Chen Wen Hsi was greatly influenced by European painting concept. The paintings of Storks and Herons illustrate movement of the brush such that the image of the subject matter becomes an abstract. |
 Chen Wen Hsi (1906-1992) Herons ink and pigments on paper 140 x 70 cm w |
 Chen Wen Hsi (1906-1992) Storks ink and pigments on paper, 50 x 59 cm |
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Wu
Guan Zhong’s excellent brush work on his lotus leaves is a transformation
from calligraphy into art. To add depth and dimension Wu introduced
splashes of colour as background.
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 Wu Guan Zhong (China, b. 1919) Lotus Pond, 1997 Ink on paper, 143 x 369 cm |
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Tan
Swie Hian’s expressive brush shows vigor and vitality so with
powerful strokes what better than to capture the spirit of Tagore, a
poet and a romantic.
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Tan Swie Hian (Singapore, b. 1943) Portrait of Tagore 1996 Chinese ink on paper 138 x 69 cm |
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Tan
Teo Kwang used the classic splashing ink technique to express boldness
and tension in his painting. The splashes and colours challenge each
other, touching and yet not touching.
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 Tan Teo Kwang (Singapore, b. 1941) Contentment, 1999 ink and pigments on paper 83 x 56 cm |
| Kanya Chareonsupkul is a Thai artist and a senior lecturer at the Silpakorn University in Bangkok. She uses ink and brush to spontaneously express the image of fruits. Kanya is a master printer and her favourite medium is lithography, a technique which lends itself to brush work . |
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| Tang
Da Wu’s work was recently shown at SMU gallery in a group exhibition
and also at his solo show at Valentine Willie Fine Art in Kuala Lumpur. He uses the wet on wet method to blur images. |
 Tang Da Wu (Singapore, b. 1943) Heroes, Islanders (installation), 2005 |
| Chua Ek Kay’s work came into prominence after he won the UOB Painting of the Year in 1991 with his mastery in ink and brush work of Chinatown and lotus |
 Chua Ek Kay (China/Singapore, b. 1947) North Canal Road with Two Vans, 1998 |
| Chua
Ek Kay soon moved onto exploring what his brush can do, such as the
flying white created by rubbing the heel of the brush on paper resulting
in greater depth and dimension. His most challenging work is in the abstract where the image is sheer movement. |
 Chua Ek Kay (China/Singapore, b. 1947) Light in the Jungle, 1999 ink and pigments on paper, 78 x 60 cm |
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