Style and Concept of Contemporary Southeast Asian Art
a lecture by Marjorie Chu @ Singapore Art Museum, 11 March 2006



Georgette Chen was a much loved artist because of the romance that surrounded her life. Her legacy to later generations is the importance of breathing life into still life paintings, that is, to put the artist’s personality into an arrangement of objects.

Georgette Chen’s concept of colour invoke the mood of Asia in its festivity. There might be traces of European art influence but primarily Chen’s still life reveals a mood that the artist wished to convey.	Georgette Chen (Singapore, 1907-1992) Still Life: Moon Festival Table, c.1965-68
Georgette Chen (Singapore, 1907-1992) Tropical Fruits, 1969
Quek Wee Chew’s still life is influenced by Cheong Soo Pieng’s landscape. Quek’s vase and vegetation were painted as if suspended, with no relation to the background. Quek applies colours onto canvas using a brush in the Chinese technique.	Quek Wee Chew (Singapore, b. 1978) Still Life, 2000 oil on canvas, 96 x 70 cm
Ang Kiu Kok translated all subjects in his paintings into geometric shapes. Ang used the angular shapes as landmarks in order to to put structure to his objects. He liked vibrant colours but in earlier paintings the colours were veiled by browns and creams.	Ang Kiu Kok (Philippines, 1931-2005) Yellow Table with Blue Bowl, 2001 oil on canvas, 61 x 81 cm
Wee Shoo Leong’s paintings are silent yet full of life almost as if any moment the objects will move or roll over. Wee never pre-arranges his objects for his paintings. He stores them in his mind as artistic vocabulary and brings them out when his work calls for them.	Wee Shoo Leong (Singapore, b. 1958) Young Leaves, 2007 oil on canvas, 91 x 76 cm
Wee Shoo Leong (Singapore, b. 1958) Cage from Lombok, 2000 oil on canvas, 41 x 61 cm
Soh Chee Hui emphasises tradition in his still life, every item is flawless and scholarly.	Soh Chee Hui (Singapore, b. 1967) Scholar’s Studio, 1993 watercolour on paper, 87 x 65 cm
Natee Utarit’s still lifes are moody, he is not concerned with accuracy or likeness. The colour and silence in his works are melancholy.	Natee Utarit (Thailand, b. 1970) Dha La 3, 2004
Rudi Mantovani shows us that he is a great draughtsman and he is able to present the likeness of any object he sets his mind to paint. Added to this talent is his whimsical imagination.	Rudi Mantofani (Indonesia, b. 1973) Pohon Apel, 2004
Ceramic is a tradition used in Asia for 5000 years both for sculptural and functional items. Asian artists are accustomed to this technique more so than stone or metal, which are usually more expensive.
Ng Eng Teng used ciment fondu for his sculpture in order to save cost. This material can be treated with a patina to give the effect of bronze	Ng Eng Teng (Singapore) Mother and Child, 1974 ciment fondu, 40 x 85 x 20 cm
Jason Lim likes the subtlety of fine porcelain and at the same time the strength.	Jason Lim (Singapore, b. 1978) Swimming with Sweaty Palms, 2005 ceramic

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