Online Viewing : 18 May - 30 jun 2020 A Showcase of Year 3 & 4 … · 2020-05-21 · BY Rebecca Koh...

Yr4 Ceramics Yr4 Painting Yr4 Sculpture Yr4 Printmaking Yr4 Digital Imaging Yr4 Chongqing AEPYr3 DesignYr3 DCD Yr3 Digital Imaging Yr4 DesignYr3/4 Arts +

EXHIBITION E-CATALOGUEA Showcase of Year 3 & 4 Students’ works

Online Viewing : 18 May - 30 jun 2020

Sota 3quarters 2020 exhibition catalogue is published by sota© 2020 school of the arts, singapore (SOTA) All rights reserved

No part of this publication may be reproduced or used in any form, without written consent from sota


“3Quarters" is a yearly showcase that

displays the multi-disciplinary talents

of SOTA’s Year 3 and 4 Visual Arts

students in a variety of media such as

drawing, painting, design, ceramics,

media arts and sculpture.

ABOUT 3quarters exhibition

02


To our Visual Arts students,

Each year, the 3QU4RTERS showcase is a significant milestone for our Visual Arts students as they celebrate crossing the halfway mark of their journey at SOTA.

Yet this year’s 3QU4RTERS is not like any we have had in SOTA’s 12-year history, and for the first time we are showcasing your Year 3 and 4 works virtually instead of in the SOTA Gallery.

Looking Through the catalogue, many of the works showcased this year seem to take on a deeper resonance with the times, and inspire one to pause and reflect.

With COVID-19 dominating the headlines on a regular basis, it would seem like this has been the year of Bad News. The Circuit Breaker measures which have kept us home Everyday have undoubtedly disrupted our way of life. Whilst some may have welcomed extended periods of Solitude to conceptualise and create, others may have yearned for more Breathing Space within confined quarters.

Whichever the scenario, I hope this season has also created opportunities for you to feed your Imagination, adapt, and innovate in your art-making. The works showcased certainly stand as a testament to your craft and creativity.

And like the Dandelion that can thrive in difficult conditions, I am confident that you will be able to rise above the challenges that come your way this year, and hope that you continue to encourage and motivate each other in your journey as young artists.

Congratulations to our Year 3 & 4 students for 3QU4RTERS!

Ms Amy Khoo

Vice-Principal, Arts

Foreword


ers

ABOUT 3quarters exhibition 02

year 3 Drawing & Conceptual development 03

Year 3 Design 24

Year 3 Digital Imaging 29

Year 3 & 4 Arts plus 42

Year 4 Sculpture 52

Year 4 ceramics 67

Year 4 Painting 81

Year 4 Printmaking 95

Year 4 design 107

Year 4 Digital Imaging 114

Year 4 Arts Excellence Programme: Chongqing, china (2019) 122

Content

3quArt


Year 3 Drawing & conceptual development

3

2019/20This module explores the different methods in which drawing can be applied towards conceptualisation and technique Development. Projects include students exploring subjects such as Portraiture, Abstraction to Cultural and Scientific observation.


4

Man and natureBY Tee Zhu Yi (2019)

Mixed Medium and Collage

Man and natureBY Loh Yih Xiang (2019)

Mixed Media on Paper


5

Man and natureBY Claire Chua Yunzhen (2019)


Man and natureBY John Tan (2019)

Pencil on Paper


6

Man and natureBY Angeline Su (2019)

Colour Pencil on Paper

Man and nature BY Danielle Chew (2019)



7

Man and nature BY Rebecca Chao (2019)

Pen on Paper Cut-Out Watercolour on Paper Cut-Out

Man and nature BY Lim Ying Hwee (2019)


8

Man and nature BY Jaden Aryan Koh (2019)

Ink on Paper Mixed Media on Paper

Man and natureBY Hirari Haniuda (2019)


9

Ink on Paper, Acrylic on Wood

Man & NatureBY Tan Yuei Ying (2019)

Man & NatureBY Ho Qian Ning Reiko (2019)



10

Man and natureBY Emma Tay (2019)


Man & NatureBY Leong Hwee Mel Bridgette (2019)



11

Watercolour and Ink on Paper

Man & NatureBY Camryn Lum Shi En (2019)

Man & NatureBY Alexis Lim (2019)

Coffee on Paper


12

Watercolour and Pencil on Paper

Man & NatureBY Nurdiyanah Qistina (2019)

Man & NatureBY Chua Jia Xuan (2019)



13

Man & NatureBY Jesslyn Tan Jia Ying (2019)

Mixed Media on Black PaperMixed Media on Paper

Man & NatureBY Christa Yap Shin Yee (2020)


14

Man & NatureBY Ong Ee Ying (2020)

Mixed Media on Black Paper

Man & NAtureBY Charlene Yong Jia Hui (2019)



15

Self-PortraitBY Claire Chua Yunzhen (2019)


self-portraitBY Yong Nuo Xi Larissa (2019)

Mixed Media on Brown Paper


16

Self-PortraitBY Zang Sue Young (2019)


Self-PortraitBY Nathan Yuan Jiasheng (2019) (2019)

Oil Pastel on Paper


17

Self-PortraitBY Chen Xilai (2019)

Pencil on Paper

Self-PortraitBY Emma Tay (2019)



18

Self-PortraitBY Sarah Wong (2019)


self-portraitBY Natalie Tan Wei Ern (2019)

Pencil on Brown Paper


19

Pencil on Paper

self-portraitBY Tan Kai Rui (2019)

self-portraitBY Tan Yuei Ying (2019)

White Charcoal on Black Paper


20

Colour Pencil on Brown Paper

self-portraitBY Ho Qian Ning Reiko (2019)

self-portraitBY Dhareshwar Sanchita Ashwin (2019)

Black and White Ink on Brown Paper


21

self-portraitBY D’oliveira Wey Han Chua

(2019)

Black Ink on Brown Paper

self-portraitBY Elliotte Joan Leow En Ming (2019)

Mixed Media on Brown Paper


22

AbstractionsBY Hirari Haniuda &Nonis Sheri Elizabeth (2019)


AbstractionsBY Tan Yuei Ying &Stella Todorova Encheva (2019)

Mixed Media


23

AbstractionsBY Hannah Deborah Pang, Loh Yih Xiang & Qian Anne Pan (2019)

Mixed Medium and Collage on Paper

AbstractionsBY Lily Anne George & Sarah Wong (2019)


Abstractions BY Tan Si Ying, Tan Shi Qing &Wong Chuang Rui, Matthew (2019)



DESIGN Year 3 2019

24

As part of their curriculum in visual arts, students conceptualise and design a Factitious ADvertisement Where they use photo manipulation techniques to communicate a fictitious Product or service.Note: The following works are not endorsed nor has any affiliation with the noted commercial brands or any of its franchises. All of the following works are purely as a means of creative and expressive work. All of the artwork and its originality was created entirely by the students and is not for commercial usage or distribution of any form.


25

Super BlanketBY Lily Ann George (2019)Print on paper

F For FurBY Chan Jia Min (2019)Print on paper


26

Instax SoundkaptureBY Tamayo Mariah Allen Bacolod (2019)Print on paper

OFF-WHITE presents “Advertisement”BY Andrew Huang (2019)Print on paper


27

Walk on WaterBY Alexis Lim (2019)Print on paper

Gummy Bear diffuserBY Natalie Anne Chow (2019)Print on paper


28

Interactive MapBY Wong Chuang Rui, Matthew (2019)Print on paper

PurRoombaBY Zahra Aliyah (2019)Print on paper


DIGITAL IMAGING Year 3 2019

29

As part of their curriculum in visual arts, students PHOTOGRAPH EVERYDAY SCENES TO ALLOW THEM TO BE SEEN DIFFERENTLY.


30

ImaginationBY Jamie Koh Teng Suan (2019)

I wanted to present the library in a different way to show the variety of perspectives that books can giveviewers. The crane is symbolic of the ideas and imagination. Hence, the image seeks to give the impression of how reading books can spark one’s imagination.

Print on paper


31

FloatingBY Goy Kai Xuan (2019)

In this photograph, I wanted to show that something as simple as an HDB building can look interesting and beautiful. Hence, the image of it floating in mid air is created to make it look surreal.

Print on paper


32

SolitudeBY Loh Yih Xiang (2019)

“Solitude” revolves around the theme of isolation and loneliness, and uses the subject matter water which is a necessity to our lives. I shot the moment when the water dropped onto the surface as we are always so caught up with what we are doing and never take notice of the little things in life. The frozen moment allows viewers to take in something that happened in a split second.

Print on paper


33

EverydayBY Rebecca Chao Wei (2019)

After blowing out a candle, one usually fans away the resultant smoke without much thought. In this work, I wanted to focus on the beauty of the smoke and its organic forms. We so often neglect and take for granted our everyday items due to our fast-paced lives, so I wanted to allow us to appreciate the beauty of the small, everyday things we tend to not think about.

Print on paper


34

Looking ThroughBY Ong Ee Ying (2019)

My theme is on the repetition and distortion of shapes in architecture, in a way that seemed impossible to achieve. This photograph was taken through a round container, thus the warping and curving effect. The juxtaposition of images also offers a new perspective of looking at a simple everyday object, through another simple everyday object.

Print on paper


35

03:00:00BY Litsa Lim Si Han (2019)

This photograph was taken from the perspective of the fridge which hummed quietly as it watched me. Taken in the kitchen in the wee hours of one morning, the only source of light was the warm tone from the fridge. With the disappearance of the warm light once the door shuts, the fridge continues its steadfast humming as it awaits my return.

Print on paper


36

weedBY Jesslyn Tan Jia Ying (2019)

My photograph shows a dandelion placed right in front of the sunset. The evening light is the warmest of the day and this creates a glowing effect on the dandelion. This allows more details of the small florets to be shown. A dandelion represents happiness but are often seen as weeds. This image seeks to change the viewer’s perspective on dandelions.

Print on paper


37

Ferris bikeBY Dhareshwar Sanchita Ashwin (2019)

I wanted to depict a bicycle wheel, with the shadow of a ferris wheel. I made a few capsules for the ferris wheel from post-its and tape, taping them to the top of the wheel of my brother’s bike. I placed my duvet, with a snowfall design to capture a soft, childlike mood. The ferris wheel and bicycle are both imageries of childhood fun and games, which I wanted to represent in a nostalgic way, hence I opted for the black and white look.

Print on paper


38

Bad newsBY Andrew Huang (2019)

The theme of this photograph is one-point perspective. After by placing stacks of newspapers in a straight row on my table, I proceeded to take an up-close image of the staged scene upside down. Additionally, I used lighting, black and white to create a dramatic effect.

Print on paper


39

MmemmoriesBY Alexis Lim (2019)

The picture depicted here shows a photograph of two family members stored inside a glass cup. The idea is that the endless reflections of the memory captured in the photograph represent a timeline. This endless time vortex is distorted through the texture of the glass to show that as people age, their perception of old memories are also distorted, hence a moment can seem to be more beautiful in the future than it was in the present.

Print on paper


40

BoatBY Camryn Lum (2019)

This work reflects the manipulation of a building turned into a recreational cruise boat. The paper-cut out illustrations are inspired by animated movies like Who Framed Roger Rabbit. My intention is to use the contrast of the strict grey lines of the boat and the colour in the people to transform a possibly stressful environment to one that is more relaxed and leisurely.

Print on paper


41

Downside up BY Diyanah Qistin (2019)

This image depicts a reflection of a bicycle rack with many bicycles along with the reflection of HDB flats in the background. The stream of multi-directional-lines encourages the viewer's eye to be led from the reflection to the converging point and the leaves and shrubs. This evokes a sense of wonder and curiosity in the audience as the image and its orientation cannot be immediately understood.

Print on paper


Arts PlusYear 3 & 4 2019/20

42


43

SERENDIPITY, becoming 2019VISUAL ARTS x danceBODYPAINTING by Camryn Lum Shi’En, Huang Luxiang Andrew, Lily Anne George, Lim Ying Hwee & Zang Sue Young (2019)The year 2019 marked the centennial of Merce Cunningham who contributed to the art of dance in profound and collaborative ways. In response to some of his methods and ideology, the Dance Faculty played with chance in the creative process of this piece, and using the body in lines and curves. Some ideas brought us nowhere, some brought us confusion, and yet others brought us pleasant surprises. Chance is also in the performance of this piece and the dancer experiences it differently every time.

The Year 3 VA Arts Plus (2019) team's take on the element of chance is amplified in the body design and media animation they came up with the complement the dance performance.


44

SERENDIPITY, becoming 2019VISUAL ARTS x danceMOVING IMAGE by Ho Qian Ning Reiko, Loh Yih Xiang, Tee Zhu Yi & Qian Anne Pan (2019)The year 2019 marked the centennial of Merce Cunningham who contributed to the art of dance in profound and collaborative ways. In response to some of his methods and ideology, the Dance Faculty played with chance in the creative process of this piece, and using the body in lines and curves. Some ideas brought us nowhere, some brought us confusion, and yet others brought us pleasant surprises. Chance is also in the performance of this piece and the dancer experiences it differently every time.

The Year 3 VA Arts Plus (2019) team's take on the element of chance is amplified in the body design and media animation they came up with the complement the dance performance. Click here to see the moving image piece (31:07 mins)

https://drive.google.com/file/d/1qDjm1eRi1FYKUPV_g6uXPi11-aq7G5oy/view?usp=sharing


45

PAPERCLIP NECKLACEBY clariss tan jiaxuan (2020)

The purpose of my work is to show the viewers that paperclips can be worth a lot more than it seems, and so can many other things that we overlook. People do not think that a paperclip could be made of the same material as a necklace but this work aims to prove otherwise and allow people to see and appreciate things that seem very unordinary in everyday life.

Dimensions: variesmaterials: paperclips, solder


46

Perception or Truth?BY freesia tong she ning (2020)

“Perception or Truth?” is a work depicting the connection between perception, opinion, judgement, illusion and the truth, exploring the boundaries where perception and truth coexist. It also revolves around self- connection and understanding. In this work, I hope to bring across the message of the importance of self-connection and reflection, as well as trust, understanding and self-confidence in the truth of perception.

Dimensions: 43 cm x 34 cmMaterials: Mirror, mirror paper, mounting tape


47

paperweightBY valerie theodas (2020)

Paperweights convey a sense of heaviness. I want to communicate this through irony using paper and also to make a direct contrast with the word. The fragility of this paperweight is contrasted with the durability of the sheet of paper which appear at the same time light and heavy, fragile and durable. With the shape anchored on certain points and making it balance at a precarious angle, I seek to also convey the concept of imbalance and fragility.

Dimensions: Approximately 21 cm x 29.7 cmMaterials: paper clay


48

POCKET DRESSBY CELINE SHEN (2020)

Normally, patch pockets are placed around the chest area. From there, I thought about the unusual parts to add pockets to and decided that shoulders were a good place to add large pockets. By placing the pockets by the shoulder, it functions as a decorative, impractical but fashionable feature, thus potentially increasing the value and desirability of the dress.

Dimensions: Approximately 100 cm x 40 cmMaterials: VINTAGE DRESS


49

STILETT-OWSBY ELOUISE SHI AN LIM-MCDONALD (2020)

These heels have been adapted with new features. This include five inverse studs in each shoe to make it feel like your achilles is being impaled; a heel surface area that is less than a pencil head in contact with the ground; straps that are purely for decorative purposes; and shaven front and sides of the platform such that the two shoes have to lean against each other to stay standing upright.

Dimensions: shoe size EU38 / UK5, 20 cm x 8 cm x 21 cmMaterials: FOUND HIGH HEELS


50

FLUXBY Dayna Indry Lawadinata (2019)

“Flux” is an exploration of different forms using rattan, string and wire. While exploring the use of this mediums, I found myself creating organic forms with wire to suspend them from the rattan structure. This allow the forms to move freely to be in a state of constant flux.Thus the work is in constant flux. Each angle the work is viewed from reveals a new side to the work.

Dimensions: VariableMaterials: Rattan, string and wire


51

The artwork explores element of the nature through organic materials. The bending of the rattan creates a curvilinear and organic shape, and with strings hanging down from the structure, it looks free and floaty, similar to how one feels in nature.

floatBY Tai Ling Ying (2019)Dimensions: VariableMaterials: Rattan, string and wire


SCULPTUREYear 4

52


53

I wish we could turn back time BY REBECCA koh Jia Chi (2019)

“I wish we could turn back time” reflects how people often wish to turn back time. I want to represent the many complications associated with time travel and show how time travel is not simple and ideal. Although many people wish to turn back time and change unfavourable things from the past, time travel is impossible due to the paradoxes it may create. Hence, the twists and loops in the sculpture represent time loops and its unending qualities.

Dimensions: VariableMaterials: EPOXY RESIN & BLUE FOAM


best of Both WorldBY n-ya lim yu en (2019)

54

This work is inspired by the cohabitation of two worlds. The time and space, it can be seen as polar opposites built by design. Time is represented as an indefinite continued progress of existence and events from the past, present, and future. Space, is seen as a continuous area or expanse which is free, available, or unoccupied. Existing in a cycle within the confines of space, this work asks if time really nothing but an indefinite loop can we too, break free.



55

Racing against time BY yew Mei Qi germainE (2019)

The work conveys the idiom “racing against time” as it expresses the continuity and its incomprehensible nature. The idea of chance was allowed to control the process and to let my subconscious mind draw its own parallels with the nature of time. The idea of racing is also expressed through the constant movement represented within the work.



56

Whale of a timeBY Joelle Yeo Hui-en (2019)

The theme of time and space is expressed through the idiom “whale of a time”. Following the form and movements of the whale, the work expresses the natural calming flow and fluidity of time. The unpredictable and curvilinear form communicates the feeling of excitement and fun, further elaborating on the theme of time. Space is shown through the area the work takes up, creating a sense of balance despite its unequal weight, highlighting the abnormality of time, being compared to a whale through the use of space.



57

Fog 9BY Ngoh shao kai joshua (2019)

Through the theme of time and space, my artwork aims to explore the soothing and calming nature of the atmosphere around us through distinct flow and curvature of forms. Fog is shown through the randomized, irregular shapes that are distinctive from different perspectives. Such depiction of reality seeks to show a sense of serenity and tranquillity.



58

ONCE IN A BLUE MOONBY Khoo Jing Wen, Gabrielle, (2019)

My sculpture is based on the phrase “once in a blue moon”. The meaning of this phrase is something that happens very rarely and is thus treasured greatly. The form of my sculpture was inspired by the Northern Lights, the Aurora Borealis. A person would be very lucky to have seen the Northern lights due to its unpredictability. Through my work, I wanted to convey its mystery and beauty as well as the transient nature of the Aurora.



59

PRESSED FOR TIMEBY lim Shi Qi Victoria (2019)

Inspired by the idiom “pressed for time”, which connotes being in a hurry and under pressure, my work explores the stress that people face in this fast-paced society. Motivated by the constantly frantic and competitive environment, people are often driven to perform their best in order to surpass one another. My work incorporates abstracted visual elements to show the effects of stress, such as having tensed body language and feeling exasperated while depicting the physical and emotional struggle of stress.



My work explores the idiom of “breathing space”. Breathing space is a sufficient buffer of time or space that allows for freedom of movement from a source of stress. My sculpture constitutes of rounded forms layered over one another that represent waves. The layered waves represent the stress I face as one form of stress will always lead to another, thus it is never ending. The concave holes gives a sense of comfort as suggested by the rounded forms which converge to give a sense of fluidity and movement.

60

BREATHING SPACEBY TAN SI QI ANGELINA (2019)Dimensions: VariableMaterials: EPOXY RESIN & BLUE FOAM


61

SHOULDER TO CRY ONBY YANG EN, YOLANDA (2019)

This work is an abstracted form of a shoulder bone made out of blue foam, which is then covered in epoxy. The idiom used as a reference is “a shoulder to cry on”, someone who provides support and listens. Bones are the essential support for the body while at the same time, also protecting our fragile organs. Hence, the subject of a shoulder bone is chosen, giving support and protection to those in need. The curved-linear structure together with sharp contours represents gentleness and strength.



"Skin & Bones” is meant as a sentiment to people who have eating disorders such as anorexia. The sculpture is an abstract representation of a human figure curling up to portray despair. When viewed from the back, the sculpture resembles that of a human’s back. Once the viewer’s perspective is shifted to the side, one is faced with an unrecognizable and abstract form. We often judge overly thin people based on one perspective, their physical appearance. I do not believe we have the right to judge as we do not know what they are going through. Instead of judging someone from one perspective, we should view a person through different perspectives to find out the actual truth about them.

62

SKIN & BONESBY DAYNA INDRY LAWADINATA (2019)Dimensions: VariableMaterials: EPOXY RESIN & BLUE FOAM


63

THE THINGBY MEGAN TAN YING ZHU (2019)

The smallest things can send a shiver down one’s spine. Based on this idea, my work intends to represent those who have a strange aversion to small holes (trypophobia) with its cavity-filled texture. This piece also aims to shape the viewers’ experiences by employing small details, that despite their size, can trigger strong emotions, whether to intrigue or disgust. The organic, curved form of the work is also reminiscent of a creature curled up fearfully, enhancing the tension and discomfort it may elicit.



64

WhaT GOES AROUND COMES AROUNDBY PAN YUNHUI (2019)

My work portrays two intertwining elements forming a small gap between them but yet not losing connection. Just like the idiom, I aim to convey the idea of equilibrium, that whatever that is given or lost will eventually come back to the same place where it belongs. This is expressed through the spiral effect of the two elements, though heading in different directions, they still end up conjoining, thus having a codependent relationship. Constant harmony and balance can be found within the work.



65

antimatterBY ethel heng (2020)

My artwork is based on the quote “The only thing that endures is character”. My interpretation of this is that character is more important than valuable items. The subject matter of my work is a piece of jewellery, inspired by necklaces and crystal formations. I used organic shapes forming an asymmetrical balance and the 3D form with implied lines that form defined edges. Through my artwork, I hope that people would be kinder and more compassionate to those around them.



66

The Life in lifeBY chen yi wen (2020)

This work shows an abstracted bonsai, an embodiment of essence and beauty in a long life. Inspired by Barbara Hepworth, I created the form as a response of an observation of a bonsai, making the top of the work rounded such that there is an interaction between the material mass and space. The work bends and curves while exploring space, symbolising the searching of pathways in life. Hence, the work conveys my message that people should seek long life, but one with meaning and experience.



CERAMICSYear 4

67


68

ARTIFACT 5354BY DAHLIA RUSLI (2019)

“Artifact 5354” is a social-commentary on the torment of foot-binding suffered by women in ancient China whereby the ideal size of the bound foot was four inches. In Chinese culture, “5354” suggests living miserably like one is almost dead. The eight screws represents prosperity and opportunities that women were able to achieve with bound foot, while the four screws on the foreground suggest that the underlying death-like torture. The tightly wrapped skin and gauze symbolise men’s tight control over women.


69

UNQUANTIFIEDBY RUTH CHEW en-LI (2019)

This work focuses on the unquantifiable aspect of the never-ending flow of time and the infinite dimensions of space. The work is made up of small pieces of stoneware with each moulded organically and encapsulating the infinite nature of fractals. Finishing off with a smoky saggar firing offers a raw, natural look to the work.


70

DUALITYBY NG HUI CHING VERNICE (2019)

“Duality” is an artistic interpretation based on the perception that heaven and hell are interconnected and encompassed within the same space and moment in time. The idea of coexistence is expressed through the unending form inspired by the Impossible Torus and the works of Sakiyama Takayuki, which often feature a perpetual motion. Inspired also by the concept of Yin and Yang, the configuration of colour in the work emphasizes the idea of interconnectedness and coevality.


71

ACCEPTANCEBY NICOLE FOO MEI XIN (2019)

“Acceptance” is about letting go of childhood memories. Represented by a withering bonsai potted in a vintage children's bowl, the work makes heavy references to the Japanese philosophy of “wabi-sabi”. The work focuses on transience and how we should appreciate the fleeting moments in life while still being able to move on.


72

THE IMPACT OF TIME AND CHANGEBY TEO CHIN HUR, ADRIEL (2019)

This work explores how time affects space through the appearance of a person. The convex sides show faces of youth exuding a sense of confidence and smugness. The concave sides depict faces that are rougher and worn-out, indicating aging. The changes in facial features and expression shows the impact of time passing on the physical and mental state of a person.


73

COUNTING SHEEPBY JONAS MATTHEW LEE HAO HONG (2019)

Dreams are complex, mysterious and illogical places, with many dimensions within it to explore. This series of tableware depicts my interpretation on fantasy and dreaming, specifically when one reminisces about his childhood.


74

KYOU KANI NOKI KAWARABY ERIKA KAMIKO (2019)

This work is based on icons of Japanese culture, in particular architecture and motifs. I was inspired by the history and uses of Japanese emblems, food culture and roof tiles which soldiers would use to eat their meal during war times and adapted by restaurants these days. Thus, I created a work that presents the unique use of architectural object, food culture and traditional symbols.


75

DO IT OR DON’T DO ITBY ONG EE LYNN (2019)

My work examines the idea of extinction by exploring how past choices have influenced and impacted our current state of living. I have chosen to represent the Dodo bird, a symbol of extinction, as the motif on a functional ware to remind us of our human greed and acts of destruction to the environment. The words on the pieces evoke the question on choice-making if we could travel back in time.


76

Comfort foodBY Christa Yap (2020)

This work modelled after the local food container, the tingkat, is a portrait of my grandmother who took care of me during a period of my life when my mother fell sick. Inspired by artists Paul Scott and Richard Notkin, the tingkat showcases various objects that represent my grandmother. The balanced form highlights the sense of peace she gave me, and the process of creating this work allowed me to express my gratitude towards my grandmother.


77

homecookedBY natalie tan wei ern (2020)

“Homecooked” is an unconventional take on the family tree of my Chinese heritage with a bamboo steamer. Inspired by the stacking bowls of the artist, Kaete Brittin Shaw, this work comprises three layers, each representing a different generation with motifs unique to that era. The flower blooming in each steamer is a metaphor for both glory and passage of time.


78

01.02.2020BY tan yuei ying (2020)

This work is a representation of a dream I had. Inspired by the artist, Joseph Cornell’s assemblage boxes, my ceramics piece with motifs, such as blood and gallows, is set in a surreal scene. The contrast between the colour of the blood and the surfaces evokes a sense of unease, as well as the inconsistency present in all dreams.


79

TogethernessBY Qian Anne Pan (2020)

This work is a reflection on the past racial riots in Singapore. Inspired by artist, Johnson Tsang’s “Painful Pot” and Kintsugi, the vase is separated into four segments. Some designs overlap to show how cultures influence each other. The different sections are further contrasted through the textures of the different types of clay used. My intention is to show that through learning from the mistakes of the riot, various cultural groups are progressively coming together as one in Singapore.


80

Half of an interview with a martianBY Ho Qian Ning Reiko (2020)

Inspired by artists, Kang Hyo Lee and Ayumi Shigematsu, this artwork shows an ocarina disguised as the moon with saturn’s ring over it, a suspected cause of the music. We are always seeking answers to the universe. I am using the ocarina, which I associate the sound of the music to, so as to allow the viewers to comprehend the situation through logic. Contrast is employed to show our own often contradicting theories about the universe around us.


PAINTINGYear 4

81


82

Face of the earthBY Ngoh Shao Kai Joshua (2019)

This work is about Man’s impact on the environment. Two trees subtly outlined a face with its features made up of different parts of a distant landscape. The face, representing the image of earth or Gaia, is screaming to a woman who represents Mother Nature. The decaying leaves, symbolic of the crown of leaves Gaia wears, and dirty water show the extent of pollution.


The work expresses how while the cultures across historical time frames are different, they are the same as they have been created by Man. By extending iconic figures from a single fragmented figure, I wanted to highlight how their forms and styles of execution are influenced by and an extension of the culture.

83

Different CulturesBY Li Ming Han (2019)


84

You Are What you eatBY LIM SHI QI victoria (2019)

This work portrays how people’s oblivion often lead to the downfall of the environment and how it influences our diet. People often carelessly dispose unwanted “trash” into the sea, polluting the waters. This causes mercury to be released into the sea but more importantly, this work highlights the importance of how we can be more aware of the food we consume and how our diet makes an impact on global warming.


85

IReflectionBY Charlene Yong Jia Hui (2020)

This work depicts the struggle of finding one’s self-identity. For me, it is about how my exterior appearance is Chinese, but internally I am Australian. Inspired by Salvador Dali and Rene Magritte, I depict myself in Chinese ethnic costume, staring into a bowl of water, where the reflection is me in an Australian setting.


86

Goodnight, little boyBY Dhareshwar Sanchita Ashwin (2019)

This work, inspired by the story Coraline, has an eerie mood. It is about a monster which preys on children by resurrecting toys to harm the child. The painting shows a monster made of toys approaching a child. The colours around the boy are more vivid so to counterbalance the duller colours of the monster. I used complementary colours for contrast as well.


87

bionicBY Elizabeth Foo Xing (2020)

The story of this artwork is nature versus mutants. The impala and forest represent nature while the colours of the forest and the gears in the impala show the mutant side. The impala is created to appear like a real animal on the outside although its interior is made out of gears and mechanisms.


88

The King is Dead! (Whodunnit?)BY Zahra Aliyah Binte Mohammed Salleh (2020)

This work tells the story of a murdered king, lying dead on the tiled floor, his bright red coat contrasting the tiled floor as his children surround him, faces out of sight. Hidden within the tiled symbols are various animals. Inspired by detective novels as well as fairy tales, the artwork has the fantastical appearance of a fairytale further emphasised by the scrawling tiled floor of symbols as well as engaging the viewer in becoming the detective.


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HazyBY Tee Zhu Yi (2020)

This series of paintings focuses on the themes of memory and the unknown. Using Benjamin Bjorklund and Phil Hale as my reference artists, I depict different moments of an old man exploring unfamiliar surroundings while confronting his habit of smoking. The use of negative space around the man in each piece communicates a vast, ambiguous space around him.


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Nyonya KuehBY Alexis Lim (2020)

This still-life of a traditional food container, also known as tingkat, highlights the need for better preservation of culture. It shows an empty tingkat set ridden by ants on a wooden surface against a backdrop of peranakan tiles. This painting serves as a reminder that we should preserve our culture well before its essence is lost forever.


91

FearBY Zang Sue Young (2020)

Inspired by Hyperrealism and the works of artist, Isabel Emrich, this work reflects my will to overcome my fear of water. My face, the main subject matter, is contorted into a grimace, conveying a sense of struggle even though the bright colours create a sense of liveliness and positivity. I wanted to show what it feels like when I try to face my fear and the many emotions such as panic, stress and hope.


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One of YouBY Jamie Koh Teng Suan (2020)

This painting depicts an alien, stuck on his own, reaching out join the parade above. Referencing the artist, Sachin Teng, I created an upward visual rhythm in the crowd. The complementary colours of the alien and those in the parade show contrast. I wanted to evoke the disconnectedness I feel from my own Asian culture through the imagery of aliens.


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My stressful life BY Josephine Teo Xin Yu (2020)

This work shows how I am being burned out from focusing on my grades in school and how I am affected by the stress. The subjects in focus are my face, particularly the eyebags, report books and hands gripping my head. I want the viewers to feel this overwhelming feeling of stress too.


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Internal struggleBY Loh Yih Xiang (2020)

This surrealism artwork illustrates my interpretation of internal struggle. Inspired by Egene Koo and Ryohei Hase, it portrays three monsters sitting in a cathedral with a big brain towering above them. This artwork is a symbol of what goes on inside my head and how I keep my emotions in control. My intention is to evoke self-discovery and self-reflection, and hence express my hidden and rarely-shown emotions.


PRINTMAKING Year 4

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My artwork portrays my growth from my childhood up till now in terms of character and taste. This artwork depicts a mountain scene illustrated in a Chinese style and a simple shape of a mountain in the foreground. The simple shapes depicting the sun and the water are in the background.

Mountain Water DrawBY Claire Chua Yunzhen (2020)Dimensions: 30 cm x 30 cmMEDIUM: Screenprint and drypoint on Aquafine paper


97

The theme of this artwork is war. Instead of depicting the typical gory and realistic images of war, I have chosen a light-hearted approach. The dive bomber plane is the main subject matter in all the artworks with each having its own story. Cream paper was used to create a more aged feel to the artwork, which would help represent its historical aspect. One key element of these artworks is the use of vibrant colours which create an exciting atmosphere.

The WarBY Goh Kai Xuan Fion (2020)Dimensions: 28 cm x 38 cmMEDIUM: Drypoint, Chine Colle, Ink and Graphite on Canson Edition Paper


98

This is all your fault!BY Tan Si Ying (2020)

Inspired by the artist, Joseph Cornell, this print reflects the issue of the commodification of animal’s capabilities. The orca, elephant and mice represent the performances and animal testings that animals have to suffer from for the benefit of human beings. The monochromatic colour scheme of brown hues evokes a sense of solemnity. My intention of the print is to make people reflect on the severity of our actions on animals, and the negative impacts animals have to suffer due to our selfishness.

Dimensions: 30 cm x 28 cmMEDIUM: Drypoint, Collagraphy and Gel transfer on Somerset paper


99

The Juniper tree no.2BY Emma Tay xin qian (2020)

This print is inspired by the fairytale of “The Juniper Tree” by The Brothers Grimm. It highlights the extent that jealous people go to in order to achieve wealth, and the consequences they get in return. These prints were inspired by the printmaker, Belkis Ayon. I used the repeated image of the tree and blood, to show life and the loss of it. My works use line and contrast to depict the forms of the subject matter. The artwork is also in black and white to show the grimness and the morbid nature of the story.

Dimensions: 42 cm x 59 cmMEDIUM: Collagraph and Screenprint on Canson Edition paper


100

PlaytimeBY Chan Jia Min (2020)

This print reflects how children’s imagination and thinking is different from ours. Using one single continuous line, implied forms of car, castle, ship and rocket are created, expressing how a child’s imagination might be hard for us to see immediately. We might just see a box, but to a child, it could be much more than that.

Dimensions: 40 cm x 30 cmMEDIUM: Drypoint and Collagraphy on Aquafine paper


101

BucketlistBY Camryn Lum Shi’en (2020)

Inspired by my parents' adventurous spirit, this print depicts me as a silhouette subject matter in different parts of the world. Through the bright colours, high contrast and movement, I seek to evoke hope and serenity, and reflect my personal aspirations of travelling around the world.

Dimensions: 30 cm x 21 cmMEDIUM: Screenprint and Drypoint on Somerset paper


102

Sunrise, sunsetBY Ong Ee Ying (2020)

This series of prints reflect my observations of commuters on the MRT who are usually too tired or busy to enjoy the view outside the windows, and therefore missing out on the sunrise and sunset that I love. The different colour schemes suggest the change from day to night, showing how this state of busyness is something continuous for most, even as they return home for the day.

Dimensions: 32 cm x 42 cm x 2MEDIUM: Screenprint and Drypoint on Somerset paper


103

DecayBY yew Mei Qi germainE (2019)

This work depicts the progression of abstraction by manipulating the form and details to disfigure the original subject matter. The subject matter is hands where I feel is most able to represent a person, as hands physically record the activities the person has done through hand creases. Their creases hold both visual beauty and significance to our past.

Dimensions: 29 cm x 42 cm x 3MEDIUM: Collagraph on Aquafine paper


104

This is how i feel sometimesBY Angela ananya ramkumar (2019)

This work is a self-portrait of my headspace when dealing with anxiety. Through drypoint and collagraph, I created a chaotic yet harmonious coexistence of colour and line. Each face, hidden in the hair, signifies the flux of emotions. I hope viewers will feel these emotions, deal with them and realise that anxiety does exist but will pass.

Dimensions: 42 cm x 60 cmMEDIUM: Drypoint and Collagraph on Laurier paper


105

Cycles and SeasonsBY Kristen Ooi yuan li (2019)

“Cycles” and “Seasons” explore the cyclicality of time and the concept of life and death using drypoint method with relief ink. “Cycles” is the depiction of moods in the various days of the week. I view days, weeks and months as an endless cycle of time. The black and white help convey the dreary mood of routines as it is set and rigid. “Seasons” is the depiction of a goldfish’s interactions with seasons in the form of different temperatures. “Seasons” contrasts with “Cycles” with its vibrant colours accompanied with gold pigment, which highlights the beauty of each season.

Dimensions: 50 cm x 69 cm x 2MEDIUM: Drypoint and Watercolour on paper


106

(in)separableBY Maverick Chua (2019)

Even though the distinction between mind and body is often made clear, in reality, mental and physical health are interwoven. When one affects the other, the lines begin to blur. My work explores how this merging of dichotomies can be seen throughout experiences with mental health and that the catalyst for the illness can too be the catalyst for recovery.

Dimensions: 15 cm x 21 cm x 2MEDIUM: SCREENPRINT on paper


DESIGNYear 4

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STREET STYLEBY Lily Ann George (2020)

This is an artwork of 7 illustrations based on the theme of Japanese Street Fashion, seeking to explore influences of pop culture, self-expression, youth and individuality, while also focusing on the use of colours, shapes and movement. I seek to communicate the influence fashion has on culture and vice versa, as well as how it helps us express ourselves as creative thinkers.

Click here to see all 7 stickers

Dimensions: 7 stickers, 618px by 618px eachMEDIUM: iOS Sticker, APNG

https://drive.google.com/open?id=1wXY_HtHbzypMcCERhLkQXjHQalaReD7A


PICO, Solutions for a Pico PocketBY John Tan Ern Yong (2020)

Announcing the new PICO, Portable Intent Communication Operator, the solution that fits in your pocket. PICO is designed to help one express emotions unlike that of electronic mailing. With PICO, one can now send more expressive and interesting images to colleagues, family and friends.

Click here to see all 7 stickers109


https://drive.google.com/open?id=1xRBEFY8i4ph6kENvZOuksw01y_gNqueI


SINGAPORE FOODBY Koh jia wen (xu jiawen) (2020)

My artworks, titled collectively as “Singapore Food”, depict local Singaporean food using simple digital media. Vector shapes are used to create simple illustrations with a look that evokes the sense of taste. The local dishes I illustrated include chicken rice, popiah, durian, chilli crab, curry fish head, laksa and bak kut teh.


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https://drive.google.com/open?id=1s-vhenTFM8AjgxJuLY3FwQdb1y7kXj-7


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KOAGIROO: COMMUNICATIONBY HIRARI HANIUDA (2020)

The stickers tell a story of a media-obsessed generation that can easily hide behind anonymity,as depicted in the main subject matter, KOAGIROO, an original character with facial features hidden behind lenses and a mask. The monochromatic colour scheme of KOAGIROO depicts diluted language use with changing trends and the abundance of anonymity. The bright, contrasting words highlight how easily one’s emotions can be expressed with slangs and emojis.



https://drive.google.com/open?id=1u1VYTOgqJraGMoFPtO06YqHSGUJuAwzj


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Idioms illustratedBY LIM YING HWEE (2020)

This project is a set of animated stickers that can be sent through iMessage. Based on the theme of Chinese idioms, namely 三人成虎，如虎添翼，虎毒不食子，藏龙卧虎，调虎离山，狐假虎威 and 虎头蛇尾, the stickers aim to educate people on Chinese culture through their language. Using vector technique, the animation is done traditionally, frame by frame.



https://drive.google.com/open?id=1LDxW2FQM_iAjMYe1AkcI69awlXm6TdV7


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FOR THE GIRLSBY SARAH WONG MIN (2020)

The work reflects the issue of sexism in the past and how it is still present in today’s society. Inspired by vintage print advertisements, this set of animated stickers parodies the women and misogynistic taglines by changing their facial expressions to one of disdain while maintaining the vibrant colours for contrast.



https://drive.google.com/file/d/1ll3qmjOJfHkjhBob-qWIYmvv4g9PyQjc/view?usp=sharing


DIGITAL IMAGING Year 4

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Age and skin BY Simone Jessica Boh (2019)

“Age and Skin” is a work on juxtaposing two subject matter which in this case is grandmother and granddaughter. The work is a comparison of the looks of young and old skin texture as a representation of age and generational gap. The work gives off a mysterious vibe with dark tones and lighting.

Dimensions: 16cm x 12cmMEDIUM: Laser print on Linen 300 gsm paper, Wooden frame, Magnifying glass, Black paint


116

Sweet sixteen: the beauty of youBY Anna Wee (2019)

“Sweet Sixteen: The Beauty of You”, is a magazine cover seeking to redefine beauty as depicted by commercialised media. Photographs that capture the experiences who have shaped them into who they are today, are extended by captions that express our innermost thoughts alongside careful handwritten letters by the subjects themselves.

Link to Full E-Book: https://drive.google.com/file/d/1m-y-xWTzEq8eDqP-S-BSGOBRIaDY7d-s/view?usp=sharing

Dimensions: 11.4 CM x 16.2 cm x 32 pageSMEDIUM: Laser print on laminated matte art card and paper with staple binding

https://drive.google.com/file/d/1m-y-xWTzEq8eDqP-S-BSGOBRIaDY7d-s/view?usp=sharing

https://drive.google.com/file/d/1m-y-xWTzEq8eDqP-S-BSGOBRIaDY7d-s/view?usp=sharing


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Real woman BY Angela Ananya Ramkumar (2019)

Inspired by Cindy Sherman who seemed to metamorphosize into different women that people could relate to, my work portrays the genuine struggles of women. I came up with these ideas through an introspective look at how women are portrayed currently and through conducting interviews with women I look up to, to make sure that I was not following stereotypes but rather shedding light on actual experiences. With its ambiguity, I hope audiences will unpack these pictures and relate to them with interpretations that are representative of their struggles.

Dimensions: 29.7 CM x 42.0 cmMEDIUM: Laser print on Matte paper


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memoriesBY joshua loo (2019)

This artwork is inspired by the memories from my past and how they shape my identity. The sequencing and stacking of the layers show the memories built up in me. Each layer also represents how distant I am from these memories.

Dimensions: 8.27 CM x 11.69 cmMEDIUM: styrofoam, LED lights, transparent paper, aluminum foil, UV print on acrylic


119

A timely order BY alissa lee (2019)

My artwork aims to explore how the arrangement of a scene affects people’s perception of time and space, and how it humanises the location by leaving clues that show the identity of the person living there. To create this artwork, I built a miniature model of a room and photographed it. To capture the process of time evolving throughout the day, I arranged the objects in various positions around the room.

Dimensions: 26.7 cm x 20 cm x 15.3 cmMEDIUM: Inkjet print on paper mounted on acrylic


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A State of Reposeful ApprehensionBY Mariah Tamayo (2020)

Reflecting on the correlation between comfort, fear and our reaction to them, my work portrays a blanket, which is a common symbol of comfort, in a manner that induces unease. By abstracting and collaging pieces of its form, it highlights the new narrative brought out by the subject, similar to Edward Weston’s photographs. Playing with how we perceive the familiar and unfamiliar, I want to emphasize caution and uncertainty towards how the looming sense of fear can be derived from even the most comforting of spaces.

Dimensions: 175.56 cm x 29.26 cmMEDIUM: Laminated Photographic Print on Foam Backing


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“PROGRESSING” BY JOHANNS JEFFREY (2020)

This work tells the story of our progress as a modernized society and achievement in technological advancements. Inspired by photographer, Mintio’s work, this multiple-exposure is composed of numerous long exposures of cars on the highway. Layered together, each exposure complements one another with a geometric harmony that evokes a strong sense of stability and time passing.

Dimensions: 32 cm x 41 cmMEDIUM: Inkjet on Offset paper


Arts Excellence Programme Chongqing, china 2019 Year 4

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Way Of LifeBY Dayna Indry Lawadinata (2019)

“Way Of Life” depicts Chinese locals, young and elderly engaged in different activities. The work adopts a traditional style that is often utilised in Chinese ink paintings, whilst also eliciting a contemporary feel as the medium used was charcoal, not typically used on Chinese rice paper. Thus, it depicts the contrast between modern and traditional in Chinese society.

Dimensions: variable (top); 20 CM x 45 cm (below)MEDIUM: Watercolor on watercolor paper, chinese ink on watercolor paper, charcoal on grey toned charcoal paper, pen ink on tea bag (top); Charcoal & ink on rice paper (below)


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一样; Mountain CityBY Yang En, Yolanda (TOP) and Emma Qiu Yinuo (BELOW) (2019)

“一样” showcases the different methods the same food can be prepared. During our Chongqing trip, we ate local and more traditional Chinese food which allowed us to connect more with our Chinese heritage.

“Mountain City” shows the view from the window of the bus rides we took to travel around Chongqing. These mountains awed me as they looked like they came right out of a traditional Chinese ink painting. Hence, this work attempts to blend the industrialised and natural landscapes we saw in Chongqing.

Dimensions: 42 cm x 30 cm (top); 33.5 cm x 65 cm (below)MEDIUM: Acrylic & gouache on canvas (top); Chinese ink & pen on paper (below)


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coexistenceBY Jonas Matthew Lee Haohong (2019)

"Coexistence" portrays the intertwining of traditional and modern in contemporary Chinese society, and the manner in which people navigate through this cohesive mix of old and new.

Dimensions: 58 cm x 29 cm; variable (right)MEDIUM: WATERCOLOUR ON PAPER


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团圆饭BY Rebecca Koh Jia Qi, Khoo Jing Wen, Gabrielle

(TOP) & Rebecca Koh Jia Qi (BELOW) (2019)

This work highlights the welcoming nature of the Chinese people through the abundance of food they serve to visitors. In our experience in Chongqing, one of our most memorable incidents was the abundance of food we encountered. This is also a tribute to our Chinese culture and us coming together to bond over food. The round table emphasizes the sense of unity and is a play on 圆 in “团圆饭” which means round and circular. In Chinese culture, it is common to over cater to make the guest feel welcomed.

Dimensions: 90 CM x 90 CM x 100 cm (top); variable (below)MEDIUM: Oil on ready made circular wooden laminate table (top); watercolour & pen on paper (below)


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KaleidoscopeBY Megan tan ying zhu (2019)

“Kaleidoscope” is a collage of photographs depicting the lights of Hongyadong, Chongqing, reflected against the wet ground on a rainy night. It serves as a study of how rain can alter the space around us, providing a reflective surface which extrapolates the depth of space around us.

Dimensions: 50 CM x 50 cmMEDIUM: LASER PRINT ON PAPER


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This is the Rhythm of the NightBY Eryn Lim En Yi (2019)

“This is the Rhythm of the Night” illustrates the experience of walking in a popular attraction, Hongyadong, a site unique to Chongqing. The blurring between traditional and contemporary is achieved through the lenses of technology. The city lights envelope us as we immerse ourselves in the vibrant culture at night.

Dimensions: 50 CM x 15 cmMEDIUM: LASER PRINT ON PAPER


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Blurred kidsBY Dayna Indry Lawadinata (2019)

“Blurred Kids” is a digital work comprising small parts of a blurred photograph taken at Hongyadong, Chongqing. By using the bright colours from the image, I constructed a scene of children in Laitan who were playing with fish in a bucket. The work conveys how modernisation is blurring authentic culture in towns such as Laitan.

Link to animated video of this work: https://drive.google.com/file/d/1Hi8p-CSxffeqxLS6sqNPBekIuh-OKKyM/view?usp=sharing

Dimensions: 70 CM x 50 cmMEDIUM: Laser print on awagami kozo thin white paper, lightbox, animated light

https://drive.google.com/file/d/1Hi8p-CSxffeqxLS6sqNPBekIuh-OKKyM/view?usp=sharing

https://drive.google.com/file/d/1Hi8p-CSxffeqxLS6sqNPBekIuh-OKKyM/view?usp=sharing


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"Precipitation" reflects the crowded atmosphere felt in the tourists sites in Chongqing. With individual cells capturing the vibrant shades of umbrellas during the rain, it gives off an appearance of congestion which adds to the solemn atmosphere. Yet, the vibrant colours also instill a sense of liveliness of the culture.

precipitationBY joshua ngoh (2019)Dimensions: 84.1 CM x 118.9 cm MEDIUM: Inkjet print on paper

Online Viewing : 18 May - 30 jun 2020 A Showcase of Year 3 & 4 … · 2020-05-21 · BY Rebecca Koh...

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