From the 2nd to 16th of March, G13 Gallery presents the drawings of Noor Zahran in a solo show titled “OVERFLOW,” the artist’s symbolic exposé of modern societies that seem hell-bent on crushing themselves through the multi-sensory overload of mass media, self-induced anxiety, addictions to pseudo fame and admiration, crippling parasocial relationships, distorted gratification values, the ominous AI explosion, and the invasion of a morally bankrupt minority of Internet hooligans who seem to have hijacked courteous social interaction, truth, and meaningful discourse over vast swatches of the Internet.
Coupled with this timely content is an artist who is fully immersed in the zeitgeist. Not only does he understand the perils of contemporary information consumption, but he also uses tools and techniques that dominate that same field, thereby ensuring the authenticity of the show's intention. Instead of overt criticism, Zahran leaves the cynicism to others while concentrating on an approachable series that lays out his case without stomping on the viewers’ enjoyment of the work.
Noor Fahran Deceptive Flood, 85x132cm Ink on Paper 2023 (Image courtesy of the artist and G13 gallery)
Over the past decade, we’ve experienced a rapid expansion of technological tools used to aid visual artists in the production and presentation of new forms of intriguing physical art. As one who has similarly straddled the turbulent relationship between traditional analog methods and digital tools over the past two-plus decades in my studio work, I’m naturally attracted to artists like Noor Zahran who not only utilise contemporary tools but also openly promote and explain new techniques that represent the exciting tangential approaches now available to young visual artists despite the determination of some traditionalists to shackle contemporary artists with the aesthetic values and code of bygone eras.
Zahran is ideally placed to prosper in the 21st-century art paradigm. He is formally trained on both sides of the digital dichotomy with extensive studies in analog painting and drawing as well as 3D modelling, cinematography, and digital imaging systems. He uses the impressive sum of this training and related digital tools to compose deeply symbolic, surreal imagery that is simultaneously witty, irreverent, prodding, and persuasive. While some of the works can seem snarky, his messaging is sincere, and they remain easy for many to identify with. A whimsical approach softens the edges of despair and doubt from an otherwise heavy narrative.
Noor Fahran Final Stage, 85x132cm Ink on Paper 2023 (Image courtesy of the artist and G13 gallery)
I’ve been very familiar with Zahran’s ascension in the art world over the past two years that helped lead to this solo show. His work has become ubiquitous throughout Klang Valley after appearing in numerous collectives and competitions.
Most notably, “Final Stage” is a drawing by Zahran that features Pac-Man chasing clocks rather than cookies in the artist's study of the significance of time. This was one of his works that appeared in the prestigious MEAA Awards exhibitionat Linkokwing University in Cyberjaya in 2023 after Zahran was chosen by a panel of luminaries in the local art world as one of Malaysia’s finest emerging artists for the year 2022. OVERFLOW was made possible by his collaboration with the organizers of that competition.
Noor Fahran Not for Sale, 85x132cm Ink on Paper 2023 (Image courtesy of the artist and G13 gallery)
Likewise, “Not for Sale” was chosen as a finalist in the Emerging Artist category for the 2023 UOB Painting of the Year competition. Its inclusion for the award was somewhat puzzling despite being an attractive, thought-provoking piece, given that it is a hybrid drawing, not a painting. By hybrid, I refer to Noor’s process of using digital tools to compose his images, many of which simulate 3D effects as evidenced by his deft control of light reflections and shading that exhibit both his traditional training and mastery of the processing power of computers. A stripped-down skeletal rendition of the main components of the composition appears to be pencil-drawn or printed on paper, followed by the laborious stippling application of thousands of ballpoint pen dots to finish the work. In previous Instagram discussions, the artist has stated that one of his 82x132cm drawings can typically take a month or more to complete. Even for viewers who may not prefer this type of content, respect for his patience is undeniable!
Sometimes you encounter a work of art that is immediately connectable, a piece that resonates so closely to your personal state of mind that you can feel every paper fibre and delicate stroke. Zahran’s “Waiting for Perfection” fostered such a response by reminding me of a song by Canadian Ron Hawkins, the much-revered lead singer and guitarist for the now-defunct alt-rock band, Lowest of the Low.
Noor Fahran Waiting for Perfection, 85x132cm Ink on Paper 2024 (Image courtesy of the artist and G13 gallery)
One of Ron’s ballads includes the following paraphrased words, “…will the days still seem long when the waiting's done? It looks like strength but it smells like fear... like a sad, slow soundtrack on the radio, you show up drunk, and then you disappear because you're waiting on something that's already here.”
The juxtaposition of Zharan’s image and Hawkins’ words dovetail succinctly with the artist’s examination of unfulfilling, unilateral parasocial friendships, naive hope, unreachable goals, and distorted reality.
Visit G13 between the 2nd and 16th to view OVERFLOW. More information is available through the gallery’s website.
All images are courtesy of the artist and G13 Gallery.
David Spriggs is a Mancunian born in 1978 who settled on Vancouver Island after immigrating to Canada. He has solidified his well-deserved position in the worldwide art market with stunning large-scale installations featuring either intricate layers of spray-painted transparent sheets, ink on layered transparent film, engraved transparent panels, or elaborate 3D works using layers of cut aluminum.
Over a decade before Refik Anadol and other computer artists were wowing crowds with their first-generation back-fed displays and room-filling “immersive” projections, David Spriggs was well on his way to honing a different approach to creating monumental three-dimensional works and ethereal presentations to captivate passersby. Rather than envelope the viewer with projected imagery, Spriggs’ multi-layered works maintain their physical space as true art objects and effortlessly draw viewers to them. At exhibitions, you commonly see groups circling the works within inches of the outer surfaces to engage from variable angles while peering up and down to comprehend the unique lighting and hanging methods.
Punchy spray-painted color fields on polyester film, intricate engravings on glass sheets, and machine-carved aluminum sheets all feature technical precision with bold yet soothing emotional strength. The lighting choices combined with reflections from closely layered surfaces seem to pulsate in dimly lighted rooms while testing one’s perception and interpretations of what is real and what is imagined. Since the works are not projected, all elements are tight and sharp.
Shriggs deftly constructs installations that are compatible in a variety of settings, from opulent lobbies of traditional hotels to glimmering contemporary office spaces and homes. Structured encasings used to “hang” the layers serve to protect and maximize the depth and intricacy of the works. One swirling work from Red Gravity was repurposed as cover art and a stage backdrop for a recent tour by UK musician, Peter Gabriel, who chose the work of Spriggs over hundreds of other artists considered for the album cover.
My first exposure to Shriggs’ work was the 4 Colour Separation of 2012 (See banner above). I had assumed that the transparent layers were individually printed digitally on a large format printer; however, each layer was actually spray-painted from the center out, thus rendering the softened edges of color that produced a contemporary simulation of many of the mid-century Rothkos with equal amounts of inexplicable magnetism and ambiguity. I recalled my first visit to the red Rothkos at the Tate Modern in London. Standing a few feet in front of these towering works, the color became meaningless as you let your eyes lose focus, thereby allowing the entire surface to pulsate as elements within the field create an illusion of ebbs and flows. While the cerebral effect is similar, Spriggs’ 4CS took the opposite approach by isolating the 4 separations into distinct display cases, a stark interpretation of elemental roots from which all imagery is formed.
Technology plays a larger role in the intricate compositions and etchings of multi-layered acrylic sheetings from Transparency Report (2014) and Logic of Control (2014). In Aker (2023) and several commissioned works installed throughout Asia, Shriggs uses computer-driven cutting technology to create massive layers of anodized aluminum to make wall sculptures, chandelier-like ceiling installations, and several trademark large-format displays. Rarely do we encounter visual artists who can span the false dichotomy between analog and digital while incorporating contemporary presentations into traditional visions so effortlessly.
Works by David Shriggs are featured in some of the finest corporate and private contemporary collections around the globe. He has exhibited extensively in most regions, with important previous events held throughout the Americas, the United Kingdom, Europe, Japan, Mainland China, Hong Kong, and Australia.
For additional information about the artist and his art, please visit the David Spriggs website at https://davidspriggs.art/
Starting in 2007, JP Paul created several series of mixed-media works on canvas featuring diverse, story-driven messaging that were simultaneously inquisitive, thought-provoking, occasionally disturbing, and regularly misinterpreted. Partial human bodies were reduced to abstract forms and intertwined with other elements and props, including discarded mannequins, plants, flowers, pots, vases, bottles, animals, and sculpture plinths that served multiple purposes beyond their principal representational function. The original series was named “Compromised”, one of several series that comprised most of the independent artist’s output between 2007 and 2015.
Thereafter, the multi-discipline artist explored organic materials and alternative processes in purely abstract paintings and non-representational mark-making studies that featured physical applications rather than overt storylines. Toward the end of this period, a lifelong goal of writing his first novel brought with it a desire to further explore some of the original stories and statements initiated in the first Compromised series.
"Untitled I" from the Challenging Perceptions Series. 2024, Mixed media on canvas, (60 xx 60inches 152 x 152cm)
"Untitled VI" from the Challenging Perceptions Series. 2024, Mixed media on canvas, (60 xx 60 inches 152 x 152cm)
“Challenging Perceptions” brings JP Paul back full circle to previous studies of the forces and effects of variable perception, marginalization, and misinterpretation as they relate to the human struggle to reclaim control of one's life in the face of social and political pressures on freedoms, liberties, the rights of women, minorities, struggling families, displaced war victims, refugees, and asylum seekers. Divisions based on identity surface both contextually and visually, with many of the symbolic abstractions featuring multiple dichotomies in the form of visual chasms and contradictions between beauty and pain, power and fragility, and strength versus submission.
While some may give pause with the latent sexuality in this series, on closer examination —and after twenty years following the artist's growth — the works are celebratory and inquisitive rather than exploitative. The symbolism behind intertwined bodies, vases, and flowers represents lost opportunities, support, and respect rather than the slightest shred of misogyny. According to Paul, many of the human forms are purposely exaggerated as a counterpoint and criticism of ourselves, particularly the male gaze. Other bodies throughout all phases of the series are actually male or androgynous, thereby representing the struggles of all genders and minorities rather than only women.
"Untitled III" from the Challenging Perceptions Series. 2024, Mixed media on canvas, (100 x 60" | 254 x 152cm
"Untitled II" from the Challenging Perceptions Series. 2024, Mixed media on canvas, (60 xx 60inches 152 x 152cm)
According to JP Paul, "In 2007 we were planning yet another transcontinental relocation, this time to the United Kingdom. I never felt that I'd exhausted all avenues with the original Compromised series, but I was without adequate studio space to work on this magnitude of mixed-media work for well over a year. Once we resettled, other priorities dictated the path for the next few years, so I'm thrilled the stars finally aligned and I was finally able to revisit this body of work. I'm also working around the edges with smaller tangential works that relate to the core."
"Untitled IX" from the Challenging Perceptions Series. 2024, Mixed media on canvas, (80 xx 60" 205 x 152cm)
The artist gives himself a wide berth for this series in terms of content messaging as well as his application of diverse materials and techniques. Perhaps this explains the depth and breadth of what promises to be his most consequential collection to date. Better known for series that rarely surpass six to twelve pieces before Paul gets an itch to explore other ideas, "Challenging Perceptions" already includes over thirty works with more full-sized canvas works and drawings on paper to come.
JP Paul has always straddled the line between analog and digital techniques since his early days as a photojournalist when he actively explored alternative processes in both his physical darkroom and the early years of digital imaging. “Challenging Perceptions” epitomizes the artist's desire to harmonize all of the above. His canvasses are hand-primed and layered with combinations of everything from thick acrylic gels and paint to partially erased carbon markings and smudges, watercolor or chemical washes, and thin stain layers to maintain transparency and textural consistency. Some images are partially printed on the artist’s in-house printers while others are spot silkscreened or transferred via gel or acetone, all depending on the specific effects sought. Drawn portions are applied directly with acrylic markers while others are drawn with a large Cintiq tablet before printing. Certain elements, such as some of the flowers, were originally scanned live on a Heidelberg flatbed scanner before being transferred to large canvases. At over five feet by up to eight feet, they are some of JP Paul's largest works to date.
"Untitled IV" from the Challenging Perceptions Series. 2024, Mixed media on canvas, (90 xx 60inches 225 x 152cm)
"Untitled XIII" from the Challenging Perceptions Series. 2024, Mixed media on canvas, (80 xx 60" | 205 x 152cm)
Complex renderings are expertly blended and composed in accordance with Paul's "controlled randomness," a style he utilizes to derive a comfortable combination of precision and spontaneity where elements serve dual roles as content and composition while maintaining a casual, less structured appearance. Most palettes are muted and somber with splashes of bright colors, and the surface textures range from granular to rippled, torn, and distressed, all the product of processes that Paul developed extensively during his pure abstract period between 2016 and 2020.
In many ways, "Challenging Perceptions" serves as a culmination of twenty years of work that embodies JP Paul's abstract, symbolic, and representational phases.
"Untitled XXI" from the Challenging Perceptions Series. 2024, Mixed media on canvas, (90 xx 60inches 225 x 152cm)
"Untitled II" from the Challenging Perceptions Series. 2024, Mixed media on canvas, (60 xx 60inches 152 x 152cm)
"Untitled XXX" from the Challenging Perceptions Series. 2024, Mixed media on canvas, (60 xx 60 inches 152 x 152cm)
For more information regarding the purchase or representation of JP Paul's work in your region, please contact the artist directly by using the contact form.
At ART SG '24 I was pleased to receive a double dose of Malaysian-born, UK-based Mandy El-Sayegh’s collage works in the booths of two heavyweights of the international fair circuit, Lehmann Maupin and Thaddaeus Ropac.
Now in her late thirties, Mandy El Sayegh assumed a worldly approach by default. Half-Malaysian, half-Palestinian, and with a formal education and upbringing almost entirely in the United Kingdom, she has earned considerable attention on the international art scene over the past half-decade with influential exhibitions on several continents. El Sayegh is an artist whose appeal started and will remain global rather than be confined to regional pockets of interest.
In a piece from one of El-Sayegh’s ongoing series, loosely painted mesh-like grids serve to retain and process thoughts into transformed meanings that begin to inform a dynamic narrative. Many of her two-dimensional works aggregate layer upon layer of alternative materials, including latex, rubber, clay, and printed items such maps, books, photo images, diagrams, calligraphy, word cutouts, and magazines, all of which go through further processes that involve alternating points of highlighting and erasure, exposing some, shrouding others, driving several simultaneous references to relate and discuss in different ways as new meanings arise. The artist metaphorically calls her process “suturing”, a medical term for stitching that references both the corporeal base in her work and the act of combining diverse layers into skins despite not using an actual sewing process. In previous interviews, the vulnerability and anxiety in some of El Sayegh's work is exposed with the artist herself referring to her pink, purple, flesh, and blue pastel palette as "bruised tones."1
Mandy El Sayegh "Strike" @ Lehman Maupin booth, Art SG 2024, Singapore (Image/AF)
El-Sayegh’s work is punctuated by pithy comments and statements about politics, historical references, and social issues combined with intriguing visual interrupters that force the viewer to reconsider the context in which these comments are cited. The book is wide open, but the artist slows you down to fully absorb and relate through countless aesthetic decisions, for instance, the use of softer palettes (impressionists), repeated phrases (Basquiat, Stokau), and abrupt single words (Kruger, Baldessari).
While El-Sayegh’s works are deadly serious, they can appear chaotic and anxious. Nevertheless, they refuse to scream at the viewer. Instead, their predominantly muted tones and intricacy draw viewers closer by creating ongoing discourse rather than stifling it. The approach is smart and sophisticated despite surfaces that might at first glance appear hectic or random, neither of which are true on closer examination.
Mandy El Sayegh in Thaddaeus Ropac booth @ Art SG 2024, Singapore (Image/AF)
I've often referred to the allure of controlled chaos or calculated randomness when discussing contemporary works that I admire, dating back to Rauschenberg and some of the German expressionists. El Sayegh has this in spades. Duality of intent and purpose — both visual and contextual — are evident in the processes and results of every layer of these complex pieces.
While the artist is not imposing her will or choices upon anyone, I see Mandy’s thoughtful visual decisions as a useful twofold reminder to certain artists who may not understand why success has not come naturally to their exquisitely crafted pretty pictures, or conversely, to their in-your-face naive snark: First, artists can and often should have strong arguments and statements to share, but they never need to be offensive or condescending in their approach. Second, the art that matters in the present and survives the test of time is usually much more than endless inner-journey kabobbles, desperately needy soul searching, or constant navel-gazing. From El-Sayegh’s first forays into visual art, it’s clear that the artist recognized a role that mattered to her and also resonated across the larger picture. Her explorations, while deeply personal, are also globally relevant and automatically scaled to matter even on the largest of platforms. Indeed, recent forays into large-scale, multi-faceted installations covering every surface of entire rooms affirm to me that she recognizes her talent and her potential role.
Mandy El Sayegh in Lehman Maupin Booth @ Art SG 2024 (Image courtesy of Art SG)
El-Sayegh cleverly employs delicately shifting dichotomies as exterior conditions change. It's easy to assume that the artist would prefer that these works continue to morph and mature with age similar to open-ended works in progress. I get the sense that El-Sayegh has a difficult time letting them leave her studio. Yes, they need to breathe, they need to be free, and there's no message if nobody sees it. But like life, there is always another chapter to add as conditions are affected by new events or new approaches to old issues.
Plenty is suggested but not everything is gifted in El Sayegh's layered surfaces. The works somehow manage to simultaneously appear brazen albeit reserved, thereby offering a push-pull between what we see, what we think we know but don’t, what’s actually happening, and what’s most likely to occur far beyond what we can comfortably fathom without careful consideration of each important element.
In a short period, El Sayegh’s works have already been mentioned alongside some of the great artists who incorporated collage techniques into their oeuvres, artists who, like El Sayegh, were able to create and continue conversations in endless loops by referring not only to their own previous work in new works but also by encompassing endless outside references to enrich shared narratives. Front of mind are Picasso and Man Ray in the early 20th century to Germans like Schwitters, Hoch, and Soltau, late 20th-century American icons Rauschenberg, Kruger, and Baldessari, UK's Hockney and Hamilton, and the recent black cut-outs of Kara Walker. Although wildly dissimilar visually, there is a common thread of story capturing and morphology that runs through these artists.
Mandy El Sayegh in Lehman Maupin Booth @ Art SG 2024, Singapore (Image/AF)
While the artist has recently developed tangents into writing, installations, and performance art that tend to be more singularly focused and trimmed of the collage complexity, they are easily as powerful and more so. Many of them juxtapose seemingly disparate elements into coherent final collections that initially defy the connection between the parts and the whole., the latter being a relationship in which the artist has stated she is profoundly involved. Equally important, most of these questions and concepts have readily identifiable roots in her two-dimensional collage work as El Sayegh continues to expand upon her fast-growing yet coherent and calculated canon of work.
Mandy El Sayegh has built respect and admiration by stitching the line between sociopolitical messaging and the values of aesthetic integrity. She has manifested her multiple identities into a truly global art form that defies human tendencies to pigeonhole art and artists for easier consumption.
The second annual Art SG fair in Singapore came to a close on the 21st of January after hosting over 45,000 art collectors and admirers during the four-day event. A rainy weekend dampened outdoor activities in one of the world’s cleanest, wealthiest, and most walkable cities, thereby keeping even more people indoors where the action inside the Marina Bay Sand Convention Centre sizzled.
The first road bump for Art SG 2024 saw the gallery roster reduced by over 80 galleries compared to 2023, including established international stalwarts like David Zwirmer and Pace Galleries. There were several reasons for the backslide, with gallerists citing geopolitical instability, global inflation, planned expansion in other areas, the softened art market of 2023, and the need to spread fair budgets around in a region that has seen steady growth in the number of quality art fairs to choose from. Nevertheless, 39 new galleries were excited to participate at Art SG for the first time along with around 75 returnees. Quality programs from 11 younger galleries in the Futures series gave the fair plenty of fresh faces, raw energy, and new levels of excitement on the main floors. Several parallel programs including art-related films and timely art talks combined with an eclectic blend of single, dual, and group booths curated by some of the world’s finest galleries.
Of special note was the participation of a large contingent of excellent Singapore-based galleries. Most of the galleries located at the renowned Gillman Barracks art enclave participated in either Art SG, SEA Focus, or both. Included were booths curated by Sundaram Tagore, The Columns, Yavuz, Richard Koh, Fost, OTA, ShanghArt, and Mizuma, Likewise, the Tanjong Pagar Distripark contingent was led by Gajah, Whitestone, and 39+ Art Space. The latter presented works in the Futures program, as did another Singapore gallery, Art Porters. Many also included parallel programming in their home spaces, as did Singapore’s leading museums and art institutions, thus confirming the city as the most important place to be for regional arts-related activity in January.
While complete sales information had not been tabulated at the time of publication, early reports confirmed that Thaddaeus Ropac Gallery successfully placed several highly coveted works, including an Anselm Kiefer for just under USD 1.2 million, as well as pieces by Alex Katz, James Rosenquist, rising star Mandy El-Sayegh, Lee Bul, Oliver Beer, and Miguel Barceló.
White Cube sold works by Tracey Emin, Jessica Rankin, and Darren Almond for a total of close to US$2 million. Local gallery Sundaram Tagore surpassed US$1 million in sales which included works by Hiroshi Senju, Jane Lee, Miya Ando, and Zheng Lu. Many eyes were on Waddington Custot Gallery to see how they would manage several large installations and sculptures on display in their booth and PLATFORM spaces. They placed two sculptures by Barry Flanagan, one of which sold for US$680,000 to a Singapore resident. The dripping paint installation by Ian Davenport that was featured in PLATFORM and almost stepped on by hundreds of visitors sold for US$360,000, while two sculptures by Yves Dana found new homes, including one that sold for US$92,000 to a Singapore-based collector. At the time of writing, I had not heard whether the towering Jean Dubuffet sculpture, reportedly the most expensive in the fair, had received offers at or close to its US$2.4 million asking price.
Jean Dubuffet sculpture "Tour aux récits"@ Waddington Custot (In-situ Image/AF)
Lehmann Maupin sold several works, including a painting by David Salle for US$250,000 to a prominent family collection in Singapore, as well as multiple works by Lee Bul (US$200,000 – US$300,000) and Kim Yun Shin (US$60,000 – US$90,000). Johyun Gallery sold multiple works by Lee Bae for prices in the range of US$50,000 – US$180,000 each and a painting by Park Seo-Bo for US$250,000. Asia Art Center sold works by Li Chen and Ju Ming to private collectors for a total of around US$600,000.
In general, sales of Asian artists were strongest, particularly those from Korea and Japan. Galleries that catered to the wider SE Asia preferences scored much better than the international and experimental works. That said, many of the larger sales were for Western artists.
Marco Kueh "Woven Billboards" at The Back Room KL & PLATFORM, Art SG. (In-situ image courtesy of Sam Chin & Art SG)
The Malaysian Contingent
Speaking of opportunities, the FUTURES program at Art SG featured eleven galleries with less than ten years in the business. Artemis Gallery offered a riveting new media presentation, while two of the most interesting booths hailed from Malaysia. Not only did all of the young galleries present solid programs, they also produced early stars of the show.
Before the event, textile works were poised to dominate several booths and major open spaces, with the grandest of them all being the monumental weaving of Sarawak artist Marcos Kueh @ The Back Room (Kuala Lumpur). Also exhibited by the gallery were two promising mid-career tapestry artists, Guatemalan Antonio Pichillá Quiacaín and Red Hong Yi (Sabah). The gallery was pleased to report the sale of the large woven installation by Kueh for high five figures to a Singapore institution.
Rissim Contemporary Gallery, also of KL, reported a combined twenty sales from its booth and catalog. Paul Nixon Atia exhibited works from his series “Torun Tana?" which explores his relationship with his native Sarawak and Bidayuh heritage. Saiful Razman presented works from “Apartments”, a study of Malaysia's apartment projects from the nineties using a unique blend of medical gauze and rolled tissue paper. One of Razman's works was purchased by a private museum in Kuala Lumpur. (see previous review).
Rissim Contemporary featured works by Paul Nixon Atia (L) and Saiful Razman (R) (Image by Artfronts)
Another popular booth in the FOCUS section was Wei-Ling Gallery (Kuala Lumpur) which featured a captivating display of works by Wong Chee Meng that incorporate augmented reality animation that sprung to life when viewed through a smartphone app.
Wei-Ling Gallery featured the augmented reality paintings of Wong Chee Meng (Image:AF)
Natee Utarit, 330 x 250cm 2020 @ Richard Koh (Image courtesy of the artist and RKFA)
With one of the largest booths in the fair, and with works spilling out into public spaces, Richard Koh Fine Art (Singapore, Bangkok, Kuala Lumpur) exhibited a large collection of works in another successful parallel show. Koh presented carefully selected works in both Art SG and SEA Focus. The image above is a large work by Thai artist Natee Utarit. Others featured at Art SG included Justin Lim, Gordon Cheung, Htein Lin, and Oca Villamiel among a solid roster of eighteen artists. Koh reported that most of the works were sold with prices ranging from US$20,000 to US$180,000.
Oca Villamiel, Book cover washi paper and silk 188x188cm (Courtesy of RKFA & the artist)
Video Courtesy of Art SG
Trends
Tapestries are alive & well As mentioned, tapestries and woven works were widespread, not surprisingly since the history of weaving runs deep in the region’s heritage. Some casual art admirers may not know that centuries ago in both Europe and Asia, tapestries were often the preferred decoration of choice to record history and provide pictorial beauty years before paintings began to dominate. Although not as edgy as some of the alternative materials and methods now employed by contemporary artists, the quality of woven workmanship on display at Art SG was second to none.
W. Kentridge & M. Stephens “Peonies” 2012 Mohair Tapestry 362x368cm Ed.6 @ Goodman (Image/AF)
Technology Continues to Grow Asia has also been a major player in global technology for several decades. Galleries incorporating video presentations into their exhibits were ubiquitous at Art SG and downright dominant in the current exhibitions at S.A.M. @ Tanjong Pagar Distripark.
In all venues, works by artists who rely at least partially on technology or digital imaging in their creative processes were exhibited in a higher percentage of booths this year, including gallery presentations that were not specifically marked as having digital content. (More on this in another article to come).
There were some remarkable works created by computers and then presented using many different finishes and techniques, including imagery mixed into collages, acrylic mounts, layered three-dimensional works, woven slivers of printed materials, tablet drawings, partial and whole digital silk screenprints, augmented reality, screen projections & displays, plus other combinations of analog and digital application.
Ryoji Ikeda, data.gram 13 [cells], 2022, LED display, computer, 71.7 x 41.6 cm (Courtesy TARO NASU )
Evelyn Bencicova and Enes Güç WIP, 2020 Hahnemühle/Dibond 56×100cm, edition 3/6. Courtesy Artemis Gallery
Videos Disappoint Unfortunately, my excitement about the growth in technology content paused at the video presentations, as it has at previous international fairs and exhibitions attended on four continents over the past thirty years. I found most of them to be somewhat underwhelming. Given that I spent the majority of my early adult life in various technology sectors and have supported the increased immersion of technology in contemporary arts since the early 90s, I wouldn't call myself a Luddite. Nevertheless, I call a spade a spade. Most of the videos didn't work for me, with too much of a gamey feel on one end and pseudo-intellectualism on the other. Besides, kaleidoscopes are very 90s.
Scale and ambiental integration do matter with the type of work entailed. In this case, I found most of the video presentations to be decidedly run-of-the-mill especially considering the normal levels of heightened excitement around this art form in recent years.
For what it’s worth, the finest installation of augmented reality video currently in Singapore can be seen at the Changi Airport where rushing water appears to have crashed through the ceiling and is flooding the airport. It truly is magnificently rendered.
Sidenote: I’d like to include a shout-out to several excellent cinematographic and digital video presentations at SAM at Tanjong Pagar Distripark. The spacious dark rooms with appropriately subtle music and quality videos were engaging and informative. Particularly powerful was the “Proof of Personhood” exhibit where all three presentations were both visually stellar and socially poignant, presenting topics about being human in the 21st century, the value of arts, the dangers of AI in media, and the pitfalls of being a woman in the rat nest known as social media. Well done, SAM.
Details of several works featuring wild textures and treatments at Art SG. Recognize any? (Image/AF)
Texture on Texture I’m not sure to what extent the stunning growth of AI image generators, robots, and large-format 3D printers is disrupting the fine art market at this stage, but it seems like artists have already taken notice and continue to ramp up their games when it comes to both three-dimensional sculptures and two-dimensional artworks.
Sculptures are getting more elaborate, and even if they're not more intricate, the range and quality of finishes now being produced are certainly improving each year. Installations are including more and more elements, thus making them difficult to copy by AI imitators. Are these reactions to technology or just the normal course of artists transitioning in their search for unique approaches? Hard to conclude, but I know numerous artists who openly mention that they have modified their workflows and the sophistication of their output to stay one step ahead of the copiers.
The big change, however, is in the tacticity of 2D wall works. Gel mediums, powders, and sand used to thicken paint seem almost provincial today, with artists employing everything from plastic, wax, foam, tubes, burned paper, fabrics, gum, concrete, chemical compounds, and other industrial materials to help their thick and chewy paintings literally spring from the wall. I can easily envision squirrels setting up homes on cold winter nights somewhere in the crevices and negative spaces of these works, and I mean that in a good way.
As one who loves alternative materials/processes and is known to dabble in them myself, I say bring it on. Making physical attributes both the content and the story is an artistic challenge well worth continuing for another hundred years. Some of this is not new, of course. The contemporary art market has long been desensitized to unusual materials being used in art creation, with everything from toilets, urine, cow dung, stones, viles of aids-infected blood, books, and bananas taking center stage at one point or another over the past century.
But the scrunchy, puzzled faces of viewers can now be reserved for the works of artists incorporating myriad artistic styles and techniques using materials that we’ve never even heard of, including overproof rum, crushed coconut, currency, ramie vegetable fiber, bean emulsion, methacrylate, medical gauze, pure micronized silver, and second-hand cash register drawers. Disclaimer: I was forced to go to Wikipedia to educate myself about a few of these.
Jung Jong Mee "Song of Fisherman" 62x130cm Ramie vegetable fiber, bean emulsion, Pigment Dyes @ Columns (Image/AF)
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As for other trends, the current adoration for bright cartoon-like paintings, anime, manga, superhero comics, and kitschy content in all sizes, shapes, and materials continue for another year, as do softer pastels, bird and flower motifs. Exquisite ink works on paper were featured in numerous styles and genres. Art SG clearly knows this market and succeeded in compiling a roster of galleries that offer something to assuage the region’s collective tastes.
Comparing year over year, it seems that the NFT art-making imposters are finally all but dead and buried, and not a minute too soon. Hardly worth an afterthought at this stage.
There were also very few overtly controversial artworks, again not surprising as regional fairs tend to feature more quiet luxury and stealth wealth than shock and disturbance. As for polemic work related to anything about the ongoing wars, sovereignty claims, minority identities, or other forms of political strife, these were all largely dormant except in an occasional work with historical context. Identity seeking and cultural disruption are still central for artists in relatively young post-colonial nations, therefore it’s not surprising that some are still sifting through questions of personal purpose, faith, and future rather than tackling the broader global issues. Their days will come for that lofty task.
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Art SG CO-founder Magnus Renfrew and Fair Director Shuyin Yang (Courtesy of Art SG)
Continuing from last year’s event, beyond the art itself, I sought the answer to one simple question: where and how do Art SG organizers position themselves among the more established international fairs through SE Asia and Asia? Could they compete with Hong Kong Basel and Frieze Seoul, or would strong positioning as one of the best fairs of the next tier suffice?
Just twelve months ago, many were content that the show was actually taking place at all after several delays. Buoyed by a post-pandemic surge where pent-up buying power helped art markets recover in 2022, the initial Art SG in January 2023 surpassed expectations with over 160 participating galleries hoping to prosper from this demand, albeit in a relatively unknown market for some. Sales results were mixed, but the general consensus was that Art SG 2023 provided a solid platform from which to grow in subsequent seasons even if all of the original participants couldn’t commit to exhibiting at Art SG or any other regional fair consistently on an annual basis.
If organizers seemed quietly optimistic last year, the messaging from Day One this year was more bullish despite the size reduction to 114 galleries, with co-founder Magnus Renfrew, fair director Shuyin Yang, and UBS representative Jin Yee Young all confident in their assertions that Singapore and Art SG are serious about positioning themselves as the leading SE Asian art market. Factors aligned with their assessments include Singapore’s incoming wealth migration, local residency of a significant percentage of the region’s ultra-high-net-worth individuals, proximity to all important countries of the region (i.e.; Australia, Hong Kong, Mainland China, Taiwan, Indonesia, Malaysia, the Philippines, Vietnam, and South Korea,) plus Singapore’s stability, safety, financial backbone, and commitments from both private and public sectors to continue to invest heavily in the arts.
Off the record, there were murmurs that some galleries who chose not to return this year cited a potential disconnect between the large quantity of deep-pocketed individuals residing in Singapore and a lack of “art sophistication” compared to collector bases in other major Asian markets, most notably Hong Kong and Seoul. Simply stated, the fear was that although there was more than enough buying power to make Art SG and Singapore major players in the international art sphere, the feeling of some was that many of those who controlled that wealth were, and I quote, “still spending their disposable income on other luxuries, including fast cars, fancy condos, and other types of investments.” Additionally, young Singaporean collectors were among the leaders who were burned in the NFT charge, with the subsequent crypto/NFT collapse cooling their plans to branch out further into the physical visual arts as a viable asset class.
I spoke with many art professionals throughout Singapore who were confident that this will change with additional programming to lure more individuals into the joys of visual art collecting that can also serve as an excellent long-term investment strategy and a hedge against volatile stock and money markets.
In summary, Art SG is a first-class international art fair with a bright future. While not without the occasional sophomore hiccup, the event inspired hope for the long-term success and vitality of Singapore as SE Asia's leading contemporary art community.
Noor Fahran Final Stage, 85x132cm Ink on Paper 2023 (Image courtesy of the artist and G13 gallery)
Noor Fahran Not for Sale, 85x132cm Ink on Paper 2023 (Image courtesy of the artist and G13 gallery)
Noor Fahran Waiting for Perfection, 85x132cm Ink on Paper 2024 (Image courtesy of the artist and G13 gallery)
