Sculpture by Yeo Chee Kiong |
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The definition of the word “sculpture”
had been a malleable one in contemporary artistic practice. Since the breakthrough of conceptual art in the West, diverse
and differentiated objects have come to be known as “sculptures”. Ready-mades, assemblages, and installations
are what that is fashionable in the museums and galleries. In attempts to question what art is, the conceptual artists moved
towards impermanent and non-representational objects; the traditional sense of sculptural endeavours, those of carvings and
modelling, castings and figurations, was for a while deemed out-dated, and the virtues of the sculpted, expressive 3-dimensional
forms devalued. The situation here is not dissimilar. Under such circumstance, Chee Kiong’s
love for the tangible form was however, unshaken. Not intentionally, but his first one-man show “Sculpture” turn
out to be a confrontation to this phenomenon. Incorporating powerful technical skills and artistic thoughts, the sculpted
forms of his radiate distinct aura, and would captivate the attention of any being. Chee Kiong had proven that the charm of
the tangible form is not exhausted, not is it perishable. The men first fell in love with
clay when he was a student at the Nanyang Academy of Fine Arts. With his benefactor-teacher, Mr. Chern Lian Shan, he first
started sculpting in the realistic and expressionistic manner. The earlier works included in this show are robust, corporeal,
and invested with forceful vitality. Apparently showing a passion for dynamism of forms in movement, these ambitious figures
expand boldly across space, entangling and struggling for state of equilibrium, and seeking to engage the viewer’s full
attention. The figures, which the artist call “images of the self”, are representations of his inner world revealed
– the world in which he dauntlessly seeks to defy the law of reality. Romantic and expressionistic indeed,
that recorded the sentiments of a troubled soul – in this case a soul stifled by the pressures of contemporary society,
a soul searching for the self, and a soul searching out for courage. One is emotionally aroused while viewing these works. It is worth mentioning that although
Chee Kiong’s work has its roots in the traditions, he in never a conformist to conventions. In fact, he often take liberty
with his end-works – cutting, slicing, mutilating them, and even reworking and reassembling the whole form, denying
what has been established in the earlier stage. One have to take note that this
is no process of “deconstruction”, nor “dematerialization” that the avant-gardes so embraced. On the contrary, Chee Kiong’s
sculptures remained to be materialistic forms that require the viewer’s interaction with its very entity. Chee Kiong
has intended volumes of sensations, and forms that will evoke feelings in the literal sense. They do not pretend to be metaphysical,
nor metaphorical, although at times one is being lured to think of its symbolic meanings. The recent works show an even greater
degree of his adventurousness. The sensuous, wilfully tinted bodies are accompanied with fashionable and exquisitely designed
plinths; some lie on or are reflected by mirrors, while others rest upon clear, water-filled fish tanks. These interesting
assemblages add to the work a sort of surreal and conceptual quality. They provoke the viewer’s power to question; on
the other hand, they are faced with the subjective plastic creation of the artist, on the other, confronted by objects and
materials that point to an artificial world. This juxtaposition fives rise to tensions from which the ponderability of the
original form is heightened and extended. Being much more tranquil and subtle,
the recent works also indicate a more reflective and contemplative state of mind of the artist. A person who is sentimental in
nature, Chee Kiong do not theorize nor philosophise his works – he creates. Feelings, expressive urge, and natural instincts
are what set him to work on his clay. The word “sculpture” for him undoubtedly meant more than merely referring
to a three-dimensional form; it is while kneading and modelling that his unconscious self is released. Process of casting
and reassembling then make concrete the unleashed. Clay and form are thus vessels for his emotions and thoughts. Upon accomplishment
of the procedural transformation his heart and soul is eased. By bringing the old and new works
together, Chee Kiong presents us a visual journal of his artistic and spiritual journey. He invites the viewers to share with
him the therapeutic experience while looking at and feeling the forms that were once caressed by him or once caressed him. At a generation when all system
of beliefs has been shaken and shattered, it is a blessing, that Chee Kiong has found his own faith. And perseverant as he
is, he will surely further surpass himself one day. Tan Yen Peng, 2002
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“Sculpture by Yeo Chee Kiong” – Chinese Press Release written by Tan Yen Peng 美展消息 沉思与呐喊 - 杨子强雕塑展 年轻雕塑工作者杨子强将于4月5日至9日假电力站举办个人雕塑展,展览时间为上午11时至下午9时。 雕塑个展在本地艺坛是不多见的。像这类集写实与超现实风格于一体的作品更是相当少有。子强的雕塑展将为我们稍嫌平淡的美史增添精彩的一页。电力站不大的展厅内,将布满子强色泽丰富,充满动感,集写实与现代性于一体的人体雕塑。这些人体或挣扎,或凝定,展现了作者十年来在生活中,艺术追求里所体验的种种。它们是作者在面对考验时的积极反抗,也是面对挫折时的痛定思痛。 当大部分的年轻艺术工作者都忙於求新求变,搞所谓的前卫艺术时,子强选择不跟风。相反地,他信念坚定,态度真诚,不投机,不取巧,完全凭实力证明传统不需要被刻意的抛弃,而是要努力的超越它,然后再超越自己。因此,他的雕塑易懂,易亲近,也是个性强烈,具爆发力的。 是的,展览的主题是“雕塑”。作者强调,雕塑作为一种独特的艺术表现形式,是有别于绘画,有别于流行的装置艺术的。对於子强来说,它们是心灵的声音,通过雕塑者感性的指尖所流成的形体 - 雕塑的人赋予形体生命,而这些成了形的实质存在,接着这被赋予的生命力,不能自拔地向与它存于同一空间的人们召唤,对他们倾吐心事...这种声音与张力,不是其它艺术形式所能取代的。它们是艺术家期待得到的个性解放的最佳途径。 听听作者是怎么说的吧! 如果你问我相信命运吗!我无法很肯定的给予一个答案。 我相信人生就像生命一般有其自然的规律,就如当种子成熟时,寻找大地那般。 那一刻,你就知道那时期待已久的了悟,让你重新评估生命的价值,然后再选择。 我常常思考,但我不是哲学家。我用双手捏泥巴,但我不是雕塑家。 我的雕塑,就是我过去十年的人生观,我的生活,我的梦想,我的潜在意识。 我的雕塑,很简单。没有曲折的想法,没有深奥的道理,只有直接或间接的触摸着心灵。那是不安,恐惧,压力,还有勇气。 我的雕塑,是一种很自我的形像,让潜藏着的欲望、挫折、取得平衡。 雕塑安慰心灵,也带来勇气。 -杨子强 的确,欣赏雕塑,要用眼睛看,要用心听。相信这样真诚,感性的作品,是许多人都期待的。在自己的呐喊与心声被别人了解与体会的同时,子强也希望他的作品能轻轻的抚慰着前来观赏者的心灵。 - 陈燕平 |
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