2 Enduring Understanding Students will understand that artworksdo encapsulate the themes of identityand relationships in a variety of ways
3 Essential Questions Overarching Questions What is an identity? How can relationships within a family or society be shaped?How artists form identity or relationships with their art?Topical QuestionsHow does abstraction enhance the theme of identity and relationships?
4 5W1H Ng Eng Teng When What Where How Why Which Familial Relationships Human Condition/ExperienceNgEng TengWhenWhatWhereSingaporeHowSculpturePaintingWhyHis BackgroundHis InfluenceWhichContemporary
5 Biographical Outline 1945: Born in Singapore. 1955: Took painting and sculpture at British Council.1956: Attended NAFA and left soon after due to illness.1959: Re-enrolled in NAFA and studied under the Pioneer Artists.: Studied pottery with North Staffordshire College of Technology/Stoke-On-Trent School of Art, UK.: Studied studio pottery at Farnham School of Art in Surrey.1966: Set up a workshop and studio at home.2001: Died in his sleep.
6 When (1934- 2001) 1938: Establishment of NAFA. : Japanese Occupation of Singapore.1952: Nanyang Artists visit to Bali.1964: Racial Riots.1965: Singapore gained independence.1997: Asian Financial Crisis.
7 Where Singapore The art world of the 60s and 70s were dominated by paintings. Little was known about pottery and sculpture.UKGreater exposure to Western sculptors in UK.
8 Which Contemporary Art that belongs to the same period of time, as in “current”.Refers to the present time, as in “now”.Can also refer to being current with any“specified” time, as in the past.
9 Liu Kang's Influence Going to Market, 1957 Oil, by Liu KangOil,Girl with Two Apples, 1958Oil on board, 50 x 41 cm
10 Georgette Chen's Influence In the Kitchen, 1960Oil on board, 55.5 x 80 cmWatermelons,by Georgette ChenOil on canvas, 61.4c x 50.3 cm
11 Cheong Soo Pieng’s Influence Drying Salted Fish, 1960by Cheong Soo PiengChinese ink and colour, 55 x 88 cmPreparing Rice Flour, 1960Oil on canvas, 60 x 87 cm
12 WhichRefers to the styles developed by the Nanyang Artists who were influenced by School of Paris and local subject matter. Their visit to Bali culminated in an exhibition that catapulted art in Singapore onto an unprecedented plane. This marked a significant moment in the history of Singapore art.Who– Nanyang ArtistsLiu KangCheong Soo PiengChen Wen HsiChen Chong SweeLim Cheng HoeGeorgette ChenNg studied under those Nanyang artists with the asterisks ‘*’.Nanyang StyleWhen- 1930s to 1970s
13 Coloured marker on watercolour paper, 76.5 x 56 cm WhichImagery that departs from representational accuracy via selection, exaggeration or simplification of forms (AbstractionBewitched, 1992Bronze, 68 x 58 x 28 cmAbstract Torso I, 1992Coloured marker on watercolour paper, 76.5 x 56 cm
14 Which- Abstraction Growth Form, 1962 Ciment Fondu, 46 x 53 x 57 cm This is one of the earliest non-representational sculptures in Singapore.
15 WhatSubject MatterFigures- have the capacity of movements to interpret emotions, convey stories.Head- viewed as the convergence of the complex psychological and physiological features that distinguishes humans- on par with how the head is esteemed in European art.Torso- viewed as a powerful symbol of emotion and feeling, when used as a whole or in parts like appendages and torsos.Imaginative- in utilizing the above, for eg: humanoid looking sculptures.Ciment Fondu is cement. Advantages are quick and hard setting.
16 What Theme Relationships Within the family- between mother and child, or father and child, or both parents and child.In an Asian context- mother plays a nurturing role and thus more physically intimate with the child, while the father plays a supportive role and thus more distant.Human Condition/ExperienceSocial and psychological issues. The good and bad side of life. The achievements and downfall of mankind.“The experience of humanity- love, hope, the joy of living as well as dejection, rejection, despair, fear and sorrow” (Koh, B. S., 1997).Ciment Fondu is cement. Advantages are quick and hard setting.
17 What- Imagination & Humour “Head” Teapot, 1962Stoneware, 31.5 x 45 x 16 cmI Spy II, 1995Stoneware, 57 x 34 x 29 cmCentre Hair Parting, 1992Earthenware, 24 x 16 x 13.5 cm
18 What Overarching theme- humanity and life. Human Condition- Good and bad side of life.Achievements and downfall of mankind.“My works are reflections ofmy thoughts and experiencesIn visual form. The creative impulsescome not from theenvironment immediately around butfrom a universal world and frommy own inner tensions. My sculpturesspeak of individual alienation, pain, poverty,loss of life as well as justice and love.In short, my works are from and oflife and humanity.”- Ng Eng Teng -Family- upbringing and relationships
19 His Ceramics Bowl, 1962 Earthenware, 6 x 14 x 14 cm Mountain Cloud I, 1987Stoneware, 45 x 31.5 x 11.5 cmTorso, 1994Stoneware, 78 x 42 x 23 cm
20 Portrait Head of Mother, 1973 His SculpturesSingapore Girl,Terracotta, 37 x 16 x 14 cmPortrait Head of Mother, 1973Ciment fondu, 30 x 19 x 23 cm
21 Organic Forms Timid Dancer, 1990 Ceramics, 112 x 26 x 26 cm Plump Dancer, 1990Ceramics, 89 x 36 x 36 cm
22 Biomorphic Forms Wondering, 1992 Bronze, 96 x 67 x 37 cm Dreaming, 1992Bronze, 67 x 51 x 25 cm
23 What is a Biomorphic Form? The term is the Greek word ‘bios’ meaning life combined with the word ‘morphe’ meaning form. It is nevertheless abstract which evokes living forms like plants and human body. It was used n the 1930s to describe imagery in the more abstract types of Surrealist painting and sculpture, particularly those of Joan Miró (see inset), Henry Moore and Louise Bourgeois.Person Throwing a Stone at a Bird, 1926by Joan MiróOil on canvas, 73.7 x 92.1 cmMuseum of Modern Art, new York
24 RelationshipLovers II, 1974Ciment fondu, 29 x 36 x 36 cm
25 Relationship Pride of a Mother, 1978 Stoneware 42 x 14 x 14 cm Nonya Mother, 1978Stoneware 45 x 22 x 15 cm
26 Orchard Road, outside Far East Shopping Centre RelationshipMother and Child, 1980Ciment fondu, 42 x 14 x 14 cmOrchard Road, outside Far East Shopping Centre
27 Relationship Front View Back View Over Mother’s Head, 1990 Bronze, 103 x 40 x 38 cmOver Mother’s Head, 1990Bronze, 103 x 40 x 38 cm
28 Relationship through Faith Madonna and Child II, 1990Bronze, 89 x 55 x 41 cm
29 Father and Son, Year unknown RelationshipFather and Son, 1978Ciment fondu, 62 x 50 x 35 cmFather and Son, Year unknownStoneware, 24 x 18.5 x 12 cm
30 Relationship Parents and Child I, 1979 Stoneware, 16.5 x 11.5 x 7.5 cm Parents and Child II, 1979Stoneware, 25.5 x 25.5 x 6.5 cm
31 Relationship & Human Condition Responsibility II, 1985Ciment Fondu, 94 x 65 x 30 cmResponsibility I, c. 1960Ciment Fondu, 30.5 x 16 x 16 cm
32 Relationship- Comparison Family Group, 1949by Henry MooreBronze (ed. of 4), 154 x 118 x 70 cmTate Gallery, UKParents and Child I, 1979Stoneware, 16.5 x 11.5 x 7.5 cm
33 Comparison with Moore Henry Moore (1898-1986) A famous modern sculptor and most celebrated at his time.He was born in Castleford Yorkshire and won a scholarship to the Royal College of Art in London at 23 years old.He visited museums regularly in London and began to acquire an interest in primitive art, especially Pre-Columbian sculpture.His technique- he started with direct carving but later changed to modelling.He once said- “The difference between modelling and carving is that modelling is a quicker thing, and so it becomes a chance to get rid of one's ideas.”
34 Comparison with Moore Reclining Figure, 1951 by Henry Moore Plaster and string,105.4 x x 89.2 cmTate Gallery, UKReclining, Year unknownStoneware, 6.5 x 15.5 x 4.5 cm
35 Comparison with Moore Seated Woman: Thin Neck, 1961 by Henry Moore Plaster, x 81.3 x cmTate Gallery, UKSeated Woman, Year unknownStoneware, 14 x 21 x 10.5cm
36 Comparison with Giacometti Lotar III, 1965by Alberto GiacomettiBronze, 65.5x 28 x 35.5 cmMaxi, 1969Ciment Fondu, 50 x 26 x 22 cm
37 Comparison with Giacometti Alberto Giacometti ( )He was born in 1901 in Italian-speaking Switzerland.He attended School of Fine Arts in Geneva and studied under sculptor Antoine Bourdelle (an associate of Rodin) when in Paris.He experimented with cubism and surrealism while in Paris.Although he was a key player in the Surrealist movement, the nature of his work and his relationship with Existentialist Jean Paul Sartre aligns him with the Existentialist movement.He was eventually expelled from the Surrealist group.
38 Human Condition/Experience ¹The paintings are a portrayal of the human condition.Old Age, 1960Oil on canvas, 86 x 60 cmBlind Woman, 1960Oil on board, 61 x 32.5 cm
39 Human Condition/Experience Tragedy of War II, 1967Teracotta, 68 x 18 x 48 cmTragedy of War I, 1966Teracotta, 36 x 36 x 36 cm
40 Human Condition/Experience Tension (mobile), 1972Ciment Fondu, 38 x 35 x 35 cmPancake, 1980Ciment Fondu, 13 x 80 x 8 cm
41 Human Condition/Experience Fear I, 1978Stoneware, 11.5 x 12 x 12 cmFear II, 1978Ciment fondu, 50 x 56 x 51 cm
42 Human Condition/Experience Fright, 1979Stoneware, oil painted10.5 x 17.5 x 13 cm
43 WhyHis BackgroundHis family upbringing, education and religion influence his art forms and content.He studied under Nanyang artists like Liu Kang, Georgette Chen and Cheong Soo Pieng. Their influences are evident in some of his paintings.He met Jean Bullock, with whom he was exposed to sculpture and learnt about the material ciment fondu.The artist has a compassion for human suffering, in our environment of poverty, over-population and strife.Ciment Fondu is cement. Advantages are quick and hard setting.
44 Why His Background Humanity and life itself inspires him “He works with the figural tradition of Henry Moore.” (Sheares, 1991).His abstraction is sometimes reminiscent of the simplicity and reduction of Giacometti and Brancusi.His InspirationHe admires the emotional and powerful elements in Jacob Epstein’s works.Ciment Fondu is cement. Advantages are quick and hard setting.
45 Why- His Influence Jacob Epstein (1880-1959) He was an American-born sculptor who worked in UK.He pioneered the modern sculpture.He often produced controversial works that challenged the taboos concerning what public artworks should depict.His technique- direct carving.He was also a painter.
46 Why- His Influence Female Figure in Flenite, 1913 by Jacob EpsteinSerpentine, 45.7 x 95 x 12.1cmTate Gallery, UKTorso, in Metal form “The Rock Drill,by Jacob EpsteinBronze, 70.5 x 58.4 x 44.5cmTate Gallery, UK
47 How Ciment fondu A type of cement in powder form. Fast setting. It is Typically used as acomposite material,with sand and water.Fast setting. It isstrong and durable.“Ciment fondu is a very beautiful material.You can stain it to different colours and,should it be damaged, you can repair it back to its original condition”- Ng Eng Teng -
48 How Other Media Stone Metal Clay- he prefers clay because it offers him direct and immediate manipulation.Bronze- he likes bronze because it’s malleable and durable.
49 HowHe works in series.He works preliminary with drawings and maquettes in clay before proceeding to the final sculptures.This is to help him conceptualize the final artworks.He uses form to increase the haptic (relating to touch) quality of his sculptures.He also avoids the conventions of proportion.Instead, he exaggerates specific parts of the body while reducing and even omitting others.
50 How Others Ceramics Sculptures Throwing. Adding and subtracting. Modelling and moulding.CastingModelling and moulding.
51 ReferenceKwok, K. C. (1996). Channels & Confluences: A History of Singapore Art. Singapore Art Museum: Singapore.Sabapathy, T.K. (1991). Sculpture in Singapore. National Museum Art Gallery: Singapore.Sabapathy, T.K. (1998). Ng Eng Teng, Art and Thoughts. NUS Museums, NUS: SingaporeSabapathy, T.K. (2002). Bodies and Figures, An Overview of Ng Eng Teng. NUS Museums, NUS: Singapore.Sabapathy, T.K. (2003) Configuring the Body, Form and Tenor in Ng Eng Teng’s Art. NUS Museums, NUS: Singapore.Koh Buck Song (Ed) (1997). Southeast Asian Art: A New Spirit. Art and Artist Speak: Singapore.