Some performance artists and musicians doing a performance with interesting projections and sound. Cool people. (See right) LD player. My book with other zines. The comic with red cover is done by Jon, Theresia's friend. Cool LDs.
There is a zine exhibition which will be held on the night of 15th October.
Opening time has not been confirmed (probably 7 or 8p.m.)
Venue: Goodman Arts Centre 90 Goodman Road Block B #05-06 Singapore 439053
Rocket Zine, Biennale fine-artist Michael Lee, the little drom store, comic-artist Troy Chin, photographer Philipp Aldrup, and independent fashion anarchists FALSE/Anti-Anti are amongst some of the others exhibiting works.
Like Eva Hesse, Carl Andre uses the language of repetition.
My drawings of walls were inspired by Tapies's works. These walls reveal the beauty in "poor objects" and weathered surfaces, and they are about the passage of time.
I was also exploring the visual language of repetition within each drawing -- the bricks of a wall, the wooden boards of an old house, the patterns on a sewage cover etc.
One of Christopher Alexander's fifteen fundamental properties is alternating repetition. Personally, I think banal repetition without alternation can be interesting too.
When I did my drawings, I was looking at art of the sixties such as works by Carl Andre, Eva Hesse, Tapies, and a few others. I chose my subject matter carefully -- it must have a certain appearance or aesthetic to it. The similarities between my works and art of the sixties have not occurred by chance.
The truth is, I know nothing about Eva Hesse's works. I only know she uses the language of repetition. The above is a comparison of my drawing Sewage Cover with her work Schema (1967-8) and an untitled drawing (1967).
When I was working on the drawings of the walls and sewage covers, I was also looking at quite a bit of Minimalist Art and Conceptual Art. I guess that is why I can see Eva Hesse's influence in my own work.
1. Question: What is so Japanese about the circle? Answer: Zen.
2. I drew my headless Buddha before I saw the photo of the headless Christ by a Japanese photographer.
3. Seeing is everything. The truth is, my drawings do not heal. My drawings are about seeing.
4. I imagine myself falling in love with a beautiful lady, and she says to me, "You are dull, just like your drawings." (I took this line from Toni Takitani, the film based on Haruki Murakami's short story of the same title.)
I did a painting of a graffiti wall. Smoker, emo-face, robot, and Wondergirl. But the truth remains: my days of youth and rebellion are over.
I like the ending of Murakami's 69. Why should a gentle and beautiful girl have to go out of her way to see something sad or painful?
I am in love with Yohji's idea of a home. What is my idea of a home? A bed. A few books and magazines. A pencil case. A sketchbook and journal. My iPod. A camera. A few sets of clothes. A cup of tea. That's my idea of home.
Sorrowful World is the book I have always wanted to produce. Despite the typo errors and one of the images printed upside-down, it remains important to me. I am very proud of these drawings.
I decided to withdraw from society for two years to be alone. I thought I could read up on Bas Jan Ader, watch his documentary, read Daido's autobiography, produce some mind-blowing work, or have a richer inner life. None of the above happened. I wrote one or two letters, read some books and wandered aimlessly in town, looking for familiar faces in a sea of strangers.
I have spent more than five months working on a drawing and it is still incomplete. I think it is a beautiful idea to do a painstaking piece of work, like how Tanizaki wrote The Makioka Sisters.
Some people took thirteen years or more to complete a novel. I have not even worked on a drawing for thirteen months.
An incomplete work can be more interesting than a completed work.
My outlook of life oscillates between humanism and Buddhist philosophy. There is no reason for me not to believe in Right Speech and Right Livelihood.
Wandering along the rows of shophouses, trying to find some obscure cafe, boutique, bookshop or gallery -- those days are gone.
I should not associate nature with my youthful days of romantic longing. Nature should restore in me a deep sense of well-being, just like breathing meditation.
The Dilapidated House -- my highlight of this year.
It does not matter what the world think of me as an artist. It is important that I do not number and count, that I am at peace with myself without feeling anxious or insecure.
I like how my colleague (Mr Chan C K) said that Some/Things Issue 03 would bring my art to a new level. Indeed it has.
What I know is actually very little, yet the very little that I know is sufficient for me to produce excellent works for the next ten to twenty years.