WOLF Issue 2

TWO SEP 2013

OIP FEATURES THE NANYANG STYLE ILLUSTRATIONS WHAT TO EXPECT: A SERIES OF HAIKUS

0 1 .06 - 21 .06

OVE RSEAS I MME RSI ON PROGRAMME

OIP SPECIAL

ONE GIANT FOR

LEAP

G S A SI N G A PORE

OIP SPECIAL

Alina Phang

As the pioneer batch of GSA Singapore, the first year was a roller coaster ride; there were plenty of ups, downs and spiral roundabouts, but nonetheless we survived and we live to tell the tale.

Throughout the year, the one thing that constantly fueled our enthusiasm and energy would be our Overseas Immersion Program (OIP).

Whenever hardships flew our way, they would be combated with thoughts of how our OIP trip would be a grand reward at the end of the school year. We grew increasingly ecstatic as the date for our trip approached.

With everything packed in our bags, we thought that we were more than ready to take on Glasgow. However our virgin trip to the Mothership was one that blew our heads away. Nothing could prepare us for what was to come. Not the small prep talks from the lecturers that flew over from Scotland, or even the talks from Christina Choo, our Communication Design lecturer, after her trip to Glasgow.

In short, Glasgow was an amazing experience, or at least to me, it certainly felt that way.

This might come across as weird, and it might be because it was my first trip out of Asia, but there was something different about the way the sun shone, how pretty little weeds popped up everywhere on the carpet grass, the beautiful architecture of the buildings, and even the smell of the air! They all seemed new to us, and it felt like I had been living in an entirely different dimension all this while.

TH E TH REE W EEKS FLE W BY,

PHOTOS Reuben Chia

THE TH RE E WE E KS F L E W BY, B U T TH E ME MO R I E S W I L L S TAY.

OIP SPECIAL

In terms of size, Glasgow is quite a bit smaller than Singapore. The city is designed based on a grid system, and thus getting around was pretty simple and straightforward.

You will find that everything is within walking distance, especially if you are willing to spare a bit of time and energy, or trying to save money like poor, starving students. As the pace of life is significantly slower over there, many of us found ourselves taking the scenic route, and exploring the city on our feet. The cool weather in Glasgow also encouraged us to walk, as one does not feel as tired, compared to walking in Singapore's sweltering heat.

To be honest, Glasgow is not a very glamorous city.

It is common to hear that most people prefer its sibling, Edinburgh. Perhaps it is because Glasgow appears to be a little dirtier, rougher and less polished in comparison to Edinburgh. In spite of all of this, I found myself falling in love with the charms of this small city, for it felt real and unpretentious. Because of this cozy and relaxed pace of life, most of us did not take long to settle into the lifestyle. Glaswegians were also rather friendly and very welcoming. (That is, after they got over the fact that we Singaporeans are able to converse in English.)

One would also find that the community is very supportive of the arts, and of the Glasgow School of Art (GSA). We were pleasantly surprised to see plenty of stores and pubs dedicated to the arts, and of course, the various museums and galleries all around Glasgow.

Our stint here was a rather short one. It lasted three weeks and throughout our time here, we attended classes from Mondays to Fridays, nine to five.

GSA’s lecturers and a few alumni conducted the classes and talks, and we were able to experience the Glaswegian studio life.

Lessons in Glasgow felt liberating. It could have been the creative vibes of Glasgow rubbing off onto me, or the differences in culture and mindset, but I could not help but to feel more creative and inspired while I was there! We were constantly encouraged to explore, experiment and make mistakes. The lecturers also gave us the freedom to express ourselves, and encouraged us to venture into uncharted waters.

In our classes, we were given plenty of small projects to work on, and most were centered on exploring Glasgow and documenting our responses and feelings about the city. On top of those projects, we also got to visit the historic Mackintosh building! A handful of us had the privilege to attend a letterpress workshop, and it surely felt like a dream come true, for a font-tastic experience like that would be imprinted in our hearts and minds.

While we were there, we also managed to catch the GSA degree show. We witnessed how the show was run by the students, and also had a peek at their graduating works. From these, we could understand and gauge what we are expected to churn out in our upcoming final year.

Despite all the lessons and projects we had, there were daytrips planned for us to tour Edinburgh, and the picturesque Scottish Highlands, where we visited ancient castles, and took a cruise on the scenic Loch Lomond.

Our three wonderful week immersion program came to an end sooner than we thought, and a small exhibition marked the end of our memorable study trip.

Our works and sketchbooks were displayed, and we got to mingle around with lecturers and our Glaswegian peers in informal settings, before saying our goodbyes, and going our separate ways, conquering Europe and enjoying the rest of our summer holidays.

To sum it all up, Glasgow has lived up to its reputation as a creative city, and we definitely can say that we have experienced and benefitted from the Glaswegian style of learning and teaching.

This trip certainly widened our horizons; from the knowledge we gain through the lectures, or even simple things like learning how to survive on our own overseas, and I am pretty sure somehow or another, at the end of the summer, all of us came home a little older, wiser and fitter than before!

OIP FEATURE

Vong Xin Ying

Of Instant Noodles and Roommates x x x

In retrospect, the three weeks we spent in Scotland were hardly just about food and living conditions. Detailing the new cultural experiences in the school, as well the the sights and sounds of the overseas immersion programme would simply take too long, so I will just write about the good times we had cooking and living together.

While there is a wide variety of relatively affordable and easily accessible food in Glasgow, we (like true blue Singaporeans) quickly got sick of the local cuisine, and started craving for Singaporean dishes. Being the kiasu Singaporeans that we are, how could we forget to bring packets of instant noodles? It is strange how instant Korean ramyun reminded us of home, but you can always count on the dehydrated packets of noodles and little satchets of MSG to always taste the same, and they brought us a sense of familiarity, while we were getting acquainted with Glasgow.

We also packed our luggages to the brim with packages of instant soup mix and canned food. All these pre-made sauces and mixes became rare commodities as the supplies dwindled, and throughout the trip, and it was fascinating to see what everyone cooked for dinner, in their respective apartments. Post-dinner time was spent browsing through Instagram where everyone proudly posted pictures of their homecooked dinners. There even seemed to be a competition, although it went undeclared, where everyone was trying to impress each other with their cooking prowess, based on the ingredients used, level of complexity and presentation of dishes.

Bonus points were given if the dishes were cooked with ingredients from home, and could not be found in Glasgow. (Bak Kut Teh, Sambal or Curry Anything, to name a few.) While most of the meals tasted far from our mother's cooking, they brought us a tremendous sense of achievement and satisfaction, to be able to replicate dishes from home. We took great pride and joy in fixing our own meals, in the tiny kitchens of our apartments, and were very thankful for Tesco and Sainsbury, for they

could be found everywhere, and provided a wide variety of pre-packed meats and vegetables.

Before this article starts to resemble a guidebook on where we provide tips on surviving Glasgow only with instant mixes and canned food, let me say that it was clearly not the case. We also had fun exploring the various pubs, like the Wetherspoons establishments, which can be found almost everywhere. Pub grub, such as fish and chips with fresh crunchy peas,(unlike gross mushy ones in Singapore), and the traditional Sunday roast dinners, can all be found there at a fairly reasonable price.

Burgers with thick patties and fillings that stacked up higher than the length of your palm, and rack of ribs were also the reason we returned to Wetherspoons on several occasions.

It was also nice to see people at the bar drinking beers even before noon.

x x x Afternoon Tea at the Willow Tearooms One of the highlights was visiting the Willow Tearooms designed by Charles Rennie Mackintosh. We heard a lot about the Willow Tearooms in our lectures with Bruce Peter, and most of us made visits. With some friends, I spent my last afternoon in Glasgow at the Tearooms, having tea while soaking in the atmosphere, and lamenting how fast the past three weeks had flown by. The experience of having tea in such a historic place, while seated on one of the iconic high-backed chairs should not be missed.

Not as scary as we imagined...

Before the trip, we were given briefings about how dangerous the city of Glasgow could be after nightfall, compared to Singapore, where we often take its safety for granted. We read articles online that talked about crimes and fights in Glasgow, leaving us feeling a little apprehensive in the beginning, but our fears were unfounded.

People in Glasgow were nothing but warm and friendly, from strangers in the streets to the kindly neighbors who helped us when we were lost. The warm hospitality was infectious and we could not help but to feel comfortable and at home. The student leaders and the lecturers there were very kind, and assisted us with whatever problems we faced.

A House Party that Lasted Three Weeks My roommates and I stayed in an apartment that we rented privately, rather than the hostel that the school recommended. A small apartment with a single room, and resembling a two-room flat in Singapore, it was small but cosy; enough for the five of us living together. The single bathroom and limited hot water supply meant that each of us could only take a hasty hot shower before the water ran out.

Those were but small inconveniences and we quickly got around them. For most of us, it was the first time leaving home for such an extended period of time, and sharing an apartment with our friends was a exhilarating experience. It basically felt like a house party that lasted for three weeks.

That said, pick your roommates wisely as you would most likely be spending twenty-four hours a day with them, for at least three weeks. I had an incredible time living together with my roommates, and everyday was filled with raucous laughter and ridiculous jokes.

Often moving around in a large group of seven, we were sometimes shamelessly loud and spoke rather obnoxiously in Mandarin around the streets of Glasgow, sharing inside jokes and breaking out into unbridled laughter. At times we had to remind ourself to calm down and behave in a more civilized manner. Fueled by the warm hospitality and extraordinary good weather, we seemed to have endless energy and had plenty of fun. We hardly felt homesick.

It might sound juvenile but it was an absolute joy buying groceries, planning meals and messing around in the kitchen with our friends.

Loud laughter was always present in our apartment at dinner time, and we often joked that our neighbors – an elderly couple – would probably think that the whole bunch of us had been massmurdered, when we moved out at the end of three weeks.

x x x x x x x x x

It has almost been two months since we returned from the city of Glasgow as I write this article, and the memories are still vivid in my mind, and I am sure that these memories will stay for a long time.

A last couple of points to note, for our juniors: Invest in comfortable shoes and a parka, as you would most likely be walking everywhere in the city. We seemed to have a stroke of good luck with the weather while we were there, but summers in Glasgow are supposedly full of grey skies.

Also, it would be good to invest in some sturdy luggage in a decent size, for the sake of your own sanity. Dragging around heavy luggages with a damaged wheel, while running around train stations and airport terminals to make your flights is NOT fun. Better yet, go for a backpack if you think you can try living on the bare essentials.

Lastly, three weeks sounds a lot longer than it really is, so try to savor every moment and enjoy the experience.

OIP FEATURE

PREPARE TO EMBARK ONCE MORE

For the excited new batch of students who cannot wait to start preparing for your OIP trip next year, here are some helpful tips from your seniors:

WORDS Alina Phang ILLUS Salikin

START SAVING UP When people say it is expensive living over there, we always wondered how bad could it be.

Having experienced it, let us just say that extra money will never do you any harm. It is better to have surplus sitting in your bank waiting to be used than to feel cash-strapped while you are there.

LEARN TO COOK! Not just any cuisine but specifically Asian food!

I assure you that you will miss home-cooked food. Do not get me wrong, we loved tasting Scottish food, but after a while, the rich food got a little too heavy for our palates, and we found ourselves craving Asian cuisine. Cooking is an essential skill for surviving Glasgow, particularly as a poor art student living on a budget.

MAKE A LIST OF PLACES THAT YOU REALLY WANT TO GO Remember your bucket list of places to visit before you die?

Now is the best time to pull it out and try to strike off some of them.

If you do not have such a list, start making one.

This would be a trip of a lifetime for most people, and you would not want to spend a bomb traveling so far, and not taking the opportunity to visit the surrounding European countries.

START WATCHING BRITISH SHOWS! Let us be frank about this; most of us spent half our time there trying to decipher what the locals were saying in their heavy accents. Try and acclimatize to the accents before embarking on the trip, by watching shows from the BBC! One of my personal favorites would be Little Britain. I am pretty sure in a year’s time you would be more than equipped to confidently converse with the locals.

(The editor would also like to suggest Doctor Who, for the United Kingdom is full of Whovians and references to the show can be found everywhere.)

This typographic collage was created with various photographs of type taken by

DESIGN our 4th year GSA students.

STAFF FEATURE

FLUX AND CHANGE Paul Hume is a British born painter, draughtsman, designer, ad-man and teacher who has lived in Australia and South-East Asia for most of his life. He holds a Masters in Drawing from the University of the Arts, London, a Certificate of Graphic Design, a Bachelor of Fine Arts (Printmaking) and a Diploma of Theology from the University of Melbourne.

The faces and bodies depicted in Hume’s recent work appear to be in a state of flux. The figures appear to be “hastening into being, hastening out of it”or doing both at the same time. They seem to be looking for their place in this reality, while already having an eye on the possibility of another close by.

One thing hastens into being, another hastens out of it.

Even while a thing is in the art of coming into existence, some part of it already ceased to be. Flux and change are forever renewing the fabric of the universe, just as the ceaseless sweep of time is forever renewing the face of eternity. In such a running river, where there is no firm foothold, what is there for a man to value among all the many things that are racing past him?”

Marcus Aurelius, Emperor of Rome 161-180AD (1)

(1) Marcus Aurelius, Meditations.

(2) (2a) Francis Bacon, The National Museum of Tokyo, Exhibition Catalogue 2013, page 020.

(3) T. S. Eliot, Essay, Tradition and Individual Talent.

Even though his work is very concerned with mark making and how a painting is made, he has never abandoned figurative content. In fact he seeks to walk the tightrope between figurative painting and abstraction in order to convey the idea of the human figure in a state of flux. To suggest that moment when bodies appear to pass in the blink of an eye, from A to B or conversely from B to A. It’s a position that investigates the fine line between order/chaos, this side/that side, past/future, and by implication life/death.(2) Hume wants to understand this using the language of science rather than spiritual words.

He often explains that according to Darwin’s Theory of Evolution, and taking an extremely macroscopic viewpoint, animals and by extension humans as well, are undergoing a process of evolution or devolution (2a). This is of course unseen to the human eye, but in infinitesimal ways we are changing moment by moment. We are growing taller, changing body shape, becoming the next version of our species.

This is a scientific observation, but it has a legion of mythological parallels, from the idea of Shiva balancing the order of the universe as he performs his eternal dance, to the biblical

4 out of a Series of 48

creation myth depicting God bringing forth order (creation) from chaos.

These ideas are worked out in defiance of the great European tradition of painting the human figure. He says, “I find myself painting against history, against the dead artists; Bacon, Braque, De Kooning, Giacometti, Picasso and Auerbach (who is of course still alive). Their influence is strong; their achievements overpowering, that simply trying to continue to paint the human body in the hope of finding something new seems to be nothing short of presumption.”

“So after years of drawing from life or a photograph, I decided to avoid working from any kind of reference. The work of the dead artists is like a constant film show inside my head and I work against this, but they also continue as judges and mentors of my practice.”

As T. S. Eliot wrote, “ No poet, no artist of any art, has his complete meaning alone. His significance, his appreciation is the appreciation of his relation to the dead poets and artists. You cannot value him alone: you must set him for

contrast and comparison among the dead. I mean this is a principle of aesthetic, not merely historical criticism . . . that the past should be altered by the present as much as the present is directed by the past.”(3) For Hume the aim of his art is to produce something new and memorable. An image realized by combining disciplined drawing techniques and the chaos of spontaneous gestures that exploit the build up of texture and the manipulation of the “lucky accidents” that are provided by the way the paint flows, falls or spills. This pursuit is orchestrated by a set of personal aesthetic “rules” about how to start, where to act and when to stop, informed by a designers awareness of space and composition.

In the “running river where there is no firm foothold” these paintings are the result of an evolving and devolving existence. It is a process that is both physical and intuitive. But it is also a mysterious activity, because the outcome is only revealed as dimensions and transitions emerge from the activity of painting.

Everything is in flux.

STUDENT FEATURE 1/2

Changing perspectives through desig out on certain things or details. In Glasgow, the pace was much slower, which allowed me to start observing my surroundings in a way I have never before.”

CALINE NG No one can forget the beautiful song (A Team by Ed Sheeran) Caline performed for us on stage, at the 100 Days of GSA Singapore exhibition held at Home Club last year, but her talents do not just lie in playing the guitar and singing.

INEVITABLE, a series of Post-Apocalypse photographs she produced for a school assignment was recently exhibited in the gallery at Conclave, by curator Francis Poon. WOLF caught up with her over the summer holidays to find out more about her trip to Glasgow and an insight to the way she works.

“The OIP trip was definitely a refreshing experience” says Caline delightedly. “In Singapore, we move at a fast pace, and sometimes we miss

INEVITABLE was circling around Facebook when a photographer spotted it and introduced her to Occasion’s curator Francis Poon, who helped to exhibit her works in a gallery at Conclave. Inspiration for Caline do not derive from a certain focus, but actually from being observant of her surroundings.

She says, “I can’t put a finger on it because you may take a whiff of a certain scent and have a sudden inspiring moment to do something great”.

However she tells us that installation art is something she identifies most with, because its three dimensional works have the ability to change perspectives and that is what she constantly tries to achieve in her works. Her method of working on projects is to make a to-do-list to ensure she keeps to deadlines, and she gives herself a few days to come up with several concepts.

To her, design is a passion and challenge. It is a platform where she is able to express herself, and she finds great satisfaction when her design is understood by audiences. She dislikes how some Singaporeans regard Art/Design as a job with low prospects, but despite this, she advises that we should love what we do.

To end this article, we asked Caline to tell us about the scariest experience she faced.“My scariest experience was when I had to do ambient advertisements for a project and I went to the cemetery at night to take photos of graveyards. There were absolutely no lights there”.

Lim Yan Lin

gn

All images from Inevitable (2013)

STUDENT FEATURE 2/2

Pineapples AND Peculiarities

CAMELLIA TAN

In this exclusive feature, we try to keep up with the happiest person in Communication Design (or probably even the entire world), Camellia Tan. She starts by telling us that her love for art begun at a young age, where she would get in trouble doodling on top of the impeccable white walls of her home, with her mother’s lipstick. Her ‘troublemaking streak’ continued in primary school, when she started covering her textbooks with imaginative images of unicorns, flamboyant girls in heels and Sailor Moon.

Window of Vulnerability Pumpkin

Window of Vulnerability Cabbage

Lim Yan Lin

“I guess it’s always been a part of me to be in this line and it’s something I cannot explain. I can't foresee myself doing anything else without art. If you love something, just do it. After all, it is your life, so do it your way. Never make it a combination of other people's wishes.”

Camellia currently claims to be raving over jellyfish, glitter and pink peonies.

Pinterest is also a big source of inspiration for Camellia, and there, she professes her love for pineapples, with a Pinterest board dedicated specifically to the fruit. Believing that organic objects have the best textures, shapes and colours, she seems to be quite enchanted by Nature, and advises us to notice the beauty and light around us.

Having such an intriuging outlook on life, it is no wonder that Salvador Dali is the artist she identifies the most with, and she loves how he merged random objects together to create unconventional art pieces. She is also hugely inspired by John Galliano and his fabulously flamboyant couture, and considers his works to be impractical, but very exquisite.

Getting to know Camellia, we realized that there is a sort of calm thoughtfulness hidden beneath the layers of her chirpy personality, and that is evident in her latest work, ‘Window of Vulnerability’, a photography project where she shot ordinary objects to make them appear extraordinary.

Window of Vulnerability Mangosteen

“The images were successful and they aroused interest and piqued curiosity in people. I adore this project and its outcome simply because it is erotic, sensual, unusual and strange all at the same time”.

To Camellia, every brief is different and thus require different ways to tackle them. For ‘Window of Vulnerability’, someone advised her that the key to good shots is to have an interesting subject, and she reflects on the importance of enjoying the process while working on a project.

Here at WOLF, we find Camellia’s animated and seemingly untroubled disposition rather infectious, and could not help but to ask her for tips on staying positive. She leaves us with a quote from Ralph Waldo Emerson, stating that these words have always encouraged her, “To be yourself in a world that is constantly trying to make you something else is the greatest accomplishment.”

INSPIRATION

SAM SPRATT

Alina Phang

DIGITAL PAINTER WITH TRADITIONAL TECHNIQUES

Sam Spratt is a highly talented young illustrator. Currently at the age of 24, he has already done numerous works for various publications, websites, celebrities and corporations.

Most people would not have heard of his name but I am pretty sure they have come across his works on Tumblr and Facebook. Some examples would be his amazingly life-like Angry Birds paintings.

Sam Spratt is an illustrator that paints mainly realistic works. What he does is take the skills of painting traditionally, and combines the techniques and skills on a digital canvas. While painting, he often sticks to a few tools, despite having a huge range to pick from. He hardly ever uses the Control-Z command to undo his mistakes, because he paints as though on a real canvas. Every mark adds character, and if a mistake occurs, he simply works over it, building layers upon layers to give the artwork more depth and character.

http://farm9.staticflickr.com/8451/7899826396_0ab405a491_b.jpg http://farm6.staticflickr.com/5327/9504312803_eb6f11a752_b.jpg http://progressive.kelbymediagroup.com/scottkelby/wp-content/ uploads/2012/08/16_SamSpratt.jpg

I have often wondered how possible it would be for the traditional art to be applied into modern contexts, and Sam Spratt is the answer to my question. I see him as a bridge between the old and the new, creating a beautiful harmony.

With his perception of the world combined with the skills and accuracy in drawing, it will not be a surprise if he were to rise and be one of the greatest artists of our time.

Sam is, and will continue to be an inspiration for fellow artists and designers, as he paves the way for illustration to rise up in a world dominated by photography. Hopefully, businesses would eventually start to realize that despite the powers of photography, illustration is equally capable of creating imagery, sometimes far beyond what the camera can capture.

This typographic collage was created with various phot

DESIGN

tographs of type taken by our 4th year GSA students.

STAFF FEATURE

A DEDICATION TO DESIGN

Concept

Exterior

MARK TEO

After graduating from The University of Melbourne, Mark Teo joined Annex A Architects, and soon became involved with important projects.

These projects allowed Mark to constantly try new things, and engage with clients to a greater extent.

Mark states that his first project at Annex A Architects, The Majestic Bar, was a very unique experience to him, for he had the opportunity to work closely with the client, and acted almost as a curator for several local artists and designers who had installations within each level of the three-storey bar, and expresses pity that the bar is no longer in existence, but feels that the culture of the firm was very collaborative, and functioned like a studio.

Chin Pengxin

1st storey, 2nd storey

Many designers have inspired me.

It would be unfair to have a favourite.

Annex A Architects also collaborated with an international interior design firm called LEO International Design Group. The 2 firms formed an entity called Union Experience, which focused on User Experience Design.

Under the lead of LEO, he worked on SIA's customer service lounger at ION Orchard. Through his consistent and dedicated working experiences, collaboration is his strategy in design.

As a designer who values contexts and user-experience, Mark strongly believes that good design can better

3rd storey

human lives. He is greatly inspired by the teachers he had in his life that have helped shift his paradigms, in academia and beyond. When prompted about his favorite designer, he stated “Many designers have inspired me. It would be unfair to have a favourite.�

His outgoing personality and determination have encouraged him to be curious, to keep learning and to have a fun approach to design, and we cannot help but to feel inspired by him.

Images Credit Annex A Architects

STUDENT FEATURE 2/2

Project 6 - Workplace View from the front

Project 6 - Workplace View from the back

deep thoughts behind a quiet demeanor

Zylvia Chang

Amous Khoo is always calm and collected no matter the situation, and we feel that it is something we could all learn from him. He also likes to challenge himself in each project, and consistently gives his all to meet his goals.

Ever since he was a child, Amous loved to work with his hands, using Lego bricks, and trying to understand the things he created. He hopes to take his passion towards creating to make a difference to people’s lives.

During his secondary school years, Amous joined the Innovation Club, where he took part in many competitions, and gained fruitful experiences and knowledge. Those experiences inspired him to enrol in Ngee Ann Polytechnic, where he graduated with a Diploma in Product Design and Innovation.

His final year project was greatly inspired by how the healthy take the free movement of our body for granted, but when disability occurrs, due to accidents or aging, these movements become restricted, and affect our normal living activities.

The physical struggles of these individuals inspired Amous to design a way to help them cope with their difficulties. This experience allowed him to appreciate the importance of designing with empathy, and he feels that it is truly heart-warming when a design helps people overcome their troubles.

“I wish to instill empathy as one of the design element as our world is aging and universal design is becoming an essential model for sustainability.�

The greatest change of interest was during his internship, where he was responsible for design-related issues, and event management timelines. There was a constant need for perfection in the design outcomes, and becoming a team player was essential.

Amous feels fortunate to be studying in the Glasgow School of Art, for he believes that a school for art should inspire creativity that could make a significant cultural, social and economic contribution to humanity.

He notes that the GSA has all of these qualities, as well as a rich history.

Back from the Overseas Immersion Programme, Amous found it to be an interesting experience, for he got the opportunity to explore new places and absorb different cultures.

He learned more about sharing ideas, as well as how to fully immerse himself with the context of a project before starting to develop the outcome.

INSPI RATION

Li Xiao Dong is a Chinese architect who is inspired to design with natural elements and science. His designs focus on drawing out the spiritual element of ‘place’, while integrating technology.

He does not consider himself as an architect for a few reasons. One reason is because he actually spends most of his time teaching in the School of Architecture in Tsinghua University, which also happens to be the school that he graduated from. The other reason is because most of his designs are never realised, and for those designs which are realised, he funds them in his own way, so he does not make a living out of being an architect.

Li xiao dong

He does not consider himself as an architect for a few reasons. One reason is because he actually spends most of his time teaching in the School of Architecture in Tsinghua University, which also happens to be the school that he graduated from. The other reason is because most of his designs are never realised, and for those designs which are realised, he funds them in his own way, so he does not make a living out of being an architect.

Gerald Khoo

http://archifest.sg/humanity/speaker/ http://www.archdaily.com/tag/li-xiaodong-atelier/

One of his most inspiring designs is the Liyuan Library located in Jiao Jie He village of Huairou, Beijing. The library was meant to be placed by the lake with mountains surrounding it, and he designed the library to become part of the landscape. One of the main concerns of the design was that it would not be powered by electricity, so there would be no air ventilation. Making use of science by using the difference in temperature in the air, and the surface of the water, he created natural air ventilation in the space. He also used twigs in his design, filtering light into the library. This library was also meant to grow with the different seasonal changes. He hopes that eventually, the birds will come, and plants will grow along with the library.

Another inspiring piece is the Bridge School located in Xiashi, Fujian. For this project, he aimed to look at the social aspect of this village, for it had lost its spiritual centre a long time ago. Hence, the idea of a bridge school came to mind. It was meant to be the prime spot where villagers could gather and children could study, re-establishing a community which was long lost. The thought of using a bridge to connect the old settlements together across a lake was not only a witty move, but also an effective one.

This allowed the villagers to once again be connected to each other while using the bridge as a community centre.

In conclusion, Li Xiao Dong is an exceptional architect who aims to better the lives of people with unique ideas. He uses his skills to bring out the essence of ‘place’ without altering the nature of it. His strong intent of wanting to help others is what motivates him to create spectacular designs which improve people’s lives.

Liyuan Library, Exterior

Liyuan Library

Bridge School

TH E BU RS T I N G ART H I S TORY BU FF

ON THE

FEATURE

g n a y n Na e l y St

FEATURE

After my recent trip to Europe, where I got to visit fantastic museums such as the Louvre in Paris, I came back expecting to be raving over the Cupid and Psyche by Canova or admiring the exquisite colours in the Bronzinoes, in this article. Despite that, I decided I would rather write about the Nanyang Style, in honour of Singapore’s National Day. I am using the term “Nanyang Style” loosely here, more as an umbrella term of the mix of style and techniques from the Chinese pictorial traditions as well as the avant-garde movements of Paris. The term “南洋” (Southern Ocean) was first used in newspapers in the 1930s in contemporary Chinese stories written on local Singaporean subjects. This term then developed to be an idea of regional culture, and the need to forge a new identity when Singapore was still a British Colony. However, we know that this quest was cut short by the advent of World War II. During the post war years, there were many artists who produced works that could be identified under the Nanyang style, but Cheong Soo Pieng, Chen Chong Swee, Chen Wen Hsi, Liu Kang and Georgette Chen are known as the pioneers. The five artists were Chinese immigrants who left their country torn apart by the civil war. All of them had exposure to the varied French schools of art, and every single one of them taught

at the Nanyang Academy of Fine Arts (NAFA) at some point in their lives.

Looking at their artworks, and especially those in Liu Kang’s, one can see the influence of Cézanne, Matisse and other schools of Western art, but the subject matter is something that is closer to home. They were greatly inspired after their trip to Bali in 1952, by the different animals, colours and landscape.

The Nanyang style is definitely not the application of a new technique like Impressionism or Cubism, but the artists are united in the choice of subject matters, mostly of everyday scenes. I think they are all beautiful and original in their own right, but my bias for delicacy compels me to list Chen Cheong Swee as my favourite artist out of the five.

Although it reminds me of those old illustrations in our primary school Chinese textbooks,it is the marriage of his western and eastern sensibilities in his paintings that I so admire.

Talking about the Nanyang Style will inevitably bring up the topic of our national identity. Singapore, as well as the other Southeast Asian nations, has always been a hodgepodge of cultures. We are always the ones to assimilate, never really the ones to innovate. I am a third generation Singaporean, I have a Chinese name and my command of Mandarin is what I call “Market Mandarin”.

Christine Neo

The Nanyang style is definitely not the application of a new technique like Impressionism or Cubism, but the artists are united in the choice of subject matters

LIU KANG, Life by the River, 1975, oil on Canvas, collection of National Heritage Board

It is this thin thread that ties me back to my ancestors from China, and as I get older I find myself subconsciously trying to do more “Chinese” things, and I wonder if it is a reaction to the “崇洋媚外” (a servile attitude to foreign things) attitude many people have of the younger generation who choose to follow the East, where we are labeled “ang mo pai” or “banana” (yellow on the outside but white on the inside). There clearly is a second wave of Nationalism since post-war Singapore, and with the acute influx of foreigners recently, there have been a lot of xenophobic sentiments in Singapore going around the Net, but also nostalgia of the “Old Singapore”, where the “kampong spirit” has been romanticized, and has in my opinion, manifested in the revived usage of Good Morning towels at Toastbox outlets.

CHEN CHEONG SWEE, Scenery Chinese ink and colour on paper, 1980

Before this article takes an ugly turn, I am just going to swerve back and direct your attention to the article featuring Foo Kwee Horng, a local watercolourist. There are many contemporary artists like him, capturing daily scenes of Singapore, Indonesia and Malaysia. I see these artists as people who are continuing the legacy of the five artists featured, people giving Singapore her own voice and identity as the years go by.

REFERENCES : BiblioAsia: Volume 7, Issue 1, April 2011 http://www.microsite.nl.sg/PDFs/BiblioAsia/BIBA_0701Apr11.pdf

FEATURE

Local watercolourist Foo Kwee Horng has been painting for more than 20 years, favouring the medium over oils and acrylics for its convenience and portability.

Unassuming and laidback would be the words to describe Mr Foo, and he is pictured here at home, with one of his latest paintings behind him.

I first got to know Mr Foo, a member of the Singapore Watercolour Society, when I started taking watercolour lessons facilitated by him at Goodman Arts Centre some time last year, where he teaches the basics of watercolour as well as basics of art and design to a small group of casual painters (me included). He is best known for his scenes of daily life in Singapore, which he paints both at site and from photographic references. Formerly a teacher with the Ministry of Education, Mr Foo decided to leave his full time teaching job in 2010 to concentrate on painting full time. We find out why.

FO O KW E E HORNG PAINTING HIS SINGAPORE

WOLF: You've left your teaching career to concentrate on your art full-time for some time. How has the decision been so far? I personally think that it's an extremely brave move as teaching is what to known to be an "iron rice bowl" while being an artist is well, to be on the other end of the stability spectrum.

I resigned from full-time teaching in 2010, having spent the last 15 years at various schools. Before that, I was working as a social worker for three years immediately upon graduation. Leaving full-time employment after 18 years at age 41 is certainly not something to prove my bravery! Especially when there is a family to take care off and bills to pay. Having said that, it is a phase in one’s life to decide whether it is more important to continue with something that is stable (but stale) or pursue something that is rather unknown but exciting! Some call that ‘mid-life crisis’. To me, to do my art full-time is not really plunging into the abyss of uncertainty. My job has been about helping others to create art. Now I help myself. I rationalize that if I could help others make art, perhaps working with myself cannot be too difficult. At least I have only myself to manage!

FEATURE

WOLF: From what more popular of mediums such as you think might

I've observed watercolours seem to be a medium here compared to other oil. Is that true and if so, what do be the reason behind?

If you attend an exhibition by the Singapore Art Society, for example, you will see an almost even spread of watercolours, oils, and other mediums. So I would not say that watercolour is a more popular medium. On the contrary, I think that it used to be really popular in the schools as a painting medium at least up to around the year 2000 when the secondary ‘O’ and ‘A’ level art examinations were still focused on still life and nature painting. It was economical and fast as compared to oils and later acrylics. After that, with the change of the syllabus to thematic questions, students and teachers seemed to prefer acrylics and even oils as these mediums tend to be more forgiving (not easier) than watercolours in terms of painting over or rectifying mistakes. Another reason I believe was also because by then, many of the very senior teachers who were very proficient in watercolour painting were all retiring and hence a generation of teacher/artists/watercolourists were gone.

WOLF: With the growing popularity of the grassroots organisation Urban Sketchers, there seems to be some revival of interest in watercolour painting and sketching of everyday sceneries and on-location drawing. You've been painting for more than 20 years, could you tell us a little about your journey in painting these subjects?

Watercolour lends itself very well as a sketching medium, with its ease of portability, usage and cleaning up. So with the establishing of Urban Sketchers Singapore, there seems to be added interest in this medium. However, way back in 1969 (the year the Singapore Watercolour Society, the SWS was established) and even earlier, practitioners of the medium were already doing en plein air painting all over Singapore. Naturally, buildings and places such as the Singapore River were often represented. As a member of the SWS, I have been influenced by those before me.

Christine Neo

Mr Foo’s book “Scenes of Singapore� features some of his latest works. It is published by Marshall Cavendish and is available at all major book stores and retails at $30.

WOLF: The fine art community is relatively small here in Singapore, but with events like the Affordable Art Fair and increased commitment to promote the arts, is the stereotype of a starving artist now a myth?

We are a small nation, the art community is small, and the art market is also small. However with economic progress and cultural progress, we are now more affluent as a society and have an enhanced sense of appreciation for the arts. Combined, it bodes well for artists trying to make a living here. But like all professions, artists have to work hard and work professionally with galleries. Or, they must be proficient in knowing how to promote their own works. In fact, I think all secondary schools, junior colleges and institutions offering the arts (not just visual art) should offer a compulsory module on how to become an artist! Opting to be an artist as a profession should not be left to chance if we are serious about offering our youths so many options in taking up the arts and then don't prepare them enough to face the world. Art skills alone do not ensure survival as an artist!

WOLF: What are your aims and hopes for your own work and the local art community?

Be responsible in producing works that are to the best of my ability. Continue honing my skills and be happy with the freedom that comes with being an artist (and not just only when works are sold!).

SPECIAL

THE ILLUSTRIOUS WORLD OF ILLUSTRATION

Christine Neo

Illustration is definitely an area that is growing rapidly, and it has witnessed some kind of boom in Singapore among young designers, thanks to social media platforms and viable industries such as fashion and entertainment; no longer limited to textbook illustrations, and “Keep Singapore Clean� posters.

Paul Hume, Communication Design lecturer at the Glasgow School of Art Singapore, organized a workshop over the summer holidays, for students thinking of venturing into the fascinating world of illustration.

Illustration Workshop Outing at National Museum of Singapore

The workshop was informal and relaxed; something really important for creating an environment that allows for sharing. Illustration tends to be more personal and so sometimes it can get lonely, and it was so much fun peeking into the sketchbooks of my friends, for it felt like a way of getting to know them better. Through their sketchbooks, I could discover their interests and personalities, and got to see how they looked at things.

Illustration now is very different from illustration from illustrators of the Golden Age. Norman Rockwell and Howard Pyle, whose images are associated with the sentimental and the heroic – produced images so technically accomplished and larger-than-life that one wonders if the artist sold his soul to the devil to be able to paint like that.

The illustration of today seems to be more than mere decoration, not as slave to text, but rather serves to illuminate, and to bring words to life.

The illustration of today seems to be more than mere decoration, not as slave to text, but rather serves to illuminate, and to bring words to life.

I feel it is more important for an illustrator to cultivate a (I am writing this with anticipation of disagreement) personal style and philosophy. While I do not think illustrators are usually associated with philosophy, I find that it does help if we constantly think about our work, why we draw the way we do and where we want to improve.

Before I go too far, let me just get back onto the topic.

A few of the many highlights from the workshop include meeting Jackson Tan of Phunk Studio, and how he generously shared his insights and his work. I think I admire Jackson Tan and the three other “band members”, for being confident and passionate in the things they do. I do not question the passion of budding illustrators, but there are always moments of “this drawing is never going to see the light of day again” and “oh my god why do I suck so much?” and other highly destructive thoughts of self-doubt along those lines.

We also got a chance to visit the “Princely Treasures from the House of Liechtenstein” exhibition at the National Museum of Singapore (from 27th June 2013 – 29th September 2013, present student pass for free entry) and feasted our eyes on paintings by famous painters such as Peter Paul Rubens, Anthony van Dyck and Bruegel. There was even a Raphael painting on display, and although he has made more impressive portraits, it was quite an experience to be in front of an authentic Raphael.

Digressing a little, I found it quite interesting observing the stark difference in these two photos.

That was the Raphael at the exhibit, while the other picture shows people attempting to photograph the Mona Lisa at the Louvre Museum in Paris. I managed to get really close with the Raphael, while it was nearly impossible to get a decent picture of the Mona Lisa.

Leonardo da Vinci and Raphael were both great masters, and both paintings are portraits in similar postures; shoulders slightly tilted with one in front of another.

I think it is quite telling about the way images are consumed by people today.

While most paintings at the exhibit would be considered as “Fine Art” (I almost cannot not use this term with a straight face), I think of them as serving the purpose of an illustration. There are scenes depicting mythological stories, rather like storybook illustrations, there are scenes that describe the everyday life, and there are scenes magnifying and glorifying daily life; most of them commissioned by rich and important people of that time.

So the questions I want to pose are “What is illustration to you?” and “What is it about illustration that interest you?”

I will end here with pictures of pages from the sketchbooks of our friends. I think it is a fascinating insight to the personalities of the artists.

Sophia Leow

Sophia Lee

Christabel

Christine Neo

Tyla Lim

Chee Jiayi

e imagined...

en briefings about how dangerous the er nightfall, compared to Singapore, ety for granted. We read articles online d fights in Glasgow, leaving us feeling a ginning, but our fears were unfounded. hing but warm and friendly, from he kindly neighbors who helped us when pitality was infectious and we could not e and at home. The student leaders and y kind, and assisted us with whatever

at Lasted Three Weeks

in an apartment that we rented ostel that the school recommended. A le room, and resembling a two-room all but cosy; enough for the five of us athroom and limited hot water supply d only take a hasty hot shower before

YOUTUBE .COM/USER/ WOLFMEDIA GSAS

eniences and we quickly got around s the first time leaving home for such an nd sharing an apartment with our friends ce. It basically felt like a house party .

ates wisely as you would most likely be a day with them, for at least three ime living together with my roommates, raucous laughter and ridiculous jokes. ge group of seven, we were sometimes rather obnoxiously in Mandarin around ring inside jokes and breaking out into we had to remind ourself to calm down ed manner. Fueled by the warm hospitalweather, we seemed to have endless n. We hardly felt homesick.

it was an absolute joy buying groceries, around in the kitchen with our friends. esent in our apartment at dinner time, neighbors – an elderly couple – would le bunch of us had been massout at the end of three weeks.

It has almost been two months sinc Glasgow as I write this article, and mind, and I am sure that these mem

A last couple of points to note, for Invest in comfortable shoes and a p

savor every moment and enjoy the e

In the second episode of Wolf Media, we will pick up where we left off. Vincent takes us through the ce we returned from the city ofGlasgow School of Art Singapore's End-of-Year show, d the memories are still vivid in where my the students exhibit their work at MoCA. mories will stay for a long time.

Professor Seona Reid was there to grace the event, and was kind enough to give us a few words. r our juniors: Also, we will bring you along with us to Glasgow, as parka, as you would most likelywe follow the students for the school's first We seemed to have a stroke ofOverseas Immersion Programme, and show you what we were there, but summers in life is like behind the doors of one of the UK's finest art institutions.

some sturdy luggage in a decent ty. Dragging around heavy hile running around train stations flights is NOT fun. Better yet, go n try living on the bare essentials.

nger than it really is, so try to experience.

SPECIAL

What to expect A SERIES OF HAIKUS

T o t hose w ho have served o ur nation:

Been out of touch, some twenty months… Don’t need to feel bad It’s just school, just school

To the fresh grads:

Getting it on with the paper chase already? A little too practical for an art school. No?

WORDS Yi Lin ILLUS Suzanna

To those who have been in the industry:

Why’d you come back to pay twenty k, and some, when you had a cushy seat. Cushy

Benevolent Dictator Christabel Chew

Chin Pengxin Vong Xin Ying

ID Contributors

Guest Contributor

Zylvia Chang

Co-Dictator/Resident Writer

Gerald Khoo

Christine Neo

(Contributors for Issue 2) CD Contributors

Alina Phang

Tay Yi Lin

Wolf Media

JY Lim Lim Jin Yu

Design Slave Tyla Lim

Lim Yan Lin

Guest Illustrators

Salikin

Suzanna Teo

Photographer Reuben Chia

Web Guy

Jeremy Ong