A History of Singapore in Seven Objects
Hong Zhu An
‘Ascetic Serenity’
By Singapore Tyler Print Institute (STPI) Staff and Volunteers
During his threeSingapore-based
week residency at
artist Hong Zhu An
STPI, Hong explored
integrates his deep
papermaking from
love of Chinese
its most basic
artistic expression
components, creating
with contemporary
over 40 artworks that
influences, thus
capture transient
breaking with
states and feelings,
tradition. His works
transcending
exude a quintessential
language and cultural
Chinese ethos integral
barriers.
to his heritage and,
STPI’s creative
rather than rejecting
workshop is an
the influences of
incubator for resident
the 21st century, the
artists to explore
artist reconciles the
new concepts
two to create a visual
and experiment
language truly his
with various
own.
artistic mediums
Dragon II
to produce fresh,
acknowledges its
innovative artworks
cultural lineage, but
in collaboration
instead of ruling
with its print and
over his medium in
papermaking
his usual way, Hong
expertise. Recognised
deliberately yielded
for their versatility,
to the hand-made
visual appeal and
paper that is so central
conceptual rigor, STPI
to work at STPI. His
residents push the
gestural strokes are
boundaries of artistic
manifested in the
creation.
worked-up planes of
“Throughout his
saturated and layered
entire residency, Hong
pigment on paper
was so involved in
pulp.
the process that his
In this work, Hong
energy – both creative
combined spontaneous Dragon II, by Hong Zhu An, 2012, acrylic on paper pulp painting, 166 x 131 cm,
photo courtesy of the Singapore Tyler Print Institute
and spiritual – became
actions with discipline
crystallised in the
– alternating sketching
work itself,” says Emi Eu, Director of STPI.
and pondering, before grabbing handfuls of wet pulp and
Having traversed continents, it can be said that the
applying them with swift vigorous strokes to create Dragon
artist draws his energy from the cultural ebbs and flows
II. These masterful movements were a translation of energy
that permeate the geographical and ideological borders
rather than figurative or verbal expressions.
of east and west, vividly manifested in modern-day
Exhibition catalogue essayist Iola Lenzi, places Hong's
Singapore.
practice in the larger cultural context of Singapore: “For those
Originally from China, Hong trained in Chinese
based in Southeast Asia, culturally hybrid and for centuries
traditional art at the Shanghai Art and Craft Institute. A
a colonial subject, the search for roots is often an urgent
full-time artist in Australia and Singapore since 1993, he has
preoccupation. It is perhaps not far-fetched to suggest that
received numerous accolades, including the UOB Painting
the regional ethos – the area’s long-established syncretism,
of the Year Grand Award. His works have been collected by
cultural openness, geographical porousness, ethnic layering
major institutions such as the Asian Art Museum of San
and cross-disciplinary approach to art – has permeated
Francisco, the Tel Aviv Museum of Art and the Singapore
Hong’s vision, linking his ideas to place and time, infiltrating
Art Museum.
his practice in discrete but significant ways.”
PASSAGE September/October 2012
19