Monday, June 4, 2018

SIGHT Outdoor Sculpture Exhibition Dhoby Ghaut Green 2017

 Organised by Sculpture Society (Singapore) and my work being part of the exhibition.

My first attempt at outdoor sculpture. The work carve from 2 species of trees, Saga and Khaya both medium hard, red wood tree. Varnish with sealant.

It was a tedious experience to work outdoor under scorching sun, beating the mosquitos and constant repair of the work. It was also a precious learning experience.

Whimsical Daydreams Light Installation Dhoby Ghaut Green (Artist Night Out 2017)

Many trees are pruned and cut down every day in Singapore’s urban garden of tree lined streets. Trees take very long to grow, some of their age as old as many of us. With a love for nature and giving trees a second life, the artist transformed it with ceramics forms and lights. 

Reflecting on the fast pace of urban life in Singapore and taking inspiration from the ubiquitous manicure trees line streets, the artist wonder on her role as an artist and what can she give and take from the city and nature. The city gave the wood and takes it away by chopping down, the artist takes the wood and give it a new life and give back the city.

As an artist Inspired by the amorphous shape from nature and a continuation of personal pursuit of soft biomorphic forms. The combination wood and ceramics evoke curiosity, its form a   smooth pop-up dream bubble perching on a trees with rough texture bark. 

An outcome is filled with thought, playfulness and whimsical imagination. The trees are dreaming, as the glow of lights flicker and transcend into different glows leaving behind the stress and mundane of everyday life.

We Are in This Together - Kis Kapolna Galeria, Hungary

I N  Ÿ  B E T W E E N  Ÿ  A M O R P H O U S  Ÿ  II

Handbuild with Herend Porcelain

The series explore the mechanics of porcelain and an iron rich clay while continuing a softness and biomorphic entity that resembles nature’s formation and growth.

Reinvestigation in hand building, discovery of firing methods and a reconcile of 2 vastly different clay manifested into 8 new works over the 6 weeks of residency.

The organic forms do not have a direct reference and the work evokes in the viewer a sense of ambiguity derived from its sensual volume.

Monday, November 14, 2016

Seeing Them Differently 2

Flaneur Gallery
18 June – 5 July, 2015

Teo Huey Ling’s works involve intricate and laborious art processes. She believes that the concentrated activity of the making process will uncover the responsiveness hidden within the materials, hence bring forward the spirit of the labour and its energy to the viewer. Her works has taken a multifaceted direction in drawings, contemporary ceramics and art installation. Through an agglomeration and adding her skills in both ceramics and knitting, this series reflect the slow and steady way in which technologies are taken up into a tradition. Her knitted porcelain are artifacts which contain within themselves, the continuously evolving social and technological situations she has been exposed to. Graduated with high distinction in both ceramics and drawings from the National Art School, Australia in 2006. She has won the NAS Ceramics Discipline Award, Ceramics Art and Perception award and the student award show in Sydney Australia. She has exhibited in Singapore, Malaysia, Australia and France.

Combine Knitting and Porcelain. Each work is knitted to dip into Southern Ice porcelain slip.

In-between Amorphous

Wood-Repurposed, Glocal Village Gallery, Temasek Poly

Working mainly with clay, wood is a new material for me, both natural material with a different set of characteristic and properties. Wood is warm, heavy and strong, it’s resistance in carving, a subtractive process contrast with clay’s malleable and after firing brittle quality.

The work traces the log’s natural curves while retaining a memory of its previous shape. It mimicked a softness and biomorphic entity that resemble nature’s formation and growth. The organic form does not have a direct reference but evokes in the viewer a sense of ambiguity derived from its sensual volume.

The wood logs came from the fallen trees around Singapore.

Chainsaw was the primary tool, a circular sander for the smooth surface

 Before and after.

After more than 1 month of hardwork, ready for the exhibition.

The toil and sweat behind the scene is beyond comprehension for most people.
By far this is the most technical and physical challenging work that I have done..

The Curious Paradox of 50 House

Singaplural Celebration Design 2016 - Senses,  7-13 march, 99 Beach Road

"A whimsical exploration of 50 house using the material of Clay and Wool.  To the artist, the image of a house is a conception of home and more recently a manifest of the self.

The work hopes to push the boundaries in the amalgamation of both material and also to explore a tactile sensory aesthetic through the image of a house."

Preparation of work for the exhibition

Slip casting with porcelain with merino needle felted wool.
Some fitted with LED lights.

It took 3 months to work on this project, a fruitful learning journey.

Took 2 days 1 night to set up. Drilling the tables and fixing the Leds on site.

Overall view of exhibition room.

Sunday, November 13, 2016

Composition II - Recollection

Urban:ness: Encountering the City, Ductac, Gallery of Lights, Dubai, 2015

The second edition of Composition II, previously exhibited at the Esplanade Community Wall.

Comprising of small whimsical objects made from Ceramics and Wool, this work was a deliberate act of self archiving. It expresses a deeply personal notion of domesticity and belongingness that frequently resurface in my work.