Lichtenstein. Bruce Davis. Do you think of the potential value of your artwork when you`re considering on content? Never. favourite pieces and art in general. Andy Warhol. I admire the bold colours of Keith Haring and his energetic sensibilities. asked me to create some sketches and ideas for a poster to try and create a new idea that hadn’t been done in the past and to reenergize the Oscars . There is no way to predict the future value of a painting and I don’t even consider it.something that would be a bold new statement.4 cm TPAG: What’s your favourite piece and why? BM: The Poparazzi photographer for its high energy and bold statement about celebrity and Hollywood Paparazzi. Keith Haring. the Executive Director of the Academy Awards. Andy Warhol opened up the doors to commercial objects and ideas to be interpreted as art. I believe 28 / THE POCKET ARTS GUIDE .4 x 91. were three great Pop Artists who had tremendous influence on me and my work. that was fun and exciting. I love the comic nature and flat painting style of Lichtenstein. Burton already has a hugely impres- sive and extensive CV with a list of celebrity and corporate owners that would make even Andy Warhol envious! Poparazzi Acrylic on canvas 91.

who would it be and why? The Blue Louie came from my love of jazz music. I remember thinking that there were Starbuck stores popping up all over and what symbol best represented that Kernal of Knowledge Acrylic on canvas 91.4 cm Coffee Cup Acrylic on canvas with cut wood extension 106 x 91. For your most recent exhibition in Singapore at Pop and Contemporary Fine art. the great Jazz trumpeter was the art world as a whole. This image of and hopefully I have a long career ahead of me.4 cm moment in time but the coffee cup itself.4 x 91. Andy Warhol. The Kernel of Knowledge painting was inspired from my interest in meshing my branded iconic images into other forms and objects. the trumpeter was used as the icon for the 38th Montreux Jazz festival in Switzerland. Blue Louie Acrylic on canvas 91. I have met so many FEBRUARY 2011 / 29 . the show “Friends” came on in 1992 and the coffee cup showed up in their first season.4 x 91. Central Perk or your swirling coffee cup? The coffee cup image was created a few years before the inception of Central Perk as it was a statement on the coffee cup culture hitting the states at that time in the late `80’s. A few years later. BURTON MORRIS time will tell where I have made my mark on society also an influence for inspiration.4 cm What came first. what was your inspiration for the Blue Louie and Kernel of If you could talk to an artist that is no longer with Knowledge pieces? us. To hear what he really thought about Louis Armstrong.


Ferrari Logo Acrylic on canvas 91. Rolex Acrylic on canvas 91.4 cm 3.4 cm FEBRUARY 2011 / 31 . BURTON MORRIS 1. Dollar Acrylic on canvas 121.4 cm 2.4 cm x 91.9 cm x 91.4 cm x 91.

9 x 91.COVER STORY Popcorn Acrylic on canvas 121.4 cm 32 / THE POCKET ARTS GUIDE .

why is that important to you? I am so fortunate to have a wonderful career and family. BURTON MORRIS people who knew Andy or worked closely with him and as a Post-Pop Artist it would have been wonderful to have heard his thoughts about the art market. This is what I strongly believe in . Anything that happens in my personal life affects my art. I have seen firsthand how my artwork has inspired young minds from all over the world and how my art can generate money to help others who don’t have the means to help themselves. Every day I witness through her eyes a whole new way to look at the world. I have always felt that it is important to give back to those not as fortunate as others. On a personal level has the recent birth of your daughter made a difference to your artwork? Of course. You do a lot of work for charity. FEBRUARY 2011 / 33 .

dark emotions such as sad- learned about colour. This style is ation of his father’s canvases. using his first name Renato. home served as his father’s studio and whilst growing up. shapes and forms. which he shares with his father. Habulan’s artwork was mistaken for that of his father’s work. Andy Warhol. Syl- happens to be a legend in his own right. was one of the forefathers of Roy Lichtenstein and Robert Rauschenberg. Jeff Koons. but that of course can be easily under- the Social Realist Movement in the Philippines. Guerrero also a magical experience. even ness or anger but rather as a Pop Artist. especially if your father singing and poetry recitals from his mother. these influences growing up helped sowed the in the artistic sense. and replaced it with the dramatic Once Guerrero decided upon becoming an art- name of “Guerrero”. perhaps akin to understandable as growing up. similar to the pictures in found inspiration from legendary artists such a child’s story book. as he before learning how to spell his own name! In. ist it was actually his father that mentored him and pushed him to excel and find his own ar- Guerrero’s love of art was fostered in many tistic style through hard work and experimenta- ways thanks to his mother and his father. In the 1980’s.FEATURE Guerrero Habulan — The Warrior of Pop! Text: Saskia Joosse T here was a time when Guerrero Z. Guerrero decided to stop artistic seed in the young boy.images to create satirical content. All In order to help distance himself from his father. therefore dinner guests often included the likes of Adi Baens Santos. via who was an active participant in the militant performing group called Tambisan sa Sining. During these Soirées lively discussions on artistic and It is also arguably a difficult task to come out social movements often took place along with of someone’s shadow.uses images that are popular among urban Fili- stead of picture books he had the good fortune pinos and juxtaposes those with popular foreign of being able to appreciate and watch the cre. his father as Norman Rockwell. Renato Habulan. Antipas Delotavo and Bo- stood as they shared the same name! gie Tence Ruiz along with other artists. Their tion. “warrior” in Spanish. 34 / THE POCKET ARTS GUIDE . he found himself surrounded by Guerrero’s personal style is not that of creating canvases and paint and it was there that he works full of deep.

GUERRERO HABULAN Spagetti Oil on canvas 91.4 x 61 cm FEBRUARY 2011 / 35 .

Robot Oil on canvas 112 x 91. eats a plane Oil on canvas 152 x 112 cm 2.4 x 183 cm 3. Eats a Bird.FEATURE 1.4 cm 4. Field Trip Oil on canvas 152. Patikim Oil on canvas 142 x 142 cm 36 / THE POCKET ARTS GUIDE .

filled en me great pleasure and helped open many with colour and perhaps even the dreams and doors for me”. materials and tech- to meet new friends in the artistic community nique. (one journey in English) and during this period is highlighting the irony that one sees in popular joined several group shows and participated mass culture. on the street… I monumentalize these ordinary ed by the University of the Philippines.” Guerrero responds “My latest solo exhibition was given a feature in one of the leading con. that coupled with they are devoid of any anger and hatred. I draw gal sa Mag-aaral. GUERRERO HABULAN When Guerrero was in his twenties.Even though his works are social commentar- temporary art magazines in the Philippines. aspirations for a better tomorrow. with them. satirical realism with popular imagery. It was on my second show where the pop imagery in my When asked about the highlights of his career. scenes. as key players. With each peers. recognition for students with inspiration from regular people I see every day outstanding achievements in their field. He has thus. and the production of each piece takes about two weeks. he decided tweaked repeatedly until he feels that it is com- that it was time to embark on his own journey pleted. during which time. participated in over piece I wish to convey contrasts and to high- 30 group shows and received several awards light the present conditions in society through which include being the recipient of the Paran. He joined an Antipolo-based art group called Sangviaje Guerrero is quoted as saying: “Pop Art to me. Pop art has also elevated the kitsch and and receive feedback and recognition from his commercial to the level of fine arts.thing they are comical and light hearted. which I found very flattering. ies and satirical assessments of today’s society. Pop Art has removed boundar- in various art competitions which enabled him ies in the use of imagery. award. and find his own place in the art scene. so far. work has become bolder. the piece is FEBRUARY 2011 / 37 . If any- art competitions I have won have obviously giv. Guerrero may be a warrior of art but he chooses not to fight Guerrero’s preferred media are oil and acrylic but embrace the world with pop and colour.

an artist who although at the time of his to be held at Shafrazi’s gallery in October 1982. which was legend. um. all of were also available in a wide range of outlandish which he paid! colours. death was only 31. when Haring began to look for representation he de- cided in favour of Shafrazi and they began plan- Marilyn Monroe. around Christmas time. It therefore has to be intensive and explosive. these industrial protective sheets transit police and issued with summons. Keith Haring is another such ning Haring’s first large solo show. which he thought would be the ideal sur- Over the four to five year period of his subway face for painting. he started. Haring was caught over 100 times by most any size.punched into them around the edges which rotic he respected his commitment to his artists made them easy to hang and the fact that they 38 / THE POCKET ARTS GUIDE .It was around this time that Haring stumbled ing 30 . ing but with the upcoming show he wanted to experiment with large format paintings. that had always had an issue with using canvas as Haring first started his graffiti art in the New he felt it restricted his particular style as can- York subway.FEATURE KEith haring — The Journey of a Graffiti artisT Text: Saskia Joosse M aybe to be a true legend. Therefore. Haring It was late in 1980. Up until now Haring had concentrated on draw- drous and diverse path. helping him The tarpaulins also had other advantages over to write press releases and serving drinks at his canvas in as much that they already had holes openings. had already helped to propel the Pop Art scene even further along its won. Early on Haring had worked for the famous gal- lerist Tony Shafrazi. chalk on a soft matte black paper. Although Haring found Shafrazi neu. in 1982. At the beginning he would add new elements to the drawings every couple of weeks often creat. seemingly a perfect match for Haring’s new adventure. as his assistant. your lifespan has to be short. As well being available in al- paintings.40 a day and by 1981 Haring’s graffiti across using vinyl tarpaulins as his new medi- drawings would be the main theme in his life. such as that of James Dean and as well as his honesty. vases already had its own characteristics before which Haring said was “dying to be drawn on”.

5cm FEBRUARY 2011 / 39 . HARING Growing 1 Screenprint 76 x 101.

opened the door to other events which only stein and Robert Rauschenberg. there was two embracing figures surrounded by a halo of never anything that he’d like to have changed rays. And so the ent he showed whilst doing it and how he made gallery walls were covered with a myriad of run. Haring’s work distinguished only between about it. He was also impressed by the fact that Haring never went back and corrected his work. Perhaps the biggest compliment that graphic and concentrated on highly compre. Roy Lichtenstein cial vinyl silk-screening ink that dried almost im- mediately and was drip free. He was astonished how quickly Haring Alongside his works on paper and vinyl he could produce one of his pieces but what really would also incorporate the walls of the gallery amazed him was the enormous control and tal- in his complete. all-over concept.the individual pieces into whole paintings. three eyed smiling faces and Mickey Mouse.Lichtenstein paid Haring was that he thought hensible themes such as the dancing dog and that once the piece was completed. crawling babies. served to further Haring’s popularity. Haring used a spe. career. it was so beautifully drawn. The exhibition was a huge success which With the attendance of the likes of Roy Lichten.FEATURE Growing III Screenprint 101. ning and dancing figures. outline and fill colour. a feat The works on vinyl were incredibly simple and in itself. although brief.5 x 76cm were very easy to transport. among others. Haring had launched what was to be a stun- ning. 40 / THE POCKET ARTS GUIDE . later said that Haring’s ability was truly amaz- ing.

5 x 96. lessly championed their causes and charities. Haring was never slow in marketing himself to Haring and Warhol became very good friends. HARING some time before. Italy and Japan. who was to then and if something interested Warhol. therefore in 1983. roll and because of his now global popularity he hired Julia Gruen as his full time assistant. Germany. Haring even worked together on projects. ing specific motifs for his. which was based on Mickey Mouse with a wig From here it was not a huge step in 1986 to and sunglasses and features clearly resembling open his own “Pop Shop” in Manhattan which Warhol. he authorised the maybe the best example being “Andy Mouse” creation and distribution of posters and T-shirts. Haring was on a to follow. Haring donated the majority of his profits from They visited each others galleries and they the “Pop Shop” to various charities. Warhol’s invention and intro- Critical acclaim around the rest of the world now duction of the “Factory” (as Warhol’s studio was followed with works in the UK. Haring fea- wanted to give everyone the opportunity to have tured Warhol in his work quite a few times with his artwork. the masses. Whereas most art. Har- ists base merchandise on existing original work ing was awarding Warhol the same iconic status Haring went completely the other way by creat. By combining Mickey Mouse with Warhol. Haring’s mentor and friend Andy Warhol had already laid the groundwork for this new relationship between art and commerce Pop Shop 1 . ing approach to selling art.5 cm FEBRUARY 2011 / 41 . In 1983 Haring met Warhol who was already an Haring’s personal life had also taken an upturn established part of the New York party elite by when he met Juan Dubose. a DJ. and importance as that of Walt Disney. The known) had already set the example for Haring Netherlands. sold merchandise with his own designs and that of a few select artist friends. ested everyone. Of course. but Haring knew Although Haring could never be perceived as that there would always be the cynics that saw a children’s artist. he loved children and tire- this purely as a promotion for his ground break.Best Buddies Silkscreen 30.5 x 38 cm Andy Mouse Silkscreen 96. Needless to say the critics cried “commercialism”. it inter- become his long term partner. although money was not his main both interested in each others art with a mu- motivation and this was shown later on when tual respect for each others respective talents.

9 x 41.16 Lithograph 55.9 cm 42 / THE POCKET ARTS GUIDE .FEATURE Story of Red & Blue .

Har- ing passed away on February 16th.9 x 41. The world is certainly a better place thanks to the creativity of Keith Haring. Whenever Haring from everyday objects Haring had once said worked in public he was sure to attract a large that he actually tried to create and invent life. Haring also said that he left the interpretation of his work to others 1988 marked the death of Haring’s friend Jean. Haring had children fill in the outline of the Statue of Unlike most pop artists that take inspiration Liberty which he had created. with AIDS along with other social issues. This was part of the ge- etc to give to them. free of charge of course! nius that was Keith Haring. the rest of New York. How right he was. only a year after Warhol’s death work. Almost inevitably Haring This was a boy that took graffiti and fused it with eventually succumbed to the disease.9 cm exhibitions around the world. HARING Haring enjoyed interaction with children and focused support on children’s charities and the gave workshops all around the world and for fight against AIDS. which continues. it was only after his death that the “art world” recognized the huge impor- tance of his work and honoured it with major Story of Red & Blue . After a form of hieroglyphics to produce a new style his diagnosis Haring created deeper.when he was not around to appreciate it. Haring always believed that the acknowledge- ment and recognition. Italy.. During this period he set up a foundation bearing his name which FEBRUARY 2011 / 43 .. This was to be his last public work and was titled “Tuttomondo”. the centenary of the Statue of Liberty. towards the close of his life. one takes away from it what one wishes.12 Lithograph 55. to give joy. stronger of art. In a strange way he said he was glad of the resistance as it gave himself something to continue to fight against. He was happy and proud however that the real body of support for his work was from normal. the acceptance for his work would come later. and as is usually the case. and AIDS was now a daily reality for Haring and depending upon the piece of course. works with an added new complexity that dealt stimulation and pleasure to those that view it. 1990. Haring described his Pisa experience as one of the high points of his career. It was art that came directly from always made sure he had stickers and buttons within Haring himself. Haring. there is also a lot of fun and joviality and. In Haring’s final years he began to experiment including with form and colour and also did vari- ous commissioned works such as the BMW art car and an exterior mural wall of the Church of Saint Antonio in Pisa. audience of children and young people and he not imitate it. everyday people and not from museums and curators. and while there is certainly a dark side to his Michel Basquiat. still today. could still not understand the resistance to his work form the American art establishment and museum world.

Lichtenstein completed his undergradu. With Expressionism. a move that would be incomprehensible Whilst in Oswego Lichtenstein stopped painting today. Asked later why he began the use of car- tor. a job which he would be involved with on toon characters. Ohio State offered doing and adopted a new style called Abstract studio courses and a degree in fine arts.remain for the next six years. included two sons. Roy Lichtenstein’s career passion for examining art itself and its technical was different to other artists in many ways.ers. Lichtenstein was ply. something that would be seen in the different array of work that he would complete Lichtenstein was born on the 27th September throughout his career.Robert Motherwell. ate degree there. a style championed by the likes a three year break to serve in the army due to of Jackson Pollock. they also chtenstein was selling pieces during the 1950`s urged their son to get a teaching degree from a it was not enough to support his family which by regular liberal arts college so that he would have now. in New York. processes. It was during his time at Ohio State that Lichtenstein met a teacher. Although Li- Whilst his parents supported his wish. Lichtenstein replied very sim- and off for the next decade. Oswego. 1956. He began to draw and paint in oils. with his first recognized Pop art piece being the lithograph of a ten dollar bill in 1956.FEATURE The Legend of Lichtenstein Text: Saskia Joosse A rguably one of the greatest Pop artists to encouraged to take drafting classes and had a have ever lived. “desperation!” 44 / THE POCKET ARTS GUIDE . Between his artis- less. 1923 to a middle class New York family and at- tended a public school until he was 12 and then By 1951 Lichtenstein had not been rehired at went onto a private academy. During tic spells Lichtenstein did jobs ranging from an his last year at the academy Lichtenstein took engineering draftsman and window decorator summer art classes at the Arts Students League to a sheet metal designer. After graduation from high School in 1940 Lichtenstein was convinced that he Lichtenstein’s early work was very experimental wanted to become an artist. Strangely enough Ohio State and with his wife having a job in there were no art classes at the academy but Cleveland they moved there where they would Lichtenstein became interested in art neverthe. searching for the style that really suited him he began to make drawings of comic strip figures Lichtenstein entered the graduate program at such as Mickey Mouse. In 1959 Lichtenstein showed his new work in Sherman who was to prove highly influential New York to muted reviews. In 1957 teach- a proper profession to fall back on should his ing beckoned once more and he took a job at artistic ambitions fail. Donald Duck. Still obviously during his career. Lichtenstein left New York for Ohio State Uni- versity. Willem de Kooning and WWII. a small college in upstate New York where he taught for the next three years. but New York pre World War II was not the “historical” subject matter that he had been the art zenith that it is today. Hoyt L. and oth- Ohio State and was later hired as an art instruc.

8 x 98. LICHTENSTEIN Two Paintings: Dagwood Woodcut and Lithograph 136.9 cm FEBRUARY 2011 / 45 .

small advertisements and war comics and the Disney characters were left behind. unique style. unbeknown to Lichtenstein. industrial colours and benday dots) was the oil painting. exact copies of comic book instant enjoyment of the images he realized panels. was “appropriated” and adapted from a 1962 DC comic issue “All-American Men of War”. both Cage students.6 x 69. the women’s Lichtenstein’s first solo exhibition at Leo Castel- branch of Rutger’s University. but not quite.of plagiarism because of his use of comic book 46 / THE POCKET ARTS GUIDE . 1960 saw Lichtenstein take up a teaching post once again at Douglas College. Warhol`s work whilst strong was not as good as that of Lichtenstein and Warhol was the first to acknowledge the fact. two such his most famous image. Artist and art his. Kaprow ex- plored the ideas of his teacher.vast majority of Lichtenstein’s best works are al- pers at the end of the 1950’s and with his sons most. quan- tity and repetition. John Cage.7 x 54. Lichtenstein now turned to inspiration and im- Untitled Head Screenprint 47. “Look Mickey” in 1961. Lichtenstein suffered many accusations how important that cartoon characters had be. Eager to take ing teen and action comics for pieces such as “M – Maybe” and “As I Opened Fire”. The Lichtenstein began to draw bubble gum wrap. who Lichtenstein virtually never used photogra- believed that commonplace items possessed phy as the inspiration for his work instead us- their own aesthetic importance. Lichtenstein realized that the inclusion of a text bubble added a new dimension to his pieces. The first piece to use the now easily recognizable Lichtenstein trade- marks (hard-edged figures. “environments” and “happenings”. the industrial style of the printed comic. he would Composition IV Screenprint 56. li’s gallery in the February of 1962 was a sell out torian. In 1961 Leo Castelli agreed to show Lichten- stein’s comic work in his gallery. Lichtenstein would paint another six paintings of recognizable characters from bub- ble gum wrappers or comic books. “Whaam” executed in artists were Robert Rauschenberg and Jasper 1963 and hanging in the Tate Gallery in London Johns.FEATURE come in American culture. an area that Warhol would be the first to exploit and claim as his own. mail order catalogues. A few weeks later.8 cm ages from sources such as the yellow pages. Perhaps this train of thought further artists began to turn everyday objects into works of art.5 cm pencil the outline directly onto canvas and then paint them over in oil. It was this piece that was pivotal in cementing Lichtenstein’s new own. Andy Warhol showed his own work using comic figures to Castelli. It was there and then that Warhol decided never to do another comic strip and go in a different direction. Allan Kaprow was a colleague now of success and this was finally the end his teach- Lichtenstein and was responsible for organizing ing career.

6 x 70.1 cm FEBRUARY 2011 / 47 . LICHTENSTEIN Sweet Dream Baby! Screenprint 95.

6 x 95.FEATURE 1.8 cm 3. Brushstroke Screenprint 58.6 cm 48 / THE POCKET ARTS GUIDE .7 x 86.4 x 73.3 cm 2. Still Life with figurine Lithograph and screenprint 118. Venetian School II Screenprint 120.

ceived intellectual superiority. he used them work. an artist and inventor. he was constantly fighting the battle against the artistic elite and their per- FEBRUARY 2011 / 49 . to (a common Pop artist theme) and he was only change them into an original work of fine art. dot sizes.two dimensions both interesting and engaging. depict abstracts of nature. Apart from the black outline of figures and the use of industrial colours. Roy Lichtenstein died on the 29th Septem- After 1969 Lichtenstein introduced diagonal ber. One could always sense commission for Millenia Singapore which he fin- Lichtenstein’s commercial art background in his ished not long before his death. sumer items and when viewed in contrast to ad- vertising one can see similarities in as much as Sculpture was also within his varied repertoire both have a simple. It art mantra. His work finished look he was searching for. instead concentrating on the art- issues with the consistency of the patterning of work. very much in keeping with the Pop colours lent itself to this particular medium. that he used. Lichten.ments. his legacy that of taking the best stripes into his work which together with the that commercial art and it processes could of- Benday dots gave a more textured surface and fer and blending them into his own unique style a new optical effect. a meth. “Six but art created by commercial artists pretend.1997.tenstein refused to use his canvas as a pulpit stein played around with Day’s process.Brushstrokes” at the Roy Lichtenstein Plaza. directions and graduations.both paintings and sculpture and his name is stein didn`t stop there. a ing to be “real” artists. critics of the day were ready examples of Lichtenstein’s monumental sculp- to lambast such work as inferior and not fine art tures can actually be seen in Singapore. refin. the dots using Day’s exact process. Lichtenstein firmly one can see that that there are indeed a lot of believed that art should be enjoyed by everyone alterations. Whilst Lichtenstein could see the had been a deep desire of Lichtenstein to show benefits and quality of certain commercial art. Lichten. After much experimentation Lichtenstein finally settled on a There are not many artists that can make only stencil derivation of Day’s application.and project his politics and views on society in ing it for his own use as he had experienced his artwork. LICHTENSTEIN characters. land and seascapes. devoid of human interaction. With the Benday dot pro. Benday dots were named after Benjamin to great effect in his own inimitable style. both in subject and technique. made from aluminium. Lichtenstein’s arsenal of of Pop art! technical processes was now complete. od that gave Lichtenstein the final mechanical Lichtenstein was one of those synonymous with Pop art as that of Andy cess resolved he later went on to use different Warhol. visual attraction and appeal and Lichtenstein’s use of form and industrial to the viewer. but if one takes a close at his work. perhaps it’s the use of Lichtenstein took inspiration from most of the Benday dots (a technical printing process) that recognized art movements and whether his was and still is associated with Lichtenstein’s muse was Picasso or Cezanne. too happy to poke fun and continue to poke fun at the establishment and recognized move- Lichtenstein would later focus on various con. With the pieces sparse use of the number of different colours ranging between four to twelve metres in height.his artwork in Singapore and one of the last ists and their work. Lich- Day (Ben Day). seemingly can be seen in museums all around the world. the sculptures. however. When one looks back at Lichtenstein’s hugely successful career it is clear that from his middle class background.

Day Dreamer Triptych 2 2010. 140 x 300cm 2. Silkscreen print on Canvas with Diamond Dust. 140 x 300cm 50 / THE POCKET ARTS GUIDE . Day Dreamer Triptych 1 2010. Silkscreen print on Canvas with Diamond Dust.INTERVIEW An Interview — What the :phunk! Text: Bharti Lalwani 1.

film and interactive media. Chinese mythology and Jap. We compass art. musicians to help actualize the production of We tried forming a band initially. Each how does the dynamic work when it comes to of us have our role. fantasy and reality. another draws the illustrations. Japanese Manga or Western Pop culture into creative depictions of a universe densely populated with ancient gods and modern cartoonish creatures. Jackson Tan and William Chan are four Singaporean pop artists / de- signers who met whilst in LASALLE College of the Arts. publishing and distribution. In a world where the lines between commerce. sic. met at Lasalle. love and We talk and think of the original idea. we found that we shared many common interests. moral- ity and contemporary culture with zest and humour. form and the process continues. pretty girls. and parties. express and communicate our ideas of tracks (each artwork = one visual track). reinterprets the idea into sculptural scribed as “an aesthetic collective conscious. ranging from old Hong Kong To further expand on the analogy. which hate. FEBRUARY 2011 / 51 . mu- usually make one “art album” of around 40 “vi. then gets interpreted into visual imageries. alcohol. there is not much difference in :phunk’s of our original artworks like a band producing creative process where our fine art and com- an album. audio and visual. musical arrangements. publishing. craft and technology. one of us makes the initial producing artworks? concept sketch. seamlessly blending diverse influences be it traditional Chinese craft. One band member writes the lines and push the boundaries between the songs. Sourcing heavily from mass culture. Our projects en- start working on each artwork collectively. to British indie music. the “band” is kungfu TV serials. Engaging bold strokes and colours which “pop” at the viewer. design. our approach is therefore best de. TPAG: You are a four person artist collective. Do you consider yourself Pop Artists or do you find yourselves framed within the Graphic The rock and roll ethos. production. fixed arrangement or order as we switch roles proaches to visual expressions. popular culture and art have long been blurred :phunk has rigorously propagated a visual signature. makes the creativity and commerce. TPAG interviews the rising stars to explore what sets them apart from the fray. oversees the collective. it is never a ness” focused on experimenting with new ap. :phunk have been compared to other pop artists who employ similar themes. boredom. and through different mediums. Melvin Chee. control and chaos. we decide on the main artis. We like to blur sual tracks” a year. mercial design works are concerned. performs. American rounded by technicians. Out of ing the PR. producers and other pop culture. :PHUNK A lvin Tan. at the core of the creation and vision but is sur- anese manga. but gave up the “album” as well as simultaneously manag- after realizing that we sucked musically. an art and design collective. PS: We are a multi-disciplinary art and design another composites and colours. and so on. the :phunk collective illustrate social satire. Singapore and teamed up in 1994 to form :phunk. Decide on the number explore. We approach the creation genres. DIY spirit and working design genus? dynamics of a band was developed into our We are not really concerned with labels or collective’s DNA. the other adds the lyrics. fashion. First. and being not the only ones to do so. we started ‘jamming’ with visuals and graphics on the Mac in Jackson’s bedroom and sent the ‘EPs’ out to people we liked. We like to tic theme of the series. When we first all the time.

. GIMMICKY. However. We realized that we are part of a ground and medium. we have been looking into our in-and why? We like to explore new ways to communicate ner worlds so as to build our collective universes and expand the themes of our worlds. explain your distinction from his art? Well yes.Pop is celebrated globally by a generation which mon cultural influences. Walt universe. publishing. and youth culture. film Pop Artist Takashi Murakami.and now its culture. in the Which media do you use. genre and themes with grew up watching Michael Jackson on MTV. We managed hibitions. we are distinctively eating McDonald’s and while playing Pong on different in our artistic approach. We do indeed share certain com. how would you and interactive. BUSINESS. design.their Ataris. SEXY. Osamu Tezuka. We did not invent Rock music or Pop WITTY. inspired and informed the Collective’s artistic vi- atively through designing and creating visuals. LOW COST. Art but neither did The Beatles or Andy Warhol GLAMOROUS. if you believe in yourself but having said that. sculpture. sign our works as a single entity. multi- we became “Information Junkies” and recently disciplinary and diverse. Our proj- ects span across different mediums such as painting. George We hope to share the stories from our inner Orwell. This assorted mix of we have become “Cultural Junkies”.How do you feel Pop Art has influenced Sin- garding :phunk and Murakami. Andy Warhol. art installation. Cartoons.Talent Imitates and Genius MASS PRODUCED.. both bands were British but had you best define it? distinctly different sounds and images. YOUNG. which is art which is in- formed by visual language. prints.Archi. we audiences can relate to our Collective’s visual called ourselves “Visual Junkies”. Pop while wearing Nike sneakers and Levis jeans. The Disney and Lee Kuan Yew. how would rock music. one of our “borrowed” ethos in :phunk is “Steal- EXPENDABLE. We used cultural influences and visual iconography have to be inspired and expressed ourselves cre. Jin Yong. but it does not gapore as well as on a global level? matter to us. there have been a few remarks and comments from critics and the audience re. It’s like The Beatles and larger group of a “globalized” generation which Rolling Stones. ani- Your works resemble the reigning Japanese mation. ing from Thieves” .. fashion. sion. age. TRANSIENT. they played the same genre of grew up watching television. we were influenced by everything external around us however...Like Pop Music. Steals. which said it best: to create a common artistic vision the four of us can share and build on. Popular Art. Stephen Chow. imagery. We liked a solo artist but we have chosen to create and a poster from Gagosian Gallery for one of its ex. music. When we were younger. our ideas through different mediums. five years ago language and ideology. works? gram. and the message is LOVE. him such as Japanese Anime.” What do you wish to convey through your art? Which artists have been your influences? How do you think audiences relate to your We have had a number of influences ... symbolism We as a “collective” will never be the same as and iconography of a popular culture. Ten years ago. “Children of Televi- 52 / THE POCKET ARTS GUIDE .. back. Fluxus. your preferences last few years.INTERVIEW What does Pop Art mean to you. We believe that every- “POP ART IS: one is different and originality comes naturally POPULAR.. BIG or Murakami. then through information.

600 x 1200 cm 4. 320 x 830 cm FEBRUARY 2011 / 53 . Electricity (Neon) 2010 Carbon Ink Transfer on Wood Panel. :PHUNK 3. Control Chaos (Giant) 2009 .10 Acrylic on Canvas.

INTERVIEW Underworld 2 2010 Acrylic on Canvas 210 x 300 cm 54 / THE POCKET ARTS GUIDE .

:PHUNK FEBRUARY 2011 / 55 .

it is not about “outsourcing” work but Tell us about your current and future projects? rather like growing a style or school of Kung Fu We are currently working on a new series of not unlike the Shaolin monks or Jedi Knights. and Warhol’s Factory. TRANSMISSION: LAB is a collaboration be- tween you and Lasalle. Do you as a group see yourself evolving into a “Warhol factory” system with numerous assis- tants (a la Jeff Koons/ Murakami/ Hirst)? We realized many years ago when we first started our career that there was no one be- fore us to mentor or guide us. We are also working on various creative collaborations with brands on products and campaign projects. Dorae. We believe that you cannot be a true master if you do not leave a legacy as well as share your experiences and knowledge with the young. Tokyo. We therefore formulated to be remembered for. The series will be launched in various exhibitions in early 2011. Eventually. the younger generation of creative students so that our knowledge. the renaissance masters could never 56 / THE POCKET ARTS GUIDE . We will be launching the second annual exhibition of TRANSMISSION: LAB. network. Taipei and atelier system. The relationship between the master and disciple is reciprocal and not one sided. Buddha’s Palm and Journey to the West. The “atelier” or “mentor” system has been around for ages. an experimental multi- disciplinary visual laboratory which we initiated to mentor and transmit our collective experi- ence. and certainly no platform so as to broadcast our ideas to If there were one or two images you would like the rest of the world. British Indie-Pop music. tion of artistic individuals. Shaolin Temple geographical. original artworks based on the theme “DAY- DREAM NATION”. whereby to nurture and train the next genera- Sesame Street. It is also a healthy environment Barcelona who share our passion for Star Wars. experience and skills would be utilized for their benefit. LAB in our mind was envisioned to be a cross These influences are more demographical than between Yoda’s Jedi Academy. which piece(s) would TRANSMISSION as a channel for us to share it be? our works and create opportunities for collabo- The two works would be CONTROL CHAOS rations.INTERVIEW sion” is a term we coined for our peers in cit. knowledge and skills to a new generation of creators. whereby you nurture select young talent through an “atelier”. we decided to avail that to and ELECTRICITY. We will be showing some works from the series at ART STAGE. Singapore 2011. New York. The TRANSMISSION: mon. have accomplished what they did if not for the ies such as Paris.

socialcreatives.To learn more visit: Our o To be bjective s non.come the : gove lead nurt r i uring nment gr ng thro C o mm o up ugh y outh unity Ar deve t Ask o lopm ent u When rselves: a we d sked to r d with aw a squ raw a h a tri are s ouse wind a h ows. ngular r aped bu why n o il ot a of with t ding HDB w flat? o Social Cr eatives does Communi ty Art FEBRUARY 2011 / 57 .

Art Trove . ww. Singapore 187969 Operation hours: Wed . All other times by appointment Call for private viewing. enquiry@art-trove. 51. Fax: +65 6336 .Sun: 11am to 6:30pm. Waterloo Street. #02-01/02/03. Tel: +65 6336 0915.

IN Kwan Hua. GL Li Fine Art. RO Bruno Gallery. The Gallery of Gnani Arts Antiquaro. Sun Craft. N Mulan Gallery. AD Boon’s Pottery. HaKaren. TA Peter’s Frame. AD Geeleinan Art Gallery & Studio TANGLIN RO QU EE RE NS SS WA W AY ALEXANDRA Y E ROAD AV N W DO R TS Mercedes-Benz PO Center AD RO A DR AY AN E R EX RA AL JA H AD EX PR LOWER DELTA RO ES SW AY JAL AN BUK IT M ERA H 60 / THE POCKET ARTS GUIDE . HO LLA SINGAPORE’S ART MAP ND RO AD AY ENSW Singapore Botanical Garden NAS QUE SIM ROA D CO M M O NW AD EA NAPIER RO LT H AV AD E RO L IN NG TA Galerie Joaquin. Yang Gallery AY SW EEN QU Sealey Brandt Photography Studio.

H M Gallery O BA Yavuz FA 8Q SAM R OVAS Art Gallery SA RO Action Theatre H Singapore AD RO Art Museum AD RIVER VALLEY ROAD National Museum Eagle’s Eye of Singapore Art Gallery Foundation Oil Fort Canning Painting Park AY R ESSW The Substation K EXP OAS T PAR Peranakan Museum E ASTC KIM SE NG Singapore Philatelic Chan Hampe Museum Galleries RO RI VE AD R VA 72-13 L LE Y RO AD Art Trove GANGES AVE The National M ER Art Gallery.D SPOTTED ET (Museum of Art & Design) RE ORC Art Trove Gallery ST AD HAR AY DR 51 Waterloo Street N RO OAD W LE GH #02-01/2/3 O HI GE O LESingapore 187969 C ET ID N CO BE BR NI RE Foundation Oil T: +65 6336 0915 H ST RT Painting F: +65 6336 9975 EP NO E: enquiry@art-trove. BU SINGAPORE’S ART MAP KIT AD TIM AH RO RO TS AD OT SC ROAD ANG AD KALL LEGEND RO N AY OO W SS NG E MAIN ROAD PR RA EX CA SE L IR A SMALL ROAD TR NH N CE ILL EXPRESSWAY RO R SA AD AD BE ART GALLERY RO Pop and Contemporary BU Kelly Reedy - N AY KI Studio Arts LA TTS Fine Art T AL EXPRESSW T JA TI E PUBLIC PLACES M RE SCO AH RO ST I A SCHOOLS OR AD OR CH CT VI D AR MRT OA DR NTR OA DR D Third Floor Hermes OR CE EF SELEGIE ROAD BID GALLERY M.30pm BR C Call for private viewing.A. RO C N RI The Picture- P W: www. AS The Private M.Sun: 11am to DreamSpace Art Studio .com Young Musicians’ Society house Forest Rain Gallery Opening Hours Singapore Calligraphy Centre Art Trove. The Esplanade CH Singapore ET AN RE T AD RO ST AY RO AD IVE HA LL SW VE HI GE S DR RE LO EASTCOAST PARK EXPRESSWAY ID XP CK DE BR E RO L RA NA AD H NT UT PLA CE SO ES NG HA VE SE LO CK NG RO TO AD EU FEBRUARY 2011 / 63 Sotheby’s Institute of Art.

com 51 Waterloo Street #02-01 to 03 Singapore 187969 Dynasties Antique & Art Gallery T: +65 6336 0915 18 Boon Lay Way C Forest Rain Gallery 261 Waterloo Street Cape of Good Hope #02-43/44 140 Hill Street Singapore 180261 #01-06 MICA Building T: +65 6336 0926 Singapore 179369 T: +65 6733 3822 www.fill-your-walls.DIRECTORIES GALLERIES Chan Hampe Galleries A 328 North Bridge Road #01-04 Raffles Hotel Arcade AndrewShire Gallery 5 Swiss Cottage Estate Singapore 188719 Aratong Galleries 26 Mount Pleasant Drive T: +65 6338 1962 Art Forum 82 Cairnhill Road Aryaseni 10A Bukit Pasoh d’Art 5 Westbourne Road #02-03 B D’Peak Art Space Kaki Bukit Road 1 #01-07 DLR Gallery 22 Marshall Road Boon’s Pottery 91 Tanglin Road E #01-02A Tanglin Place Singapore 247918 Eagle’s Eye 39 Stamford Road #01-01 T: +65 6836 3978 Echo Art Galerie 19 Tanglin Road #02-59 www. #02-09A Singapore 179030 T: +65 9846 2098 / +65 9721 3718 Art Trove #01-136 TradeHub 21 Singapore 609966 T: +65 67383268 Arty Art Gallery 686A Woodlands Drive 73 #15-52 Evil Empire 48 Niven Road Bruno Gallery F 91 Tanglin Road #01-03 Tanglin Place Singapore 247918 fill your walls T: +65 6733 0283 21 Tanjong Pagar Road www. ARTINNO 391B Orchard Road #23-01 Liang Court .com #04-02 Singapore 088444 T: +65 6222 1667 Bartha & Senarclens 75 Emerald Hill Road Art Glass Solutions 30 Kuo Chuan Avenue Art Seasons 7 Kaki Bukit Road 1 #02-12 Art Tree Gallery 333A Orchard Road #04-11 Art-2 Gallery 140 Hill Street #01-03 D artcommune 133 New Bridge Road #02-77 Artesan 793 Bukit Timah Road #02-01 Artfolio 328 North Bridge Road #02-25 DaTang Fine Arts Singapore ArtGoGo 402 Orchard Road #02-08 177 River Valley FOST 65 Kim Yam Road CdeM ART & DESIGN Blk 5 Westbourne Road #01-02 G Collectors Contemporary 5 Jalan Kilang Barat #01-03 COMBINART 27 Woodlands Industrial Park E1 #01-08 Galerie Belvedere 168 Robinson Road #36-01 Galerie Waterton 39 Keppel Road #02-01 64 / THE POCKET ARTS GUIDE

DIRECTORIES Living Portraits 31 Tanjong Pagar Galerie Joaquin 1 Cuscaden Road #01-03 The Regent Hotel Lukisan Art Gallery Singapore 249715 110 Faber Drive T: +65 6725 3113 Singapore 129421 I Muse The Art Gallery Impress Galleries 268 Upper Bukit Timah Rd 1 Kim Seng Promenade #03-09 @ The Old Fire Station #02-07/08 Great World City Singapore 588210 Singapore 237994 T: +65-8388 0044 T: +65 67362966 Indigo Blue Art 33 Neil Road INSTINC 12 Eu Tong Sen Street O iPRECIATION 1 Fullerton Square #01-08 Ode to Art 252 North Bridge Road #01-36E/F Opera Gallery 2 Orchard Turn #03-05 K OVAS Art Gallery 9 Penang Road #02-21 Park Mall Ken Crystals Singapore 238459 133 New Bridge Road T: +65 6337 3932 #01-45 Chinatown Point M Gallery 51 Waterloo Street #03-03B/04 Metakaos 1 Kaki Bukit Road 1 #03-22 Mulan Gallery H 19 Tanglin Road HaKaren 19 Tanglin Road #02-43 #02-33 Tanglin Shopping Centre Heng Artland 290 Orchard Road #04-08 Singapore 247909 T: +65 6738 0810 T: +65 6774 1609 The Gallery of Gnani Arts 1 Cuscaden Road #01-05 The Regent Singapore 249715 T: +65 6725 3112 M FEBRUARY 2011 / 65 .com Li Fine Art 19 Tanglin Road #03-32 Tanglin Shopping Centre R Singapore 247909 ReDot 39 Keppel Road #02-06 T: +65 6235 3306 Red Sea 9 Dempsey Road #01-10 Singapore 238871 Linda Gallery 15 Dempsey Road #01-08 T: +65 6735 0959 Light Editions Gallery 39 Keppel Road #02-02B P Kwan Hua 19 Tanglin Road #02-09 Pop and Contemporary Fine Art 390 Orchard Road L #03-12 Palais Renaissance Larasati Singapore 059413 T: +65 6339 0008 www.

com 33 Auction #03-62 Work Loft @ Chip Bee Singapore 278115 T: +65 6738 2317 ART AUCTIONEERS / DEALERS Soobin Art International 10 Ubi Crescent #04-90/92/93/95 Black Earth Auction Sun Craft 19 Tanglin Road #02-08 367 Joo Chiat Road Singapore 427559 Sunjin Galleries T: +65 6346 3767 43 Jalan Merah Saga U Utterly Art 229A South Bridge Road 2nd Level MUSEUMS V Asian Civilisations Museum Art Plus #01-01 The Luxe 140 Hill Street MICA Building Singapore 229234 #01-10/11/12 T: +65 63376810 Singapore 179369 Your MOTHER gallery 91A Hindoo Road Galerie Sogan & Art 33B Mosque Street # Singapore 059511 2902 Gallery 11 Mount Sophia Block B #B2-09 T: +65 6225 7686 Valentine Willie Fine Art 39 Keppel Road #02-04 Changi Museum 1000 Upper Changi Road North VITRIA 17 Chee Hoon Avenue MAD Museum of Art & Design 333A Orchard Road #03-01 VUE PRIVÉE 20 Cairnhill Road MINT Museum of Toys 26 Seah Street National Museum of Singapore 93 Stamford Road W Peranakan Museum 39 Armenian Street Wetterling Teo Gallery 3 Kim Yam Road Post Museum 107/109 Rowell Road White Canvas Gallery 78 Guan Chuan Street Red Dot Design Museum 28 Maxwell Road RSAF Museum 400 Airport Road Singapore Art Museum 71 Bras Basah Road X SAM at 8Q 8 Queen Street Singapore Coins and Notes Museum Xuanhua Art Gallery 2 Trengganu Street Level 3 70 Bussorah Street Singapore Navy Museum 32 Admiralty Road West Singapore 199483 Singapore Philatelic Museum 23B Coleman Stree T: +65 6392 2556 T Tasa Gallery 89 Short Street Y2ARTS 140 Hill Street Tembusu 140 Hill Street #01-05 #01-02 MICA Building The Gallery of Gnani Arts One Cuscaden Road #01-05 Singapore 179369 The Peach Tree 129 Tanglin Road T: +65 6336 8683 The Tolman Collect 82 Cairnhill Road T: +65 6883 2001 Borobudur The Luxe Art Museum 6 Handy Road #02-01 The Luxe Singapore 229234 Y T: +65 6338 2234 Yang Gallery 19 Tanglin Road #02-41 Masterpiece YAVUZ Fine Art 51 Waterloo Stree #03-01 66 / THE POCKET ARTS GUIDE .y2arts.DIRECTORIES S Yisulang Art Gallery 6 Handy Road S.sbinartplus.soganart.

org All other Art related services +65 91522511 ArtSpace at Royal Plaza Hotel 25 Scotts Road Impress Galleries 429 East Coast Road COMBINART 27 Woodlands Industrial Park E1 #01-08 Singapore 429016 Esplanade 1 Esplanade Drive T: +65 64404533 Emily Hill 11 Upper Wilkie Road The Art Gallery 1 Nanyang Walk The Arts House 1 Old Parliament Lane The Gallery (SMU) 90 Stamford Road The Picturehouse 2 Handy Road The Substation 45 Armenian Street Third Floor – Hermès 541 Orchard Road Victoria Theatre & Concert Hall 11 Empress Place Volvo Art Loft 249 Alexandra Road 72-13/TheatreWorks 72-13 Mohamed Sultan Road FEBRUARY 2011 / 67 . Tanglin Shopping Centre T: +65 6339 1230 Singapore 247909 Benaka Art Conservation Private Ltd Mercedes-Benz Center 64 Taman Warna 301 Alexandra Road Singapore 276386 Singapore 159968 T: +65 9105 4377 / +65 6100 2707 T: +65 6866 1888 www.mercedes-benz. DIRECTORIES ART SERVICES The Private Museum 51 Waterloo Street #02-06 Ray’s Transport & Services Singapore 187969 Artwork Installation & T: +65 67382872 Delivery Services Jalan Bahar Clay Studios 97L Lorong Tawas JENDELA (Visual Arts Space) 1 Esplanade Drive Level 2 La Libreria 50 Kent Ridge Crescent Level 3 CONSERVATION / RESTORATION Little Red Shop www.theprivatemuseum.littleredshop.artsingapore. Fortune Centre 19 Tanglin Road #02-02 Singapore Ngee Ann Cultural Centre 97 Tank Road Night & Day 139 A/C Selegie Road Osage 11B Mount Sophia #01-12 Post-Museum 107+109 Rowell Road Public Art Space (Pan Pacific) 7 Raffles Boulevard Sculpture Square 155 Middle Road Sinema 11B Mount Sophia #B1-12 Singapore Art Society 10 Kampong Eunos Singapore Contemporary Young Artists T: +65 6737 9110 Give Art 65 Spottiswoode Park Road Gnani Arts Space 190 Middle Road Peter’s Frames #02-30/ VENUES / ASSOCIATIONS / GROUPS FRAMERS Alliance Française de Singapour 1 Sarkies Road Ace Framing Gallery 226 River Valley Road Art Retreat (Wu Guanzhong Gallery) Frame Hub Gallery 46A Lorong Mambong 10 Ubi Crescent #01-45/47 ARTSingapore

ketnapatel.Comfort/YellowTop +65 6552 1111 .Transcab +65 6555 3333 Telok Kurau Studios 91 Telok Kurau Lorong J Thian Hock Keng Temple 158 Telok Ayer Street 68 / THE POCKET ARTS GUIDE .com Marina Bay Sands 10 Bayfront Avenue +65 6688 8868 Masjid Sultan Kampong Glam DreamSpace Art Studio Merlion Park Fullerton 艺术创作,专业绘画教育。 Mount Faber +65 6270 8855 19 China Street National Archives of Singapore 1 Canning Rise +65 6332 7909 #03-04/05 Far East Square National Library Singapore 100 Victoria Street +65 6332 3255 Singapore 049561 National Parks Board 1800 471 7300 +65 9168 7785 Night Safari 80 Mandai Lake Road +65 6269 3411 .koehsiayong.DIRECTORIES ART SCHOOLS TOURISTS SPOTS Bhaskar’s Art Academy 19/21 Kerbau Road Armenian Church 60 Hill Street LASALLE 1 McNally Street Battle Box 51 Canning Rise Nanyang Academy of Fine Arts 38/80/151 Bencoolen St Botanic Gardens 1 Cluny Road +65 6471 7361 NTU (School of Snow City 21 Jurong Town Hall Road +65 6560 2306 Sri Mariamman Temple 244 South Bridge Road Sun Yat Sen Nanyang Memorial Hall Koeh Sia Yong 许锡勇 12 Tai Gin Road +65 6256 7377 10 Kampong Eunos Supreme Court 1 Supreme Court Lane +65 6336 0644 Singapore 417774 Sungei Buloh Wetland Reserve 301 Neo Tiew Crescent +65 +65 9671 2940 6794 1401 e: koehsy@singnet.CityCab +65 6552 2222 . Andrew’s Cathedral 11 Saint Andrew’s Road #01-04 Stam ford Arts Centre Science Centre Singapore / Omni Theatre 15 Science Centre Singapore 187962 Road +65 6425 2500 +65 9726 2028 Sentosa 1800 736 8672 Taxis www.hill-ad.yessy. Design & Media) 81 Nanyang Drive Buddha Tooth Relic Temple 288 South Bridge Road NUS Museum 50 Kent Ridge Crescent Bukit Timah Saddle Club 51 Fairways Drive +65 6466 2782 School of the Arts (SOTA) 1 Zubir Said Drive CHIJMES 30 Victoria Street +6336 1818 Sotheby’s Institute of Art 82 Telok Ayer Street Chinatown Heritage Centre 48 Pagoda Street +65 6221 9556 The Republic Cultural Centre 9 Woodlands Avenue 9 Chinese Garden 1 Chinese Garden +65 6261 3632 The Singapore Tyler Print Institute 41 Robertson Quay Crocodilarium 730 East Coast Parkway +65 447 3722 Escape Theme Park 1 Pasir Ris Close +65 6581 9112 Fort Canning Park 51 Canning Rise +65 6332 1302 ARTIST STUDIOS Goethe-Institut Singapur 163 Penang Road #05-01 Johore Battery Cosford Road +65 6546 9897 Barrosa Studio 4 Woking Road #01-02 Jurong Bird Park 2 Jurong Hill +65 6265 0022 Kranji War Memorial 9 Woodlands Road Chieu Sheuy Fook Studio Lim Bo Seng Memorial Esplanade Park Studio 102 Malay Heritage Centre 85 Sultan Gate +65 6391 0450 91 Lorong J Malay Village 39 Geylang Serai +65 6748 4700 Telok Kurau Road Mandai Orchid Garden 200 Mandai Lake Road +65 6269 1036 Singapore 425985 Marina Barrage 8 Marina Gardens Drive +65 6514 5959 +65 96690589 e: Holland Village Singapore Turf Club 1 Turf Club Avenue +65 6879 1000 Singapore 278057 Singapore Zoo 80 Mandai Lake Road +65 6269 3411 +65 6479 3736 SKI360° 1206A East Coast Parkway +65 6442 7318 Parliament House 1 Parliament Place +65 6336 8811 Raffles’ Landing Site North bank of the Singapore River Foundation Oil Painting Reflections at Bukit Chandra 31K Pepys Road +65 6375 2510 (conducted by Mr Wee Shoo Leong) Resorts World Sentosa 39 Artillery Avenue +65 6577 8888 155 Waterloo Street St.Premier +65 732 2516 Marisa Keller 28 Woking Road #03-05 .com SIA Hop-on +65 9457 2896 Singapore Botanic Gardens 1 Cluny Road +65 6471 7361 Geeleinan Art Gallery & Studio 1 Whitchurch Road #02-03 Singapore Cable Car +65 6270 8855 Jeremy Ramsey Fine Art 16 Bukit Pasoh Road Singapore City Gallery 45 Maxwell Road +65 6321 8321 Kelly Reedy .Studio Arts 27 Woking Road #01-01 Singapore Discovery Centre 510 Upper Jurong Road +65 6792 6188 Singapore Expo 1 Expo Drive +65 6403 2160 Ketna Patel 35 Jalan Puteh Jerneh Singapore Flyer 30 Raffles Avenue +65 6734 8829 Chip Bee Gardens.Smart +65 6485 7777 Sealey Brandt Photography Studio .com.Tibs +65 6555 8888 1 Westbourne Road #01-02 .com/koehsiayong www. Valentine Willie Fine Art Art Loft CHAI (Instant Cafe House of Arts and Idea) ZINC Richard Koh Fine Art I/O Input Output Pelita Hati © Elliott Erwitt/MAGNUM Photos Karin Webber Gallery www.matahati. Arts and Horticulture Shalini Ganendra Fine Art RougeArt Islamic Arts Museum www.A Art Gallery Metro Fine Art Art Salon @ Seni Wei-Ling Gallery A2 Gallery galleriiizu @ Shangri-La Hotel Lookiss Galeri Chandan 12 (Art Space Gallery) Y 2 S Art Space Lost Generation Space Annexe Gallery Art Expo Malaysia Pinkguy Gallery MERAH: Mansion for House of Matahati (HOM) Artseni Gallery GALERI PETRONAS Malaysia National Art Gallery Rimbun Dahan FEBRUARY 2011 / 69 .com City Art Gallery DIRECTORIES Touristline 1800 736 2000 Underwater World 80 Siloso Road +65 6275 0030 Universal Studios 8 Sentosa Gateway +65 6577 8888 War Memorial Park Bras Basah Road & Beach Road intersection MALAYSIA ART GUIDE +Wondermilk Art Gallery INTERNATIONAL ART GUIDE Amelia Johnson Gallery Galeri Shah Alam Pace Gallery NN Gallery Art Case Galleries FLO PETERS GALLERY Chilehaus C Pumpen 8 20095 Hamburg.vwfa. Germany +49 40 3037 4686 The Gallery @ Star Hill Art House Gallery www.artgallery.

To learn 70 / THE more about POCKET ARTS GUIDEour Public Murals or to donate please email: info@socialcreatives. Art to the Heart: Heartlanders into Artlanders. Featured on is a registered charity with IPC Status that may provide up to 250% tax-deductibles for donations received. Art for everyone and anyone. We do Community .

FEBRUARY 2011 / 71 .


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