Abstract art places a new world, which on the surface has nothing to do with 'reality,' next to the 'real' world.
- Wasilly Kandinsky
Sunjin Galleries is proud to showcase the works of two established artists – Choy Weng Yang from Singapore and Jolly Koh from Malaysia from 8th July to 29th July 2010.
The first all-abstract painting exhibition to be staged in Singapore this year, and with the added treat of having both artists present at the opening, this is surely be an event not to be missed.
Senses will be stimulated by saturated canvases drench in exuberant washes of oil and acrylic paints, where all traces of reality is removed and emotions are stirred up by expressions of the artists’ feelings within.
Both artists, having practiced painting for a long time now, have no fears about making changes to their paintings, even if it means destroying a current good image because they understand that the painting has a life of its own and what comes through in the end, is pure harmony.
The showing of Choy Weng Yang’s and Jolly Koh’s works together is for the sentimental reason that Choy and Koh were in the same art school throughout their student days in London, from 1959 to 1963. This period was also a historic period when several students from Malaysia and Singapore were in London, all of them studying art.
Being in the same art school and in the same classes throughout their years in London, Choy and Koh caroused, argued and painted together and they have kept that up in relationship till today. What could be more natural than for them to have an exhibition together, over 50 years on after graduation, something that should have happened years ago?
About the artists
Choy Weng Yang
Born 12 July 1930 in Singapore, Choy Weng Yang graduated with a National Diploma of Art UK from Hornsey College of Art in 1962 and received the Art Teachers' Certificate (UK) from the University of London Institute of Education in 1963. Back in Singapore after graduating from the Institute, Choy worked as assistant lecturer in the Arts & Crafts Department of the Teachers' Training College, and subsequently took office as a Curator of Art with the National Museum of Singapore in 1978. In his professional capacity he has served actively for the arts circle, receiving acclamation for his art criticisms for artists and writings about local artistic movements. Choy's passion for painting never left him despite his heavy work commitments, and actively participated in group artshows in Australia and Paris.
His exposures to the western art during his curatorship tenure, enabled him to develop his artistic side. In the early years he was particularly influenced by the works by Monet, for its light and colour in his paintings. Progressively he found that using light and colour alone on his canvas was not enough in his own compositions. Cezanne's use of structure in his composition, and Mondrian's strength in order, clarity and strong composition design thus became an important elements in Choy's paintings from 1985 on. It is also in the same year that Choy decided to retire from his curatorial position to devote himself as a full-time painter and has exhibition in numerous solo group exhibitions since.
Jolly Koh
Jolly Koh (b. 1941) graduated with a National Diploma of Art UK from Hornsey College of Art in 1962 and received the Art Teachers' Certificate (UK) from the University of London Institute of Education in 1963. He went on to pursue his Master of Science in Art Education in Indiana University in the United States in 1973 and completed his Doctor of Education in Philosophy of Education at the same university two years later.
Unlike most artists, Koh do not work in series – His work evolves and transforms as he moves from one painting to the other. Life’s journey is an evolution, filled with twists and unexpected turns and one’s artistic journey is similar where one follows “the foul rag-and-bone shop of the heart.” After several years and on hindsight, one might make a connection and discern a connection between one work and the other, thereby imposing a “series” on them.
Koh’s account of artistic life is true to life rather than the artificial “series” type of work that is mostly done for specific exhibition or commercial requirements.
The present group of paintings for the exhibition was done over a period of a few years and they show a variety of expressions, with no series intended.
