Our Artists

Lim Choon Jin 林俊能

b. 1945

Recognised as one of Singapore’s top contemporary ink landscape painters, Lim Choon Jin explores the wavering transitions between realities and mindscapes within his imagined landscapes. Unexpected and unimagined to be created through the utilisation of traditional Chinese ink, pigments and paper mediums, Lim’s signature visual phenomenal effects in his artworks are unsurpassed and revolutionary – contemporising the simplicity of landscape paintings through deconstruction, reconstruction and interpretation.

Ng Yak Whee 黄意会

b. 1954

Bold and passionate is the signature of Ng Yak Whee’s autographical artworks throughout his decades of artistic practice. Infused with his dreams, memories and reflections, the constant dynamism in his abstract artworks projects artistic energy that is enlivening, exhilarating and intoxicating.

Lloyd Zhao 赵宏

b. 1967

The juxtaposition of text with images can often embed hidden meanings and contexts for differing interpretations. Lloyd Zhao’s signature artistic and visual hooks found within his New Literati artworks explore and represent his thoughts and observations of life and objects around him in Singapore.

Tang Kok Soo 陈国士

b. 1975

The interpretation and presentation of the subliminal aspects of colours and forms are the basis of emerging artist Tang Kok Soo’s artistic philosophy. These intangible qualities not only bind forms together but allow connections and interactions within the subjects of his artworks – challenging viewers to contemplate the aesthetics of the intangible.

Arie Smit

b. 1916 – 2016

Inspired and influenced by Neo-Impressionist Paul Signac, Post-Impressionists Paul Gaugin and Paul Cézanne, Arie Smit travelled extensively within Indonesia to capture its villages, terraces, trees and temples with his signature brightly-coloured palette. Aire would eventually base himself in Bali; where he would receive the Dharma Kusama (Flower of Devotion) cultural award from the Balinese government in 1992.

Arie Smit is also considered the father of the “Young Artist” style of painting in Indonesia, with 300—400 followers at its peak.

Chen Wen Hsi 陈文希

b. 1906 – 1991

As part of the pioneering generation of Singaporean artists, Chen Wen Hsi’s unique synthesis of Chinese and Western visual styles contributed significantly to the formation of the Nanyang art style in Singapore. Chen’s progressive Chinese ink paintings (notably that of animals and birds) and his geometric-influenced artworks continue to gather attention even today.

Choo Keng Kwang 蔡清坤

b. 1931 – 2019

A pioneer of the Singapore arts community, Choo Keng Kwang is celebrated for his oil paintings of Chinatown, doves and many other subjects. Choo was also a respected community pillar with his extensive contributions to Singapore regarding art education and philanthropy.

Foo Chee San 符致珊

b. 1928 – 2017

Known for his Chinese ink paintings, oil paintings and woodblock prints centred on the themes of Nanyang, Foo Chee San depicted scenes of village life in Singapore, Malaysia and other parts of Southeast Asia in the face of rapid urban development. Foo was also a genuine art educator that dedicated his life to teaching until his retirement at the age of 84.

Gog Sing Hooi 吴承惠

b. 1933 – 1994

Another stalwart of the pioneering generation of Singaporean artists, Gog Sing Hooi’s signature watercolour paintings are luminous and vivid in painterly execution. Gog persistently sought the development of watercolourists in Singapore; his efforts eventually culminated with the co-founding of the Singapore Watercolour Society in 1969, in which he consistently served as a member of its committee.

Lee Hock Moh 李福茂

b. 1947

As a second-generation Singaporean artist and Cultural Medallion winner, Lee Hock Moh specialises in the gongbi style of Chinese ink painting in landscape, flora and fauna, and especially of orchids. Lee’s signature gongbi orchids are often depicted with vibrant blooms with minute details gleaned from his years of observing and studying them while growing orchids in his garden – extruding elegance and natural familiarity in his artworks.

Low Kim Chit 刘金桔

b. 1966

Low Kim Chit is an exemplary artist who is masterfully versatile in various mediums and techniques. From realist oil paintings to abstract mixed media paintings, Low can express his creativity and familiarity with various artistic concepts and philosophies in his expansive portfolio of artworks.

Phua Cheng Phue 潘正培

b. 1934 – 2004

Under the tutorship of pioneering Singaporean artist Cheong Soo Pieng, Phua Cheng Phue’s artworks centre on Southeast Asian people, localities and cultural icons as observed in his travels with his tutor and other pioneering Singaporean artists. Phua’s approachable take on the scenes of Nanyang shows a sensitive and gentle perspective of the artist himself. His approach allows the audience to enjoy an understated yet elegant interpretation of the colours of Nanyang.

Qi Hong 戚弘

b. 1963

With a mastery of various oil, Chinese ink and mural painting techniques, Qi Hong is a painter who specialises in painting horses and flowers with exuberant energy and colours. With bold strokes and abstracted forms, Qi is able to render the physical strength and quickness in the muscles of his horses, and the freshness and vitality of his flowers; and to seek the viewer’s understanding of the effusive energy of his artistic style.

Tan Choh Tee 陈楚智

b. 1942

Tan Choh Tee is a celebrated second-generation Singaporean artist whose realist-impressionistic artworks garnered him a Cultural Medallion award in 2006. A tireless plein-air painter, Tan seeks to capture the fleeting light and colours seen in nature, rural and landscape scenes.

Tan Tee Chie 陈世集

b. 1928 - 2011

While recognised as an accomplished Chinese calligrapher, seal-carver and painter, Tan Tee Chie was a crucial figure in Singapore’s woodcut movement during the 1950s to 1960s. Tan’s woodcut prints were striking and unabashedly truthful in depicting the realities of society and its people. Tan’s social realist messaging is also easily carried into his oil paintings – his bold and provocative artworks challenge audiences to examine themselves and their surroundings even today.

Tay Bak Koi 郑木奎

b. 1939 - 2003

Perhaps one of the most representative members of the second-generation Singaporean artists, Tay Bak Koi’s usage of bright colours, textural details and surfaces, distortions and reductions in his abstractions of rural and urban realities is distinctive and unique. A constant motif is a stylised but reductivist buffalo with its bulked body, elegantly curved horns and tiny legs – a vivid symbol of Tay’s childhood memories of buffalo herds in Potong Pasir.

Tay Chee Toh 郑志道

b. 1941

Tay Chee Toh is a second-generation Singaporean artist who is known for pursuing his creative vision through different directions of expression and mediums. Tay’s early stylisation of Dayak women merged elongated lines of the human figure with abstract textures and batik motifs derived from textiles and accessories worn by the Dayaks. Tay then ventured through an era of geometric abstraction and the surreal in both 2D and 3D artworks, from which he would later return to the fusion of fractural lines and organic folds in his figurative artworks.

Yeo Siak Goon 杨昔银

b. 1957

Uniquely ambiguous and unfinished, Yeo Siak Goon’s signature visual style deliberates the transitions of connections between everyday subjects and objects, people, environments and even cultural artefacts. Yeo’s visual style is colourfully vibrant and impactful, with negative spaces as transitions, allowing audiences to appreciate and reflect on the many perspectives offered by the artist.

Joung Sang-Gi 정상기 郑相起

b. -

Based on Jeju Island, Joung Sang-Gi captures the essence of hope and love in adversity in his photographic artworks. Joung’s signature photographic series, Mt Halla’s Red Mistletoe, depicts the Viscum album f. rubroauranticum (Makino) Ohwi (known as Red Mistletoe) thriving in the bitter and stark winters of Jeju’s Mt Halla.

Joung Sang-Gi once described that the sticky and edible red mistletoe fruits are often the means of survival for native birds, which would then defecate the seeds onto forlorn and pockmarked branches and trunks of trees on Mt Halla. Nourished by the birds’ faeces, the seeds would germinate and begin to draw nutrients from the trees. This semi-parasitic arrangement would inspire Joung to focus entirely on the series called Mt Halla’s Red Mistletoe.

In Mt Halla’s Red Mistletoe series, Joung Sang-Gi sees them as mirrors of the lives of Jeju people living on a barren island with little arable land. Seemingly parallel to monochromatic ink paintings adorned by bright red dots, Joung’s photographic prints are simple in their telling of life in adversity through a simplistic colour palette of black, white and red.

Joung Sang-Gi’s career as an artist-photographer and photojournalist has seen him engaged as the Director of Jeju Island Reporting Headquarters (Asia News Service), Director of Jeju Island Report for Local Autonomy TV, and corporate writer for several tourism companies. Joung has also held six solo exhibitions, with his most recent 2021 exhibition Sharing and Coexistence, at Kim Man-duk Memorial Hall (Jeju).

Joung Sang-Gi’s photographic artworks are in the collection of the Jeju Special Self-Governing Provincial Office, Jeju Special Self-Governing Provincial Council, Consulate General of Japan in Jeju, A+ Asset Group Headquarters, Fly Gangwon Co. Ltd, and other corporate, celebrities and private collectors.

Kim Wa-Gon

b. -

Surrealist Kim Wa-Gon’s series Nature seen through a Vision highlights the focal medium of water in his dream-like surrealist environments in his paintings. The water droplet serves as an artistic and philosophical intervention to demarcate and focus on the essential components of our lives. Kim reminds us that while life is often confusing and perhaps demanding, we must focus on the vision compatible with our ideals and realities. Additionally, Kim Wa-Gon points out the water droplet may not always be clear water; it can be full of suspended particulates – which drives home further the point that the watery focus is the reality of circumstance and perception. Therefore, Kim’s paintings impel audiences to keep preciousness as preciousness.

Kim Wa-Gon was awarded the Excellence Prize (1990) and the Special Selection prize (1989 and 1991) at the Korea National Art Competition. Kim has also held 27 solo exhibitions and has participated in over 500 invitational exhibitions. Kim’s artistic visibility has placed him in the Who’s Who in Korea, compiled by Samsung Publishing Co. Ltd.

Kim Wa-Gon’s artworks are represented in the collections of prominent corporate and private collectors and institutions such as the Gyeonggi Museum of Modern Art, Seoul Museum of Art, National Museum of Modern and Contemporary Art, Art Bank, Gyeonggi Cultural Foundation, Samsung Group and many more.

Lee Byung-Hun

b. -

Additional information is forthcoming.

Lee Young-Hee

b. 1949

Focusing on the symbolism of the endless horizon and rutted rural roads, Lee Young-Hee sees time as a current awareness of the past and the anticipation of the future (perhaps similar to Martin Heidegger’s perspective on time). The gentle folk, often depicted in Lee’s realist artworks, looking or walking towards the horizon reinforces a sense of hopeful anticipation while reminding us that the journey towards that horizon is a metaphor for life.

In terms of Lee Young-Hee’s accolades, he won a prize from the Mok Woo Hwe Fine Art Contest (National Museum of Modern Art, Seoul) in 1973, the top prize from the 12th Mok Woo Hwe Fine Art Contest (National Museum of Modern Art, Seoul) in 1975, the Special Prize from the Korean Artists Association Contest (National Museum of Modern Art, Seoul) in 1978 and the Bronze prize from Le Salon des Medaille in 2018. In Lee’s long-established artistic career, he has actively participated in exhibitions with more than 20 solo exhibitions and more than 27 international and group exhibitions.

Lee Young-Hee’s artworks are in the collection of the Korea Development Bank, Industrial Bank of Korea, Bank of Korea, Savina Museum, Goyang Branch of Uijeoungbu District Prosecutor’s Office, Haetae Crown Bakery, Hyundai Art Centre of Hyundai Heavy Industries (Ulsan), National Assembly Building, Art Bank of the National Museum of Contemporary Art, and many private and corporate collectors.

Seol Kyung-Chul

b. 1956

The synthesis of hyper-realism with objective reality is the opus of Seol Kyung-Chul. Seol adopts hyper-realism painting as a human technique to challenge the reality of photographic and print technology while considering the symbolism of objects and even the material as part of his creative process. In Seol’s vision of contemporary art, he seeks to highlight the potentiality of the material aspect of artistic research and implementation.

Here, Seol Kyung-Chul contests the perception of waste materials in art (i.e. junk art) by heralding the adoption of waste materials as contemporary mediums for artistic creativity. Suppose paper mediums were used as a communication medium (and ultimately utilised for the arts). In that case, Seol sees computer hardware parts (used as part of a computer-aided communication medium) as a replacement for paper in our current advanced technological era.

Seol Kyung-Chul’s decades-long dedication to the arts saw him winning the Han Kuk Daily Contemporary Art Competition prize (National Art Museum) in 1980, the Special Prize from the 4th Jung Ang Contemporary Art Competition (National Art Museum) in 1981, the Special Prize from the 10th Korea Grand Art Competition (National Art Museum) in 1991, the Bronze Medal from the 21st Gu Sang Jeon Grand Art Competition in 1992, and the Grand-Prix prize from the 30th Mok Woo Hwe Grand Art Competition (National Art Museum) in 1993. Seol has also participated in more than eight solo exhibitions and many international and group exhibitions.

Beyond his activities and awards as an artist, Seol Kyung-Chul is a leading figure in the Korean artistic community with his extensive contributions as Vice Chairman of the Korea Fine Art Association (2004—2007), Judge of the Korea National Grand Art Competition (2007), and as Director of International Art Exchange for Korea Educational Art Academic Association (2007—2012). Seol currently serves as a Professor of the Fine Art Department at Kosin University (2000—current), Vice President of the Seoul Fine Art Association, Vice President of the Kukga Bo Hoon Fine Art Association, and Director of the KAMA Young Nam.

Ang Ah Tee 洪亚弟

b. 1943

Cultural Medallion winner Ang Ah Tee is well-known for his striking semi-abstract landscapes and city landmarks from Singapore and around the world. Ang’s mastery of acrylic, his preferred medium, has produced artworks that straddle the technical effects of oils and watercolours – striking and bold for the former, gentle and luminous for the latter.

Chen Chong Swee 陈宗瑞

b. 1910 – 1985

As one of Singapore’s pioneering generation of artists, Chen Chong Swee was a realist painter, influential art educator and writer that believed in the representation of reality as a matter of relevance to the audience. Alongside his peers Chen Wen Hsi, Cheong Soo Pieng and Liu Kang, Chen Chong Swee fundamentally influenced the aesthetics found in the Nanyang style of painting in Singapore. Chen also wrote extensively to expand the discourse of the arts in Singapore and served on the committees of many art societies and institutions in Singapore.

Cheong Soo Pieng 钟泗宾

b. 1917 – 1983

Deeply influenced by European Modern and Chinese art styles, Cheong Soo Pieng was a leading pioneer and founder of Singapore’s Nanyang style movement (along with his peers Chen Chong Swee, Chen Wen Hsi and Liu Kang). Cheong’s distinctive abstract visual style comprises a vibrant colour palette (reminiscent of colours found in Southeast Asian societies), Cubist and Fauvist influences, and bold outlines that emphasise the pictorial planes of his subject.

Chua Cheng Koon 蔡清坤

b. 1961

The daily lives and interactions of the Malaysian community in idyllic environments are a central theme in Chua Cheng Koon’s spirited and vibrant artworks. The effusive colours and joy of village life in Malaysia are heightened through Chua’s artistic depiction and are cast as vivid memory artefacts for your appreciation.

Koh Mun Hong 许梦丰

b. 1952

Specialising in the gongbi (fine brush) style of Chinese ink painting, Cultural Medallion winner Koh Mun Hong is a critically acclaimed self-taught Chinese literati artist who has remained humbly dedicated to his art. Influenced by the aesthetics of the Song dynasty, Koh’s naturalist paintings of plants, flowers and birds are poetically and realistically rendered in gongbi style. Koh’s unique mastery of gongbi and xieyi painting styles allows him to integrate both styles as he paints freely.

Lim Cheng Hoe 林清河

b. 1912 – 1979

A pioneering watercolourist and one of the founders of the well-established Singapore Watercolour Society, Lim Cheng Hoe received his education at Raffles Institution and was mentored by Richard Walker (the first Art Inspector of Schools in Singapore). Lim’s expressive paintings of people, landscapes and cityscapes are vibrant in colour and rendered through various brushstroke techniques – all painted with his perfectionist attitude towards accuracy and observation.

Ling Yang Chang 林仰章

b. 1963

Ling Yang Chang is a forward-thinking contemporary Chinese ink artist who relooks and redefines traditional subjects and concepts with Western art influences. Ling’s bold and vibrant colour palette is not just a signature of his artistic expression but also a rethinking of traditional Chinese colour usage for objects and materials. Ling’s artworks often cast the viewer as an observer – allowing the viewer to reflect and expand upon the artworks beyond their visual presentation.

Liu Kang 刘抗

b. 1911 – 2004

Liu Kang is perhaps one of the most prominent members of the pioneering generation of Singaporean artists who left a legacy of masterful artworks that contributed to developing the Nanyang style in Southeast Asia. Liu was also a key figure in several art societies, such as the Singapore Art Society and the Society of Chinese Artists. Inspired by post-Impressionists such as Paul Cézanne, Paul Gaugin and Vincent Van Gogh, Liu Kang’s figurative paintings of Southeast Asian societies and their people tell a tale of an artist and his subjects. Liu Kang is also well known for his 1946 illustrations of war scenes in Chop Suey – an account of situations he witnessed during the Japanese Occupation.

Wu Ee Lung 吴怡龙

b. 1952

Mastering not only his father’s, Wu Tsai Yen (1911 – 2001), finger painting techniques, Wu Ee Lung has since developed his unique style and flair in this unique painting space. Bolstered by his dexterity achieved as a violin teacher by training in his younger days, Wu’s delicate rendering of traditional Chinese ink subjects is vibrant, lively and even subtle at times.

Yeo Hoe Koon 杨可均

b. 1935

Yeo Hoe Koon’s abstract and semi-abstract landscape and still-life artworks are, rendered through dynamic and practised brushwork and palette-knife sculpting, which are effervescent and emotional to partake in visually.

And many others...

Artwork images may not be indicative of their true colours and may have glass reflections due to framing.
Visitors are welcome to visit our gallery in person to view the artworks on display.

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