1. About People
Ng Eng Teng

2. Enduring Understanding
Students will understand that artworks
do encapsulate the themes of identity
and 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 Questions
How does abstraction enhance the theme of identity and relationships?

4. 5W1H Ng Eng Teng When What Where How Why Which Familial Relationships
Human Condition/Experience Ng
Eng Teng
When
What
Where
Singapore
How
Sculpture
Painting
Why
His Background
His Influence
Which
Contemporary

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. UK
Greater 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 Kang
Oil,
Girl with Two Apples, 1958
Oil on board, 50 x 41 cm

10. Georgette Chen's Influence
In the Kitchen, 1960
Oil on board, 55.5 x 80 cm
Watermelons,
by Georgette Chen
Oil on canvas, 61.4c x 50.3 cm

11. Cheong Soo Pieng’s Influence
Drying Salted Fish, 1960
by Cheong Soo Pieng
Chinese ink and colour, 55 x 88 cm
Preparing Rice Flour, 1960
Oil on canvas, 60 x 87 cm

12. Which
Refers 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 Artists
Liu Kang
Cheong Soo Pieng
Chen Wen Hsi
Chen Chong Swee
Lim Cheng Hoe
Georgette Chen
Ng studied under those Nanyang artists with the asterisks ‘*’.
Nanyang Style
When- 1930s to 1970s

13. Coloured marker on watercolour paper, 76.5 x 56 cm
Which
Imagery that departs from representational accuracy via selection, exaggeration or simplification of forms (
Abstraction
Bewitched, 1992
Bronze, 68 x 58 x 28 cm
Abstract Torso I, 1992
Coloured 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. What
Subject Matter
Figures- 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/Experience
Social 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, 1962
Stoneware, 31.5 x 45 x 16 cm
I Spy II, 1995
Stoneware, 57 x 34 x 29 cm
Centre Hair Parting, 1992
Earthenware, 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 of
my thoughts and experiences
In visual form. The creative impulses
come not from the
environment immediately around but
from a universal world and from
my own inner tensions. My sculptures
speak of individual alienation, pain, poverty,
loss of life as well as justice and love.
In short, my works are from and of
life and humanity.”
- Ng Eng Teng -
Family- upbringing and relationships

19. His Ceramics Bowl, 1962 Earthenware, 6 x 14 x 14 cm
Mountain Cloud I, 1987
Stoneware, 45 x 31.5 x 11.5 cm
Torso, 1994
Stoneware, 78 x 42 x 23 cm

20. Portrait Head of Mother, 1973
His Sculptures
Singapore Girl,
Terracotta, 37 x 16 x 14 cm
Portrait Head of Mother, 1973
Ciment fondu, 30 x 19 x 23 cm

21. Organic Forms Timid Dancer, 1990 Ceramics, 112 x 26 x 26 cm
Plump Dancer, 1990
Ceramics, 89 x 36 x 36 cm

22. Biomorphic Forms Wondering, 1992 Bronze, 96 x 67 x 37 cm
Dreaming, 1992
Bronze, 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, 1926
by Joan Miró
Oil on canvas, 73.7 x 92.1 cm
Museum of Modern Art, new York

24. Relationship
Lovers II, 1974
Ciment fondu, 29 x 36 x 36 cm

25. Relationship Pride of a Mother, 1978 Stoneware 42 x 14 x 14 cm
Nonya Mother, 1978
Stoneware 45 x 22 x 15 cm

26. Orchard Road, outside Far East Shopping Centre
Relationship
Mother and Child, 1980
Ciment fondu, 42 x 14 x 14 cm
Orchard Road, outside Far East Shopping Centre

27. Relationship Front View Back View Over Mother’s Head, 1990
Bronze, 103 x 40 x 38 cm
Over Mother’s Head, 1990
Bronze, 103 x 40 x 38 cm

28. Relationship through Faith
Madonna and Child II, 1990
Bronze, 89 x 55 x 41 cm

29. Father and Son, Year unknown
Relationship
Father and Son, 1978
Ciment fondu, 62 x 50 x 35 cm
Father and Son, Year unknown
Stoneware, 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, 1979
Stoneware, 25.5 x 25.5 x 6.5 cm

31. Relationship & Human Condition
Responsibility II, 1985
Ciment Fondu, 94 x 65 x 30 cm
Responsibility I, c. 1960
Ciment Fondu, 30.5 x 16 x 16 cm

32. Relationship- Comparison
Family Group, 1949
by Henry Moore
Bronze (ed. of 4), 154 x 118 x 70 cm
Tate Gallery, UK
Parents and Child I, 1979
Stoneware, 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 cm
Tate Gallery, UK
Reclining, Year unknown
Stoneware, 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 cm
Tate Gallery, UK
Seated Woman, Year unknown
Stoneware, 14 x 21 x 10.5cm

36. Comparison with Giacometti
Lotar III, 1965
by Alberto Giacometti
Bronze, 65.5x 28 x 35.5 cm
Maxi, 1969
Ciment 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, 1960
Oil on canvas, 86 x 60 cm
Blind Woman, 1960
Oil on board, 61 x 32.5 cm

39. Human Condition/Experience
Tragedy of War II, 1967
Teracotta, 68 x 18 x 48 cm
Tragedy of War I, 1966
Teracotta, 36 x 36 x 36 cm

40. Human Condition/Experience
Tension (mobile), 1972
Ciment Fondu, 38 x 35 x 35 cm
Pancake, 1980
Ciment Fondu, 13 x 80 x 8 cm

41. Human Condition/Experience
Fear I, 1978
Stoneware, 11.5 x 12 x 12 cm
Fear II, 1978
Ciment fondu, 50 x 56 x 51 cm

42. Human Condition/Experience
Fright, 1979
Stoneware, oil painted
10.5 x 17.5 x 13 cm

43. Why
His Background
His 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 Inspiration
He 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 Epstein
Serpentine, 45.7 x 95 x 12.1cm
Tate Gallery, UK
Torso, in Metal form “The Rock Drill,
by Jacob Epstein
Bronze, 70.5 x 58.4 x 44.5cm
Tate Gallery, UK

47. How Ciment fondu A type of cement in powder form. Fast setting. It is
Typically used as a
composite material,
with sand and water.
Fast setting. It is
strong 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. How
He 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.
Casting
Modelling and moulding.

51. Reference
Kwok, 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: Singapore
Sabapathy, 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.

52. Reference