1

About PeopleNg 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 QuestionsOverarching Questions1. What is an identity?2. How can relationships within a family or

society be shaped?3. How artists form identity or relationships

with their art?Topical Questions1. How does abstraction enhance the

theme of identity and relationships?

4

5W1H

Familial Relationships Human Condition/Experience

NgEng Teng

When1945 - 2001

What

WhereSingapore

HowSculpture

Painting

WhyHis Background

His Influence

WhichContemporary

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Biographical Outline1945: 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. 1962-63:Studied pottery with North Staffordshire

College of Technology/Stoke-On-Trent School of Art, UK.

1963-64: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.

1942-45: Japanese Occupation of Singapore.

1952: Nanyang Artists visit to Bali.

1964: Racial Riots.

1965: Singapore gained independence.

1997: Asian Financial Crisis.

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Where SingaporeThe art world of the 60s and 70s were

dominated bypaintings. Little was known about pottery and

sculpture.

UKGreater exposure to Western sculptors in UK.

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WhichContemporary 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.

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Liu Kang's Influence

Girl with Two Apples, 1958

Oil on board, 50 x 41 cm

Going to Market, 1957by Liu Kang

Oil,

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Georgette Chen's Influence

Watermelons, 1940-45by Georgette Chen

Oil on canvas, 61.4c x 50.3 cm

In the Kitchen, 1960Oil on board, 55.5 x 80 cm

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Cheong Soo Pieng’s Influence

Preparing Rice Flour, 1960Oil on canvas, 60 x 87 cm

Drying Salted Fish, 1960by Cheong Soo Pieng

Chinese ink and colour, 55 x 88 cm

12

Nanyang Style

Which

When- 1930s to 1970s

Who– Nanyang Artists

Liu Kang

Cheong Soo Pieng

Chen Wen Hsi

Chen Chong Swee

Lim Cheng Hoe

Georgette Chen

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.

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Abstraction

WhichImagery that departs from representational accuracy via selection, exaggeration or simplification of forms (http://artlex.com/).

Abstract Torso I, 1992

Coloured marker on watercolour paper, 76.5 x 56 cm

Bewitched, 1992

Bronze, 68 x 58 x 28 cm

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Which- Abstraction

Growth Form, 1962Ciment Fondu, 46 x 53 x 57

cm

This is one of the earliest non-representational sculptures in Singapore.

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WhatSubject 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.

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WhatTheme 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).

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What- Imagination & Humour

I Spy II, 1995Stoneware, 57 x 34 x 29

cm

“ Head” Teapot, 1962Stoneware, 31.5 x 45 x 16

cm

Centre Hair Parting, 1992Earthenware, 24 x 16 x

13.5 cm

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What

Human Condition-Good and bad side of life.Achievements and downfall of mankind.

Family- upbringing and relationships

Overarching theme- humanity and life.

“My works are reflections of my thoughts and experiences

In visual form. The creative impulses come not from the

environment immediately around butfrom 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 -

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His Ceramics

Mountain Cloud I, 1987Stoneware, 45 x 31.5 x 11.5

cmTorso, 1994

Stoneware, 78 x 42 x 23 cm

Bowl, 1962Earthenware, 6 x 14 x 14

cm

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His Sculptures

Portrait Head of Mother, 1973

Ciment fondu, 30 x 19 x 23 cm

Singapore Girl, 1960-61Terracotta, 37 x 16 x 14

cm

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Organic Forms

Timid Dancer, 1990Ceramics, 112 x 26 x 26 cm

Plump Dancer, 1990Ceramics, 89 x 36 x 36 cm

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Biomorphic Forms

Wondering, 1992Bronze, 96 x 67 x 37 cm

Dreaming, 1992Bronze, 67 x 51 x 25 cm

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What is a Biomorphic Form?

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

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.

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Relationship

Lovers II, 1974Ciment fondu, 29 x 36 x

36 cm

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Relationship

Pride of a Mother, 1978Stoneware 42 x 14 x 14

cm

Nonya Mother, 1978Stoneware 45 x 22 x 15

cm

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Relationship

Mother and Child, 1980Ciment fondu, 42 x 14 x 14 cmOrchard Road, outside Far East

Shopping Centre

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Relationship

Over Mother’s Head, 1990Bronze, 103 x 40 x 38 cm

Over Mother’s Head, 1990Bronze, 103 x 40 x 38 cm

Front View

Back View

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Relationship through Faith

Madonna and Child II, 1990Bronze, 89 x 55 x 41 cm

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Relationship

Father and Son, 1978Ciment fondu, 62 x 50 x 35

cm

Father and Son, Year unknown

Stoneware, 24 x 18.5 x 12 cm

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Relationship

Parents and Child I, 1979Stoneware, 16.5 x 11.5 x 7.5

cm

Parents and Child II, 1979Stoneware, 25.5 x 25.5 x 6.5

cm

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Relationship & Human Condition

Responsibility II, 1985Ciment Fondu, 94 x 65 x 30

cm

Responsibility I, c. 1960Ciment Fondu, 30.5 x 16 x 16

cm

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Relationship- Comparison

Family Group, 1949by Henry Moore

Bronze (ed. of 4), 154 x 118 x 70 cmTate Gallery, UK

Parents and Child I, 1979Stoneware, 16.5 x 11.5 x 7.5

cm

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Comparison with MooreHenry 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.”

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Comparison with Moore

Reclining, Year unknownStoneware, 6.5 x 15.5 x 4.5 cm

Reclining Figure, 1951by Henry Moore

Plaster and string, 105.4 x 227.3 x 89.2 cm

Tate Gallery, UK

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Comparison with Moore

Seated Woman: Thin Neck, 1961by Henry Moore

Plaster, 170.2 x 81.3 x 103.5 cmTate Gallery, UK

Seated Woman, Year unknownStoneware, 14 x 21 x 10.5cm

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Comparison with Giacometti

Maxi, 1969Ciment Fondu, 50 x 26 x 22 cm

Lotar III, 1965by Alberto Giacometti

Bronze, 65.5x 28 x 35.5 cm

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Comparison with Giacometti

Alberto Giacometti (1880-1959) 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.

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Human Condition/Experience

Old Age, 1960Oil on canvas, 86 x 60 cm

Blind Woman, 1960Oil on board, 61 x 32.5 cm

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Human Condition/Experience

Tragedy of War I, 1966Teracotta, 36 x 36 x 36 cm

Tragedy of War II, 1967Teracotta, 68 x 18 x 48 cm

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Human Condition/Experience

Tension (mobile), 1972Ciment Fondu, 38 x 35 x 35

cm

Pancake, 1980Ciment Fondu, 13 x 80 x 8 cm

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Human Condition/Experience

Fear I, 1978Stoneware, 11.5 x 12 x 12 cm

Fear II, 1978Ciment fondu, 50 x 56 x

51 cm

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Fright, 1979Stoneware, oil painted10.5 x 17.5 x 13 cm

Human Condition/Experience

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WhyHis 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.

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WhyHis 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.

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Why- His InfluenceJacob 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.

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Why- His Influence

Female Figure in Flenite, 1913by Jacob Epstein

Serpentine, 45.7 x 95 x 12.1cmTate Gallery, UK

Torso, in Metal form “The Rock Drill, 1913-14

by Jacob EpsteinBronze, 70.5 x 58.4 x 44.5cm

Tate Gallery, UK

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How

Ciment fondu

Fast setting. It is strong and durable.

Typically used as acomposite material, with sand and water.

A type of cement in powder form.

“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 -

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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.

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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.

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How

Others

SculpturesCeramics

Throwing. Adding and subtracting. Modelling and moulding.

Casting Modelling and moulding.

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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.

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Reference http://www.thecore.nus.edu/landow/post/

singapore/arts/sculptors/ngengteng/drawingov.html

http://www.postcolonialweb.org/singapore/arts/sculptors/ngengteng/paintingov.htmlttpsingapore/arts/sculptors/ngengteng/sculptureov.html

http://www.bluffton.edu/~sullivanm/mooretoronto/mooretoronto.html

http://www.tate.org.uk/