Nostalgia in Transformation, Ong Kim Seng

nostalgia in transformation

Ong Kim Seng

On the cover:

West Bank, Singapore River.

Water colour on paper 120 x 100 cm, 2014.

nostalgia in transformation Ong Kim Seng

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nostalgia in transformation

Foreword

By Jazz Chong Director, Ode to Art.

Watercolour virtuoso, prolific visionary and perhaps one of the most laurelled artists that have graced Singapore’s Art scene till date- Mr Ong Kim Seng is the embodiment of artistic passion. Through our years of professional collaborations, Mr Ong has never ceased to amaze me with his humility and undying vigour to explore, learn and achieve. On the occasion of this exhibition, the artist himself suggested the challenge of oversized works, deciding to take his personal road less travelled and push the limits of comfort. Breaking through all possible constraints of time, health and effort, the end products were not only breath taking specimens of aesthetic beauty, but testaments to his perseverance and absolute mastery over his style. Mr Ong’s dedication to his Art is astounding and yet, it has become a facet so integral to his working that one has come to expect nothing else, but greatness.

In the process of this exhibitions culmination, Mr Ong frequently referenced his conceptual inspirations, citing the memory and emotion so closely woven into his work.

As an individual who has witnessed an astounding amount of Singapore’s history take place in front of his very eyes, the nostalgia that Mr Ong references borders on a historical homage that is tinged with a personal acceptance of change. The artist wishes to express a social message through his work, leaning to neither yay nor nay but simply presenting Singapore’s rapid modernization as it is- allowing the audience to take their own expression from the view of historic gems nestled in a jungle of concrete and steel. His story is one that takes many cities into the heart of their development and yet, stays uniquely Singaporean.

However, in this title, I would like to share with you a different story; that of a boy that persued his passion with unwavering determination, passing pillar and post, experiencing strife and success and taking every hurdle as an oppurtunity of betterment. I would like to tell you a story of skill and fortune, and the melding of history and fate into a vista of artistic scenery. In the pages that follow, you will see not only a conversation between the great artist and myself, but the tale of the man behind the artist. I invite you to share with us not only the stunning expositions of Mr Ong Kim Seng’s skill, but to partake in the journey of an artist placed in the backdrop of a pulsating, changing Singapore. Today I present to you not only memory, history or change; I present you the story of a city- the artist’s very own Nostalgia in Transformation.

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Artist Statement Ong Kim Seng, 2014.

“When I approach a scene, I often ask myself what draws me to paint it; is it the structure itself or the environment? Sometimes it can be either building or environment, or sometimes both. In this exhibition I paid particular attention the formation of the scene which comprises of different shapes of structures, especially the old buildings that are sandwiched or enclosed by ultramodern ones. This is what the modern Singapore cityscape has now become.

Most of my paintings for this exhibition were done on site, which is termed as “plein air”. Using a blend of colours to differentiate the new from the old and emphasizing the old against the new, the scenes have come together in different formations and contrasts, highlighting what has become a commonplace sight for Singaporeans. I also painted scenes of the container port, which will eventually be relocated, with the intention of commemorating the memories of its present location with its backdrop of the Central Business District off Tanjong Pagar. Using larger scale paintings I have incorporated as many details as possible in order to explore a new concept and style.”

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The Long Winding Road A history of the man behind the artist; as told by Jazz Chong – Director, Ode To Art.

“Some of the greatest satisfactions of a genius are his will power and obstinacy” — Man Ray demise of his father to keep them afloat. A bright and inquisitive young boy, Ong carried an artistic kindling from as long as he can remember. Going as far back as 1954, when he first enrolled in Radin Mas Primary School, the artist can still fondly recount his incessant doodling and sketching of figures that would occupy his interest and time without any external persuasion.

Winning a few awards for his art at this tender an age, the young Ong found unlikely support and inspiration in a teacher at his school, who left an impression that would continue for the rest of his artistic career. Although holding no artistic ties of training himself, this particular primary school teacher recognized the inklings of real talent held within the young boy and took it upon himself to encourage and push the boy to surpass his own limits. Struck by his teacher’s encouragement and the realization of the extent of his interest in creating art, the young Ong Kim Seng’s passion for art was, thus, firmly established, and paved the way, so to speak, for his growth as a painter.

Watercolour veteran, international art celebrity, cultural medallion winner and one of Singapore’s most prized artistic scholars- Mr Ong Kim Seng is a man who hardly needs an introduction. A self- taught artist with a thirst for observant detailing, exploration and the unending pursuit of knowledge, Mr Ong has steadily climbed the ranks of formal appreciation to claim his title as one of the most celebrated water colourists of our age; breaking international barriers and surpassing local ones to firmly establish his name as a modern-day cultural treasure.

However, behind the years of sediment, the honours and accolades, lies the solid bedrock upon which Mr Ong’s skill rests. Feeding the roots of his humble life view and his exuberance as an artist is an unshakable passion, and behind the passion is an adamantine chain of determination- the cultivation of his genius that began its journey in symbiosis with the nurture of his very own will power and obstinacy.

Mr Ong’s foray into secondary school in 1958 allowed him his first glimpse of the world of formal art training.

As part of the school’s art club, the young Ong was put into the company of other young artists for the first time and marvelled at the versatility of art backgrounds they held- be it in watercolour, oil, charcoal or crayon. The art teacher himself held a penchant for outdoor paint-

But before all of this, there was a boy.

The Birth of an Artist Born in 1945 in a humble kampong in Tiong Bahru, Singapore, the boy Ong Kim Seng was an only child, supported by his mother who worked double jobs after the

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ing or plein-air painting, as it is known, which perhaps, was the seed of the artist’s own interest in the field that would grow to bloom in the years to come. As part of his art classes, he was introduced the painting and sketching of still life, of live models (not nude models, however, the artist jokingly clarifies) and was even taken out to the school grounds to experience and learn the art of landscape painting. The young artist found encouragement once again in his teachers and fondly remembers how once submitted, the teachers would refuse to return his work- enjoying it so immensely, that they wished to retain it as keepsakes. He had his first taste of recognition when he partook in interschool art competitions, with one particular competition earning him three wins at once- a feat so impressive, that it was even covered by local newspapers such as the Singapore Free Press. A premonition, perhaps, to the scores of newspapers that would flock to him since. ing or plein-air painting, as it is known, which perhaps,

In 1960, the adolescent Ong Kim Seng was awarded three top prizes earned at a school art competition- an achievement that was covered by the Singapore Free Press as a headlining story

was the seed of the artist’s own interest in the field that would grow to bloom in the years to come. As part of his art classes, he was introduced the painting and sketching of still life, of live models (not nude models, however, the artist jokingly clarifies) and was even taken out to the school grounds to experience and learn the art of landscape painting. The young artist found encouragement once again in his teachers and fondly remembers how once submitted, the teachers would refuse to return his work- enjoying it so immensely, that they wished to retain it as keepsakes. He had his first taste of recognition when he partook in interschool art competitions, with one particular competition earning him three wins at once- a feat so impressive, that it was even covered by local newspapers such as the Singapore Free Press. A premonition, perhaps, to the scores of newspapers that would flock to him since.

The young Ong Kim Seng with his mother Goh Choon Hoon, who worked as a washer woman and grass cutter to support her family after the demise of her husband.

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Ong Kim Seng had his first taste of first of outdoor painting with the Pasir Panjang Secondary School Art Club in 1959

Stepping Stones “Perfection is no small thing, but it is made up of small things.” — Michelangelo

Though speckled by illustrious artistic revelations, Ong Kim Seng’s childhood gave way to a variety of professional excursions in an attempt to carve out a livelihood that art itself did not make pragmatically possible. In a time where art was more avocation than vocation, the artist pursued financial stability, though never forgetting his passions- practicing his art whenever he garnered free time or a weekend free of work. After graduating secondary school in 1962, the artist landed on his first profession- an apprentice at an advertising agency. Following this, he would continue to work as a policeman, a welder, a line technician at an electronics firm and an audio/visual technician at an established College. However, it was during his time as an advertising agency apprentice that Mr Ong made associations and friendships that would forever alter his future.

Working at a refinery in Pulau Ayer Chawan, 1972

Longing to continue his artistic passions any way he could, Mr Ong found himself a participant in a group of outdoor painters- a group that met at the banks of the Singapore River to pursue their common passions; a group that would go on to form the distinguished Singapore Watercolour Society. Led by writer, artist and lecturer, Chia Wai Hoon, and Comprising of ground

breaking first and second generation artists such as Lim Cheng Hoe, Ong Chye Cho, Tong Chin Sye, Hua Chai Yong and Chew Yew Seng, the group was Ong Kim Seng’s first introduction to the active art societies in Singapore at the time; namely: The Singapore Art

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his offer of purchase, the artist remembers asking the gallery owner if he was sure he wanted to buy his work. On confirmation, Mr Ong was overjoyed, and gave away the rest of his works along with the purchased few- an act he humorously contemplates till today as perhaps one of folly. Was it a mistake? When asked, the artist looked away thoughtfully and stated simply, “I don’t want to think about it.

Life goes on.” The gallery still holds a few of his early works till date that the artist whimsically visits on occasion.

Society and the Society of Chinese Artists. The annually held exhibitions from these art societies were held as considerable achievements at the time, with artist’s having to pay an entry fee, and if selected, a hanging and catalogue fee to facilitate their exhibition. Mr Ong diligently submitted his work every year, often receiving selections and occasionally, rejections as well. Only 17 years of age at the time, this was also when the artist joined the controversial Equator Art Society and attended his first ever formal art classes- held by none other than the great Chua Mia Tee. Being a self-trained artist, such classes were eye-opening the young Mr Ong, who found them inspiring and of immense academic assistance to the development of his art.

The Summit “A journey of a thousand miles begins with a single step”— Lao Tzu 1978 was a turning point in the life of Ong Kim Seng. With many years of experience behind him, the artist muses, in retrospect, that the attainment of fame is a very difficult feat indeed.

Talent in itself does not command renown: it is uniqueness- the difference one holds beyond his peers that acts as a springboard into recognition; and it was during his time as an audio/visual technician that the artist was struck by an avenue for his own, personal brand of expression. As part of his profession, Mr Ong was exposed to persons of various nationalities, spanning from Bangladesh, India, Pakistan, Bhutan and Nepal, to Burma, Cambodia, Laos and Vietnam. On a chance interaction with a native of Nepal, the artist found the photographic images of the snow strewn country breath taking, captivated by the landscapes and forms it was comprised of. The Nepal native urged the artist to visit Nepal and see the sights for himself- an idea that took root within him and began to grow. Within a few months, Ong Kim Seng was in Nepal, embarking on a new activity that would decorate his artistic journey; an activity called trekking.

Ong Kim Seng worked a variety of jobs to keep himself financially stable, including a stint at a refinery in Pulau Ayer Chawan in 1972.

This would later inspire his Painting, ‘Welders in Jurong’ (above: 52 x 72 cm, 1976)

Continuing his struggle of maintaining balance between his artistic inclinations and his professional demands, Mr Ong admits to his possible naivety at a time when art was only beginning to take off as a luxury commodity. It was only during the 70’s, the artist recalls, that he began to see the sale of art become more commonplace; however, the art sold then was priced far far below what they sell at today, with artist’s selling for thousands of dollars per work being virtually unheard of. The artist vividly remembers his first dalliance with selling art when he was approached by a gallery owner interested in his work. Taken aback by

Trekking is not mountaineering, the artist clarifies; it is not the commandeering of a peak, but a walk through it; walking as far as possible, as high as possible, and as close as possible- if not to the peak itself. Nepal is a country 8

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held in Singapore followed a common regime and pattern; title and theme wise, there was a commonality of structure, with showings always named and shaped after the artists who created them. Defying this commonality, Ong Kim Seng turned the convention on its head, and put up a show themed and named entirely on its subject. Instead of putting up ‘An Exhibition by Ong Kim Seng’, the artist put up ‘Himalayan Pilgrimage’.

known for its mountain ranges and most notably, for hosting the magnificent Mount Everest. The Great Himalayan Range that forms the northern region of Nepal also houses a significant Rain Shadow area- a region that lies on the lee-side of a mountainous area, devoid of the wind and rain that are blocked off by the mountains before them. This particular geographic composition makes Nepal a fascinating destination of unique sights, structures, and flora and fauna, and it is these precincts that Ong Kim Seng captured in the most important watercolour series of his artistic life.

Ong Kim Seng painting at the Bogda Base Camp, XinJiang, in 1983

Ong Kim Seng returned from his 1978 Nepal trip with over 20 artworks in hand.

Setting out on a solo expedition, the artist employed a guide, a cook, and porters to carry his artistic and other supplies as he trekked up one of the most difficult trails in existencethe trek to the Everest Base Camp. The trek lasted 16 days, during which the artist not only soaked in his glorious surroundings, but frequently set up his easel and painted them- returning from his enlightening trip with over 20 works of art under his arm. On his return to Singapore, Ong Kim Seng held his first ever one man show- a decision that accompanied an epiphany that would mould his career. At this point of time, the manner of exhibitions

Post the completion of his first trip, the artist returned to Nepal every successive year. Here, he is seen at the Annapurna Peaks, Nepal, in 1981

Drawing crowds of viewers and publicity- most enticed simply by the diversity and intrigue of the exhibition’s titles and subject matter- the 9

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or more awards from the AWS. Laurels continued to shower down on the artist and he was made president of the Singapore Watercolor society in 1991, coinciding with his being awarded Singapore’s most prestigious cultural award- The Cultural Medallion. He tenured as president till 2001, after which he continued his duties as honorary president. In 1993, The artist’s work, ‘Bhaktapur’ was auctioned and sold by Sothebys , Hong Kong, making it the first Singaporean watercolour work to be auctioned by the house.

exhibition was a rousing success, selling over 85% of its holdings. The artist proudly recounts how even some of Singapore’s pioneering art icons such as Cheong Soo Pieng, Liu Kang and Lim Tze Peng came by to view his works.

Moved and humbled by the discovery of a new avenue for his artistic expression, the artist swears by the happenings as a point of no turning back- the cornerstone to his career that effectively put him at the precipice of success. Invigorated by his discoveries, the artist returned every year since, going on to paint Kathmandu, Dhaulagiri and other surrounding areas. The artist has made a whopping nine treks so far with the last being in 1996; following which, he was reluctantly pushed to put a hold on his trips due to the constraints of health and age. He refuses to give up, however, and in a testament to his spirit of exploration and the incessant vigour that drives him, Mr Ong plans to visit again but perhaps, he humorously adds, traverse the lower ranges better suited to his age.

The allure of Ong Kim Seng’s artistic work far extends the limitations of simple aesthetics in imagery; as Mr Ong says himself- there are 3 parts to being a successful artist- aesthetics, statement and passion. A great piece of art channels all three aspects, and the absence of any one leaves something to be desired. Bringing together a multileveled understanding of art, Ong Kim Seng’s work projects impeccable technique, his thirst for excellence, as well as a structural composure that highlights the natural appeal and history of a scene. A selfproclaimed naturalist-impressionist, as well as an ardent supporter of the Plein Air technique of painting, the viewer can easily establish the artist’s signature focus on colour, the interplay of light, and enhancing the natural appeal of a scene. Plein air, or simply put, outdoor painting, is a spontaneous technique that requires the artist to be situated by the actual scene he is painting- as opposed to painting from a picture or photograph. As the artist explains, painting from an existing image holds many subjective aspects that may hinder the scope of an artwork. For example, the image a photograph depicts relies heavily on the level of colour and detail it has captured, its composure and situational aspects decided wholly by the photographer. However, when the artist is actually present, he is able to identify and depict aspects such as hue, lighting and shade- a feature found most prominently in the work of Ong Kim Seng- as well as dictate his own composition and angles.

The Eye of the Beholder “To be an artist means to never avert one’s eyes”— Akira Kurosawa At a time when artistic recognition was a rare and revered achievement, Ong Kim Seng was not to be stopped. Refusing to stagnate and yield to the solidarity of acclaim, the artist persevered in his form, breaking far more boundaries than he could have conceived. In 1983, Ong Kim Seng participated in his first American Watercolor Society (AWS) exhibition, consequently winning his first award from the prestigious society. In 1990, he became the first ever Asian artist out of the USA to gain membership into the AWS, joining ranks with some of the world’s finest water colourists including Robert E Wood, Rex Brandt, and Robert Vickrey. His international accolades do not stop there, however, as the artist went on to win a stunning 6 awards from the coveted organization, a feat which later led him to be conferred as a Dolphins Fellow in 2000- the criteria to which was being the recipient of 4

There are definite difficulties to art form as well, as the artist clarifies. Missing the crea10

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Ong Kim Seng was both awed and humbled to have the illustrious Lee Man Fong attend his 1982 exhibition at the National Art Museum, Singapore

In 2004, The Singapore Philatelic Bureau released a special series of ten stamps featuring the artist’s water colour works.

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Having won an astounding six awards from the American Water Colour Society, Ong Kim Seng was conferred with the coveted Dolphin Felowship in 2000.

stereotype, however, the artist also practices other manners of watercolour painting such as the California style, that brings out very distinct impressionist uses of colour and altered forms that border on surrealism.

ture comforts of a studio, an artist working in the outdoors faces the uncertainties of weather such as sudden outpours of rain, or the scorching sun beating down their necks; they face distractions in the form of people collecting around their work, or even animals, the artist jokes, such as ferocious dogs that have forced him to double his easel as a weapon of self-defence! As an artist who significantly enjoys the dynamism of light as well as the tonality of colour- an outcome of the impressionist’s coveted vibrancy- Ong Kim Seng finds joy in creating his own compositions and highlighting the nuances extended by natural light. Light is an important aspect, the artist observes, that is reflective of our times.

Classical art and gothic art often emphasized gloomy days and darker frameworks; but modern audiences enjoy the exhilaration that sunlight brings, and the positive connotations of a bright day. The concurrent shadows in his works function not only as positive space but also add a three dimensional accent that essentially forms a distinct part of the feel the work communicates. Escaping the bracket of

The art of Ong Kim Seng is steeped in emotion, relying heavily on the artist’s perceptions and emotions that lie behind his choice of subject and its composition The artist considers the statement in his work as such that resonates easily with the audience in terms of meaning; with feeling melding into aesthetics to form a single comprehensive work of expression. In recent series of works, such as his 2011 project, ‘Heartlands: Home and Nation in the Art of Ong Kim Seng.’, the artist expresses his passion for the changing landscape of Singapore, channelling his emotional involvement as a born and bred Singaporean watching his home transform in front of his very eyes. As a water colourist, the artist explains, the involvement of emotion is subtly weaved into the choice of colours and composition; a far more delicate and implicit procedure as compared

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The artist was honoured with the prestigious 1990 Cultural Medallion for Visual Arts by the National Arts Council, Singapore.

A Landscape of Change

to, say, a work of abstract or expressionist art.

Take for example, the artist’s AWS award winning painting of a wall by Bencoolen Street; although crafted masterfully, the subject itself often draws interest as it is simply a vast white wall with no striking structural uniqueness. However, it is the same emptiness in its expanse that is what drew Ong Kim Seng to this particular structure, who found emotional resonance and meaning in its unbounded extents set in the middle of a bustling city. This vision and correlation inspired him to depict it in a manner that both exalted and subdued its implications; the result was an award winning, internationally acclaimed piece of art.

“The object of art is not to reproduce reality, but to create a reality of the same intensity.”

— Alberto Giacometti Every year, on the 1st of January, Mr Ong Kim Seng travels to the UOB plaza area in Singapore, and paints. A practice he has observed for decades and continues to till today, the ritual of sorts has opened the artist’s eyes to the rapidly changing landscape of Singapore, and the concurrent changes within himself. Every year he paints the same scene, but every year brings new additions; he paints different strokes and colours as new coats of paint appear on old buildings, he paints different angles as he tries to assimilate the new rises on a familiar skyline. In the workings of a city, change is a necessity in the linearity of time; it is an invigorating and exhilarating practice that attempts to establish a constant upsurgean unending journey of betterment and evolution. Where, however, does one draw the line between history and modernity? Where does

As Mr Ong explains, an artist often asks himself why he has decided to choose a certain place, or to depict it in a certain way. Such introspection allows the artist to better understand his motives, and builds the enthusiasm to create a work that fulfils, if not exceeds, the motivation behind it.

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In a testament to skill required of his art and the unending perseverance of the man behind it, the artist has also chosen to create this new series with a number of works that far exceed the size of his other works. Large scale paintings, as the Mr Ong explains, are enormous not only in size, but in the conceptualization and labour that go into their creation. A demanding form of artwork, the sizable pieces differ greatly from simply expanding a smaller piece of art; the composition, strokes and maintenance of fluidity as translucent watercolour require a greater degree of control, pushing the thresholds of balance between the variables of a work. Why does he choose this form of expression? It’s simple, the artist responds. One is the greater statement they make, the impact (both aesthetic and conceptual) being drawn out as palpable even from a distance; and two, is the challenge of the process itself. As a man who constantly pushes boundaries, the idea of exceeding expectations is not only thrilling but an essential part of his identity as an artist. This newest challenge forms only a leaf in the book of Mr Ong’s unending journey to artistic exultation.

heritage end and development begin? Such questions lie very close to Ong Kim Seng’s heart, turning and yearning and eventually finding their expression in the loudest voice an artist knows- his art.

An extension of sorts to his 2011 ‘Home and Nation…’ series, that focussed on the erection of new buildings and the alteration of the old, Mr Ong now takes on his newest project as an endeavour to capture the isolation and absurdity of heritage surrounded by indifferent modernity. In a social statement of sorts, the artist brings forward a perspective that often escapes the view of the average Singaporean- that of the structural repercussions of a shifting composition that leaves older buildings to fend for themselves in a crowd of modern upheaval. The center of the city, the artist explains, is an example of structural support; the Victoria Memorial Hall, City Hall and the Supreme Court, flanked by the Old Parliament Building, hold each other up in cultural solidarity. However, buildings like the Thong Chai Hospital, the Old Hill Street Police Stationthese are heritage buildings that stand alone, holding a space that is slowly but surely being taken over by the gleaming mask of nouveau offerings. Clarke Quay too, creates deep stirrings within the artist’s consciousness, who considers its refurbishing as almost resembling an old lady donning the appearance of an adolescent girl. However, the artist clarifies that there is a distinction in the message he is trying to convey. While the alteration of historically significant areas inevitably incites feelings of loss and nostalgia, adaptation and assimilation form equally important parts of growth- more so in the view of uniquely Singaporean culture. Singapore is a city of both old and new, an amalgamation of tradition and upstarts; this unique coalescence is precisely what the artist wishes to represent in his art.

Some artists paint only the old as a statement, some artists paint only the new; but Mr Ong wishes to represent the present as it is, preserving and communicating through multiple layers of depth that are left to the viewer to decipher at will.

But of course, the artist does not plan to stop here. On the completion of this series, Mr Ong plans on continuing painting, devising more and more series as and when the stirrings of a new project dawn upon him- possibly resulting from his next trip to the Himalayas. Acrylic may be next, the artist says with a twinkle in his eye, losing himself momentarily in the description of acrylic as a medium that beautifully balances the translucent smoothness of watercolour and the thick richness of oil. Leaving all in the room in awe of his rhapsodic energy, the artist simply shrugs and says, “We are in the eye of history, everything is changing before our eyes. Every day is another day, a new chapter; you have make it worth it. You have to live to the fullest” And so our conversation ends; and our journey through the picturesque landscapes of change begins.

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The Art of Ong Kim Seng An Essay by Choy Weng Yang

Art of Ong Kim Seng’ – observed:

In 1983, Ong Kim Seng went to New York to receive the prestigious Paul Remmy Award for his painting titled ‘Heart of Kathmandu’, from the American Water Colour Society, New York. Dong Kingman, the reputable Chinese American Water colourist, renowned for his brilliant watercolours with an oriental focus, said:

“Widely admired for their rich and meticulous details, as well as strong contrasting effects of light and shade, Kim Seng’s Nepali images open up a wold of poetic grandeur even as what is being presented appears to be an ordinary moment on the street. While the fluid strokes and efficiency of details in these paintings may come across as effortless to the eye, the ability to control and wield such intricate brushwork, and the creative handling of colours in a medium known for its transparency and unpredictability all reflect the sound focus and mastery of techniques on the artist’s part.”

“He is versatile in his use of colour, rhythm, and imagination; and there is freshness and vitality in his composition and technique, whether depicting the soaring clouds of the Himalayas or the steaming tropics of the Bay of Singapore.”

In the compact schedule of a prolific artist, there is always an intense pursuit of fresh ideas and untried possibilities in his artistic endeavour. One singular work which emerges out of an accidental encounter can become an exhilarating artistic breakthrough, and, in turn, becomes the crucial turning point which subsequently changes the course of the artist’s artistic progress. The painting ‘Heart of Kathmandu’ is one such artwork.

In the impressive watercolour fraternity in Singapore with its overwhelming participants, with more and more competent water colourists joining the ranks of water colour artists of calibre, and thus, an artistic force to reckon with- Ong Kim Seng holds a special place.

In the popular plein-air watercolour practice, a number of practitioners have the ability to capture- without failthe explicit details and atmospheric light of the scene before them through the fascinating art of visual rendering with entrancing watercolour effects. Characteristically, Kim Seng goes beyond this to explore new possibilities which have the capacity to transform the work from one of impressive virtuosity, to one that connects with various facets of life: cultural, historical, social, and emotional and environmental.

So stark was the contrast between Singapore and Nepal that Kim Seng was, at first, at a loss so as to how he could portray the exotic beauty of the city of Kathmandu in watercolour, the art medium which is his forte.

However, he immediately sensed that his watercolour repertoire, with which he so effective captured Chinatown, Singapore, would be inappropriate here. He realized that to depict Kathmandu vividly, he would have to approach it with a fresh perception- without any preconceptions. To capture the majestic ancient architecture and the clear, ethereal light, he would have to discover the building brick by brick, wall by wall, by exacting proportions. It was a daunting challenge; but characteristically, Kim Seng plunged right into it.

Ma Peiyi - in ‘Passion for Landscapes: The Watercolour

“Most of my paintings were done on site, which termed as ‘plein-air’. When I approach a scene, I often ask myself, “What draws me to paint this scene?” Is it the building or the environment? Sometimes it can be the building or the environment or both. In this exhibition, I pay particular attention to the formation of the scene

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“The ability to use colours effectively to reveal the emotional message of a painting contributes much to its success. I place importance on colours to achieve the clarity and transparency that I believe are only possible in this medium.”

which comprises of different shapes of structure, especially the old buildings sandwiched or enclosed by the ultramodern ones. This is what is in the modern Singapore cityscape.”

Throughout the history of Western painting, the element of colour has been a powerful force in the painting process it infuses the painting with a presence, eloquence, drama, and even grandeur. With colour, Vincent Van Gogh, the great Dutch artist of the 19th century, intensified his imagination and evoked emotion, creating a long list of memorable master works. He used the phenomenon of constant colour changeability to capture the violent turbulence of the sea in his seascape ‘Fishboats near Saintes Maries’ (1988). In the insightful publication ‘Van Gogh and the Colours of the Night’ authors Maite Van Dijk and Jennifer Field revealed: “The night was a constant source of inspiration for Van Gogh”

The element of light is yet another indispensable force in the art of watercolour. Here, Kim Seng has demonstrated his uncommon skills in the manipulation of light in the creative process. In work after work, he deployed the technique of light and shade to dramatize the theme: whether this be a riverscape, cityscape, a scene at the Himalayas, a scene in Bali, or a Chinatown street scene.

Even more impressive is his ability to sensationalize the atmospheric mood which determines the essence of a place. In his undated watercolour ‘Rays in the Hall’, he created a sublime mood so central to the spirit of the ambience with a singular streak of light. In ‘Myanmar’ (2012), he infuses the place with its enthralling majestic atmosphere through a glow in the expansive floor. As the artist puts it himself:

Kim Seng has demonstrated that with the element of colour he had the ability to instil enrichment in various aspects of his watercolour art- aspects such as history, culture, environment, atmosphere- thus further enhancing the work. In the watercolour work ‘China Street, Singapore’ (2013), he recaptured- with breathtaking effects- the Chinatown ambience of the 1960s with its nostalgic spirit. As the artist says,

“When I observe a scene, I imagine the finished painting before I begin the actual process of sketching and painting. This is the moment I identify the darkest and lightest points of the scene in order to establish the contrasts.

Once contrast placement has been decided, I start to sketch with a pencil... while sketching the scene I eliminate elements that obstruct the focal point- achieving the scene that I want to see.”

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Elgin Bridge, Singapore.

Water colour on paper 120 x 90 cm, 2014.

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Boon Tat Street.

Water colour on paper 120 x 90 cm, 2014.

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Jinricksha Station.

Water colour on paper 120 x 90 cm, 2014.

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Daybreak at the Container Port.

Acrylic on canvas 127 x 102 cm, 2014.

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North Boat Quay.

Water colour on paper 120 x 90 cm, 2014.

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West bank, Singapore River.

Water colour on paper 120 x 100 cm, 2014.

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Ong Kim Seng

Temple Street.

Water colour on paper 120 x 100 cm, 2014.

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nostalgia in transformation

Midday at the River.

Water colour on paper 57 x 76.5 cm, 1994.

25

Ong Kim Seng

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nostalgia in transformation

Container Port at Shenton Way. Acrylic on canvas 110 x 90 cm, 2014.

27

Ong Kim Seng

Misty Morning.

Water colour on paper 57 x 75.5 cm, 2014.

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nostalgia in transformation

Aliwal Street.

Water colour on paper 36 x 51 cm, 2013.

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Ong Kim Seng

Amoy Street.

Water colour on paper 52 x 72 cm, 2010.

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nostalgia in transformation

At Marina Barrage.

Water colour on paper 52 x 72 cm, 2008.

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Ong Kim Seng

Boon Tat Road.

Water colour on paper 35.3 x 51 cm

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nostalgia in transformation

Cavanaugh Bridge.

Water colour on paper 52 x 72 cm, 2010.

33

Ong Kim Seng

Circular Road.

Water colour on paper 52 x 72 cm, 2008.

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nostalgia in transformation

Chatting at the River.

Water colour on paper 76.5 x 57 cm

35

Ong Kim Seng

East Bank, Singapore.

Water colour on paper 55 x 77 cm, 2014.

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nostalgia in transformation

Entrance to Mackenzie Road.

Water colour on paper 35.5 x 51 cm, 2013.

37

Ong Kim Seng

Jinricksha Station.

Water colour on paper 52 x 72 cm, 2011.

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nostalgia in transformation

Lane off Little India.

Water colour on paper 52 x 72 cm, 1995.

39

Ong Kim Seng

Lim Teck Kim Street.

Water colour on paper 35.5 x 51 cm, 2013.

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nostalgia in transformation

Mackenzie Road.

Water colour on paper 52 x 72 cm, 1994.

41

Ong Kim Seng

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nostalgia in transformation

Entrance to Mackenzie Road (II).

Water colour on paper 35.5 x 51 cm

43

Ong Kim Seng

Morning Light at Emerald Hill.

Water colour on paper 40 x 50 cm, 2012.

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nostalgia in transformation

Morning Light.

Water colour on paper 34.5 x 51 cm, 1995.

45

Ong Kim Seng

North Bank, Singapore.

Water colour on paper 54 x 74 cm, 1986.

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nostalgia in transformation

Sunny Street, Chinatown.

Oil on canvas 62 x 92 cm, 2013.

47

Ong Kim Seng

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nostalgia in transformation

Opposite Katong Park.

Water colour on paper 52 x 75 cm, 2009.

49

Ong Kim Seng

Telok Ayer Temple.

Water colour on paper 35.5 x 51 cm

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nostalgia in transformation

Teochew Street Bank.

Water colour on paper 57 x 76 cm, 2014.

51

Ong Kim Seng

Unloading at the Singapore River.

Water colour on paper 57.5 x 77 cm, 2014.

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nostalgia in transformation

Welders in Jurong.

Water colour on paper 52 x 72 cm, 1976.

53

Ong Kim Seng

West Bank, Singapore.

Water colour on paper 57 x 76 cm, 2014.

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nostalgia in transformation

Angkor Wat, Cambodia.

Water colour on paper 52 x 72 cm, 2010.

55

Ong Kim Seng

Melaka River.

Water colour on paper 52 x 72 cm, 1999

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nostalgia in transformation

Pulau Saigon Road.

Water colour on paper 57 x 76.5 cm

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Ong Kim Seng

Singapore River.

Painted 1972

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nostalgia in transformation

Street in Bhaktaphur.

Water colour on paper 52x72 cm, 2006.

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Ong Kim Seng

Painting in Pasir Panjang Road on 22nd July 1986

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nostalgia in transformation

Ong Kim Seng Biography Ong, Kim Seng BBM. A.W.S. DF. N.W.S. was born in Singapore and has been a fulltime artist since 1985. He has participated in group and solo exhibitions at Singapore and in the United States, China, United Kingdom, Japan, Australia, Belgium, Federal Republic of Germany, France, Middle East, Taiwan, Hong Kong, and the Asean countries.

He has won six awards from the AMERICAN WATERCOLOUR SOCIETY; the Paul B. Remmy Memorial Award in 1983, the Lucy B. Moore Award in 1988, the Clara Stroud Memorial Award in 1989 and the Barse Miller Memorial Award in 1992, Winsor & Newton Award in 2000 and the Ida Wells Memorial Award in 2001. He has been an active member of the AMERICAN WATERCOLOR SOCIETY since 1990 and was the first Asian outside the U.S.A. to be awarded membership. After having won five of its awards, Kim Seng was made a Dolphin Fellow of the AWS in 2000.

In 1999, he was awarded the Cultural Medallion for visual arts by the Ministry Of Information and the Arts, Singapore. He was conferred as Dolphin Fellowship in 2000. He won the Excellence for Singapore Award presented by the SINGAPORE TOTALISATOR BOARD 2000. He was also awarded the Singapore Internationale by the SINGAPORE INTERNATIONAL FOUNDATION in 2001. His most recent award is the2001 Arts Supporter Award presented by the NATIONAL ARTS COUNCIL. Kim Seng is a signature member of the AMERICAN NATIONAL WATERCOLOR SOCIETY and has had work selected for the NWS’s exhibition in California. He was also President of the SINGAPORE WATERCOLOR SOCIETY from 1991 to 2001 when he became Honorary President, in which capacity interacts with other watercolour organizations in other parts of the world.

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Ong Kim Seng

Awards 2013

1991

‘Master of ASEAN’ award at the World Watercolour Exposition,

Awarded the 1990 Cultural Medallion, Presented by the Ministry of

Thailand in June 2014

Information and the Arts, Singapore

2010

ralee Kala Nilayam (Singapore Kairalee Arts Centre) in recognition of

Winsor and Newton Award American Watercolour Society, New

the artistic achievements given to Singapore.

Presented the “PONNADAI” (Golden Shawl) by the Singapore Kai-

York, USA

1990

Friend of Heritage Award, National Heritage Board, Singapore

Active member, American Watercolour Society (A.W.S) New York,

2003

U.S.A.

Awarded the Silver Award by the organizing committee of the National watercolour Exhibition of the People’s Republic of China in

1989

Fuzhou, China.

Clara Stroud Memorial Award by American Watercolour Society, New York, U.S.A. (3rd work to win the AWS Award, THIMI NEPAL).

2001 Supported of the Arts Awards presented by the National Arts Coun-

1988

cil. The Singapore Internationale by the Singapore International

Lucy b. Moore Memorial Award by American Watercolour Society

Foundation.

, New York, U.S.A. (2nd work to win the AWS Award, Backyard, Singapore).

2000 Awarded the WINSOR & NEWTON AWARD presented by the Ameri-

1983

can Watercolour Society at the Salmagundi Club, New York on April

Paul B. Remmy AWS Memorial Award by American Watercolour

28, 2000 for the painting “Old Corner, Nepal”

Society, New York, U.S.A. (1st work to win AWS Award, Heart of

Conferred the DOLPHIN FELLOWSHIP by American Watercolour

Kathmandu).

Society Awarded THE EXCELLENCE FOR SINGAPORE AWARD 2000 by the

1982

Singapore Totalisator Board on 4 August, 2000. Presented by Singa-

P.J. Ireland Award, Macquerie University, N.S.W. Australia.

pore Ex-President, Dr Wee Kim Wee.

1977

1995

Medal Award, Presented by the Ministry of Culture at the National

Pingat Apad, awarded by the Malay cultural group, Angkatan Pelukis

Art Exhibition for painting exhibited.

Aneka Daya 9th December 1995, National Museum by Mr. Mohamad

1974

Packer Mohd. MITA. Perm-Sec.

First Prize, Port of Singapore Authority Artist Encouragement

1992

Scheme Open Art Competition.

Awarded the BASE MILLER MEMORIAL AWARD presented by the American Watercolour Society at the Salmagundi Club, New York on May 1st 1992 for the painting “Gyantse Market.”

Paintings, Sentosa from Mt Faber and Raffles Hotel selected by the “LOOK JTB” travel magazine cover from 1992 to 1994, distributed in Tokyo, Osaka, Fukuoka, and Sapporo.

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nostalgia in transformation

Selected Solo Exhibitions

Corporate and Public Collections

2014 Nostalgia in Transformation, Ode to Art, Singapore

Queen Elizabeth II of England The Prime Minister of the People’s Republic Of China

2013

The Secretary-General of the United Nations

Solo Exhibition with Quanhua Watercolour Art Gallery, Shanghai,

President of the Republic of Korea

China

Prime Minister of the Kingdom of Thailand The President of the Republic of the Philippines

2010

The Prime Minister of Japan

Poems in Watercolour, Galerie Belvedere, The Arts House, Singa-

The Prime Minister of India

pore

The Governer of Hokkaido Singapore Arts Museum

2008

SingaporeMaritime Museum

Home and Nation in the Art of Ong Kim Seng, Singapore Art Muse-

The Agung Rai Museum and Neka Museum in Bali, Indonesia

um

The Ministry of Foreign Affairs headquarters, Foreign Missions and Embassies of the Republic of Singapore.

2005 Shanghai Land of Splendour, Shanghai Art Fair Guangzhou Art Fair, Guangzhou Commodity Fair Exhibition, China

2004 Moments of Light, Singapore Tyler Print Institute, Singapore

2003 Mastering Light and Shade, National University of Singapore

2002 Timeless Jiangnan- with Kwek Leng Joo, Singapore

2000 Recent works of Ong Kim Seng, Singapore History Museum

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nostalgia in transformation Ong Kim Seng First published 2014 Proudly sponsored by

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