Sunday, September 25, 2011

Block Test 2 (Ng Eng Teng & Han Sai Por)

"Looking Ahead" (1987)


"Growth" (1985)


2a) Describe the subject matter of both works.
The subject matter of Ng Eng Teng's "Looking Ahead" (1987) is the human figure. The torso as well as the forearms are omitted, leaving only the head, the forearms and supposedly the thighs behind. The subject matter has been simplified, as can be seen on the face of the sculpture. By omitting the torso and forearms, viewers place more emphasis and attention on the face and the forearms, but viewers also are more aware of what is missing. In this aspect, Ng seems to have created something out of nothing. The facial expression shows that one is looking far ahead, as the eyes are squinting. There is also a trail protruding out from being the head, supposedly to suggest hair. This hair is sculpted in such a way that it looks like it is blowing in the wind. Also, the position of the arms seem to imply that the figure is trying to hold back the hair, refraining it from blocking its "vision". It gives the viewer the idea that maybe this figure is standing in a wide, windy field, looking far ahead, with the wind blowing in the hair.

The subject matter of Han Sai Por's "Growth" (1985) is abstract. There are no defined details that hint the viewers on its subject matter. It could be droplets of water frozen in time or dollops of cream. But, there is a little clue from the title of the artwork itself. The word 'Growth' suggests that something is growing. The subject matter is simplified and organic. It evokes a sense of organic vitality through how these 5 separate shapes seem to relate to each other and form one complete, whole artwork. This sculpture is absolutely white and polished smooth, and twisted into abstract shapes. The shapes each have a more pointed end on one side, and this seemingly directs the viewers' eyes around the sculpture. Its simplicity, being pure white, gives viewers a sense of tranquility and highlights essentialist beauty.

2b) Discuss similarities and differences that exist in their treatment of forms and use of materials.
Ng Eng Teng's "Looking Ahead" (1987) shows Ng's unique treatment of forms. Unlike Han Sai Por, he takes a full complete human form, dislocates it and omits the parts he does not want. He has simplified it down to what he deems as essential. For example, to him, the eyes and the mouth are the key elements of the face and are necessary in order to express emotions. He does not think much of ears, as he feels that they do not play a significant part in exuding emotions. Hence, the ears are seemingly not present and cannot be seen in this sculpture, only the eyes, the mouth and the nose. Also, after selecting the body parts he wants, he has to rearrange it into the way he wants, which is the way that best conveys the intended emotions. This sculpture, as entitled "Looking Ahead", is to portray a human figure who is looking ahead. Thus, he has given the truncated human body parts a posture which suggests the action of looking ahead.

Ng Eng Teng's "Looking Ahead" uses bronze. Bronze is a malleable and durable metal, making it very lasting. Ng thinks that art should be timeless and able to withstand the test of time. Hence, bronze, being a durable metal, is the ideal material for him to make a timeless, long lasting work of art. The texture and finish of a sculpture is also very important to Ng. In this case, it is rough, unlike Han's "Growth" which is smooth.

Han Sai Por's "Growth" is somewhat similar to Ng's "Looking Ahead" in treatment of forms. They both choose to do their sculptures in an abstract manner. However, Ng is more focused on distorting and omitting to highlight the essentials while Han is more focused on makin the sculpture organic and simple without omission. Han's "Growth" is very simplified, fluid and there are hardly any details that could suggest its subject matter. This is unlike Ng, as his sculpture still has dents and protrusions suggeting eyes, noses and hair. The arrangement of forms in Ng's sculpture is to create a human-like figure while the arrangement of forms in Han's sculpture is seemingly to form a somewhat circular, rounded shape.

As for the materials, Han uses marble instead of bronze, like Ng does. Ng picks material and explores it, and uses it for the qualities he uncovers in it after exploration. However, Han discovers the character of the material through physical context. Through the chiselling and drilling, she will understand the qualities, but she does not try to change it into what it is not. If marble is hard, then it is hard. For "Growth", she uses marble and even polished it. This shows that she understands the hardness and brittleness of marble, and her treatment of material changes with every different type of material she uses. Out of a delicate material like marble, she carved a delicate and sophisticated sculpture of "Growth". This seems to convey what she feels about man's growth being a part of nature.

2c) In your opinion, which work would you choose to be displayed in Nanyang Girls' High School as part of our permanent art collect and where will the chosen work be exhibited? Discuss with consideration given to the artist's background, repertoire of works, approaches to art, etc.

In my opinion, I would choose Han Sai Por's "Growth" to be placed in the grass patch near the main gate in Nanyang Girls' High School. I think, given Han Sai Por's strong believe that human and nature are one, her works often, subconsciously or not, exude her thoughts on that philosophy. This can be seen in her other works such as "Spirit of Nature" (1988), whose tranquil monumentality exudes essentialist beauty. The shapes of the three 'blobs' are also very simplified, organic and abstract. This seems to remind one of nature. Leaves are rather simple in their own irregular, organic shape. Hence, with regard to Han's strong interest in nature, "Growth" should be placed outdoors, in a natural setting like grass.

Apart from Han's philosophy in relation to nature, I personally feel that the organic fluidity and white colour of "Growth" will blend in well on a grass patch. It will not look out of place and will probably even enhance the beauty of the outdoor school environment. The size of "Growth" is also not exceptionally large, and on top of being white, it would not be too attention grabbing. Nature itself is not attention grabbing, it is everywhere and is very common, especially in Singapore. Thus, I think the size of "Growth" is very suitable to display outdoors in the midst of nature.

Other than the above explanation as to why I chose such a location, I think Han's sculpture embodies certain values that make it fit to be in a girl's school. Firstly, the colour white often symbolizes purity, and purity happens to be one of the four values of Nanyang Girls' High school. Next, I think the fluidity of the 'blobs' are very feminine, and really suitable for a girl's school. Lastly, I also think that since Nanyang Girls' High School already has a collection of Han Sai Por's works, adding something different of Han Sai Por will not only brighten up our school compound, but provide a larger variety. The other works that Nanyang has are made of metal, but not made of marble like "Growth". Hence, I choose Han's "Growth" to be part of our permanent art collection in Nanyang Girls' High.

some parts edited to improve my essay~

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