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1985

ift:,;..,,7, y Jl,7-( .7.r• 77;..,-jzffl'.Jt,:7°7/•/ {(..,_1{IJ,
77/AThe paintings of Chen KeZhan , who traces his ancestryof the painting. Owing to this Western painting technique,back to a high official in the Ch'ing dynasty in China, arethe flatness of the painting surface as a whole is frequently

distinguished by their constant use of traditional Chineseenhanced; likewise, a rather rigid wall-like quality that ob-

painting materials and techniques , such as long strips of rice

structs the viewer 's gaze is often noticeable . The result ispaper, oriental paint brushes , Chinese ink , and minerala spatial configuration, not seen before, that contains a dual

colors. Conversely, he does not draw objects with clear-cut

aspect. The unusual space displays both gentle depth that

contours, and he repeatedly experiments with untraditional

absorbs the viewer's gaze and a flexible indeterminacy

techniques such as filling almost the entire painting withregarding visual depth . It also manifests rigid depth thatoverlapping brush strokes and emphasizing the texture of thetriggers the impression of resistance and opposition to thepaint. The works titled Lotus Pond (no.6) and Rock Study

viewer 's gaze . The dual space lies between painting space(no.2 , 4) may depict water and the surface of rocks , yet the

representing an unexplored expanse where the brush strokes

unbroken surfaces are almost completely abstract. Although

wander and painting space which must be faced as a homo-

one may presume that Claude Monet's Water Lilies and the

geneous , uniform object. The distinctive quality of this spacetechnique in Chinese art , known as cunfa, of depicting the

emerges even more clearly in works such as Chen's large

folds of mountains and rocks unconsciously lie behind thisabstract painting Untitled ( 1991, no.3) .

approach , unquestionably a distinctive, fundamentally dif-

The distinctive quality of the space may be a function of
the horizontal and vertical proportions of the painting. In theferent space is produced.
In other words , the fluid brush strokes make a deep im-

unusually long , narrow surface of Lotus Pond, the angle ofpression because of the brushwork and the absorbancy

vision shifts despite the textural layers of paint. In Rock Studyalso found in calligraphy. A gentle(1990 , no.2) , whose height is twice its width , the movements

depth, the effect of shading , can be deeply felt. At the sameof the traces of ink can easily be grasped at a single glance.

of the paper-elements

time , multiple layers of paint and Chinese ink cover mostBiography

Born in Singapore
1959
1975-79 Studied Chinese brush painting with Fan Chang Tien,
Singapore
1979-83 Studied Chinese painting with Chao Shao-an andChinese calligraphy and seal-carving with Fung
Kang-ho, Hong Kong
1983-85 Studied music in Paris, France
1986- Returned to Singapore

1985
1987
1988

Solo Exhibitions

Ming Court Hotel, Singapore
1978
1985 Arbour Fine Arts Gallery, Singapore
Meridien Hotel, Singapore
1987
Empress Place Museum, Singapore
1990
1978-90 Thirteen solo exhibitions in France, the Netherlands,
U.S.A.
Group Exhibitions

1977 Art 1977, National Museum Art Gallery, Singapore
1977-82 National Day Art Exhibition, National Museum Art
Gallery, Singapore
1978-82 Singapore Festival of Arts, National Museum Art
Gallery, Singapore
1980 Singapore Cultural Foundation Art Exhibition, National
Museum Art Gallery, Singapore
Memorandum of Artists of the People's Republic ofChina and Singapore, Chinese Chamber of Commerce,
Singapore/ Hangchow Academy of Fine Arts,
Hangchow, China
Salon de Peinture Club des Arts de Centre de Paris,
1983
Grand Palais, Paris, France
1984 Salon de Printemps, Grand Palais, Paris, France
Peintures et Sculptures, Grand Palais, Paris, France
25 Years of Nation Building Art Exhibition, National
Museum Art Gallery, Singapore
New Generation of Singapore Artists 1984, National
Museum Art Gallery, Singapore
2nd ASEAN Youth Painting, Workshop and Exhibition,
National Art Gallery, Kuala Lumpur, Malaysia

1989
1990

1991

Salon 85, Grand Palais, Paris, France
National Museum Centenary Art Exhibition, National
Museum Art Gallery, Singapore
Contemporary Artists , Curwen Gallery, London, U.K.
Singapore Art, Yokohama/ Kobe/ Sapporo/ Tokyo,
Japan
Masterpieces from Private Collections, National
Museum Art Gallery, Singapore
Singapore Contemporary Artists, National Museum Art
Gallery, Singapore
1st ASEAN Travelling Exhibition of Painting,
Photography and Children's Art, ASEAN Countries
Contemporary Art in Singapore: Where East Meets
West, Singapore/ Amsterdam, the Netherlands/
Germany/ Glasgow, U.K.
Modern Art Travels East-West, Rotterdam, theNetherlands/ Singapore
Many in One: 25 Years of Art from Singapore,
Singapore/ U.S.A.

Awards

1985

Silver Medal, Salon des Artistes Fran9ais, Grand Palais,
Paris, France

Address: 24 Temenggong Road, Singapor e 0409

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Jlft:j@fi•ltiffl~:3:.jll,:J>'-.:. T 11/3/,:f;l':fi:!fF*""-O)!fsJJJIJ'.l!t,:;,,:,,;t_f;f--)1,,~8@l,-.:.1:,,T1':,,7 .;,t:f •-tf ·1-17-i1fF,l ( -:'.,,-;;(i&rr_:'.,,:,,:t:J';f--)1,,

1991•-+f·1-17-i1it,:;,,:,,;t_f;f--)1,,~9@,-.:.1:,,r1:,,:7'-::t:t
1,-::---;,:ffifi,:;,,:,,;t.i,t--11,,
IBM~®•-~-~1O@,-.:.1:,,r1:,,::7· •::t:t •-tf·1-17-i1fF,,,-::,,-;,:ffifi,:;,,:,,;t_f;f--)1,,•::t-.:i T1r•:,r.:i T1-r·,r·::t.::i. T1r·,r•::t--Since the late 1980s, Tang Mun Kit's series of paintings titledLI

unknown self in the beyond by means of seeking his own

Improvisation have been unified by the fact that the entire

images in the chaotic outer world. The linear brushstrokes

painting surface is filled with a complex array of swirlingare actively and fiercely applied to the canvas, yet the strokes

lines. In other words, the marks left by curvilinear motions

half submit to his unconscious needs, and active intentionsof the brush, rather than uniform color planes, form the chiefand passive contingency strangely appear to intermingle.

mode of expression in his paintings. The result is an enor-

His energy, which tries to address the expansion of themous number of intermingling lines. The lines, however, arepainting space, competes with the energy of something thatnot spread evenly across the canvas. In almost every in-seems trying to emerge from the limitless depths of the

stance, the paintings could be said to display a bias in favor

canvas. Therein lies the genius of the Improvisation series. Itof density and dispersion as the colors change. At times his

is not monopolized simply by issues that are characteristic

paintings have an abstract quality; in other works, figurativeof formalist painting but is always linked with figures of con-images emerge amidst the intermingling lines. In chronolo-

crete objects. This can readily be imagined from the fact

gical terms , the tendency toward abstraction that manifested

that Tang's sculptures and installations treat realistic humanitself around 1990 seems to have been moving once moresituations. Thus, there is a pronounced expressionist ten-in a figurative direction since 1991. The images, however,dency in his recent works, as in the case of many otherseem gradually to have been sought in the painting process.

Southeast Asian artists. But his unusual awareness of the

They are not representations of complete images that are

relationship between line and painting surface has a powerfulvisualized inwardly, nor do they depict real objects.

self-generating quality.

Tang may unintentionally be trying to discover his own

Biography

1955
Born in Singapore
1976-79 Studied at University of Newcastle-Upon-Tyne, Facultyof Engineering, U.K.

1990

Solo Exhibitions

1991

1992
1993

Ideals and Ideas, National Museum Art Gallery,
Singaporelmprovisationen, Hohmann Galerie-Cafe, Walsrode,Germany
lmprovisationen, World Trade Centre, Bremen,
Germany
On BirD and MaN, National Museum Art Gallery,
Singapore

Group Exhibitions

1987

1988

1989

Yin and Yang Festival '87-Conceptual Art Process #1,
National University of Singapore, Singapore
National Museum Heritage Week Art Fair, National
Museum Art Gallery, Singapore
National Museum Centenary Art Exhibition, National
Museum Art Gallery, Singapore
IBM Art Award Exhibition, National Museum Art
Gallery, Singapore
Singapore Festival of Arts (fringe program)Conceptual Art Process #2: More than 4, old SJI
Building/ Botanic Gardens/ City Centre, Singapore
6th Shell Discovery Art Exhibition, Singapore
MAN, OBJECTS, IMAGES '88, National Museum Art
Gallery, Singapore
Contemporary Prints Exhibition '88, National Museum
Art Gallery, Singapore
1st ASEAN Travelling Exhibition of Painting,
Photography and Children's Art, ASEAN Countries
Open Studio Show, The Artists Village, Singapore
Art Mart-Singapore International Shopping Festival
Art Fair '89, Singapore
2nd Open Studio Show, The Artists Village, Singapore
MAN, OBJECTS, IMAGES '89, National Museum Art
Gallery, Singapore
The Happening I, Nanyang Technological Institute Hall
V, Singapore
Australia and Regions Artists' Exchange (ARX '89)Conceptual Art Process #3: Fighting Birds, METRO
MANIA , Art Gallery of Western Australia/ lCA, Perth,
Australia
Artist in Residence, Western Australia College ofAdvanced Education, Perth, Australia

1991

1993

The Drawing Show, The Artists Village, Singapore
The Time Show, The Artists Village, Singapore
Contemporary Art in Singapore: Where East Meets
West, Singapore/ Amsterdam, the Netherlands/
Germany/ Glasgow, U.K.
OU Art Support II International Art Exhibition, Hong
Kong
Arts for Nature, Empress Place Exhibition Gallery,
Singapore
Singapore Festival of Arts (fringe program): Eye 21,
Singapore
Modern Art Travels East-West, Rotterdam, theNetherlands/ Singapore
Urban Artists: 25 Years of Singapore Art, National
Museum Art Gallery, Singapore
Singapore Artists Speak, National Museum Art Gallery,
Singapore
MCI Art Award Exhibition, National Museum Art
Gallery, Singapore
MAN, OBJECTS, IMAGES '90, National Museum Art
Gallery, Singapore
Many in One: 25 Years of Art from Singapore,
Singapore/ U.S.A.
Grand Discovery Art Exhibition, Empress PlaceMuseum, Singapore
Sculpture in Singapore 1991, National Museum Art
Gallery, Singapore
Eyes on Eyes-ASEAN Touring Exhibition, ASEANCountries

Awards

1989

1990

1991

Special Award of Promising Artist, Ministry ofCommunication & Information for Art Competition,
Singapore
Certificate of Distinction Award, 8th Painting of the Year
Exhibition, United Overseas Bank Group, Singapore
Certificate of Distinction Award, 9th Painting of the Year
Exhibition, United Overseas Bank Group, Singapore
First Prize, IBM Art Award, Singapore
Certificate of Distinction Award, 10th Painting of theYear Exhibition, United Overseas Bank Group,
Singapore

Address : 350 Hougang Ave. 7 #04-655, Singapore

13

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Fickle instability intermingles with unencumbered bright-

vague time and space , where he tries to seek the fulfillment

ness. The attainment of supreme bliss coexists with infiniteof nascent bliss. The fact that it is inextricably linked to

weakness . The painting surfaces by Maruyama Naofumi

infinite weakness is presumably due to the emphasis on

based on that duality instills in us a feelin g of familiarity

the moment when it is born and the denial of the lifelessand disquiet. The liberated quality that sugg ests the lack of

accumulation of what is generated. Maruyama always provi-a haven is produced first of all by means of a feeling resem-

sionally simulates through clash ing colors and fluid forms

bling a thin transparent membrane. The canvas suggests

the intuition of momentary events at the point of genesis.

a color slide viewed through a light-bo x. The light that ema-

Even as they blur and permeate each other, the colors

nates from the depths first illuminates the pale hues in thearrange the moment of a fresh genesis and encounter. The

foreground and then us. The blurring of the paint gives

fluid forms mysteriously, and in some unnameable fashion,

the large soft shapes an even vaguer outline and softer

wriggle as though liberated from gravity. Using as a method

focus . As a result of the inappropriate size assigned tothe enormous expansion of tiny forms that are invisible tothem , they seem as if they will expand more and more. This

the naked eye, the painting presents a temporary drama

also contr ibutes to the liberated feeling that is equated with

with a humorous countenance. The instant when this provi-

uncertainty .

sional genesis occurs forms the wellspring for the fulfillment

Spectators standing in front of Maruyam a's canvas be-of bliss , a trace of which has been left us. What can become aware of the uncertainty of the ir own position. But

discovered therein is neither the negation of physical spacethat does not mean that all solid foundations have been

nor mystical salvation , but rather an emblem of personaldissolved or lost sight of. Maruyama returns everything to asalvation through painting.

Biography

1964
1990

Born in Nagaoka, Niigata Prefecture, Japan
Completed B-Semi Schooling System, Yokohama

1993

2 Persons Show, Gallery KURANUKI, Osaka
Absolute Beginners, Galerie 16, Kyoto
2 Persons Show, MAT,Nagoya
12th Parallelism in Art, Espace OHARA, Tokyo

Solo Exhibitions

1990
1991
1992

1993

Aoyama Gallery, Tokyo
INAX Gallery, Tokyo
Muramatsu Gallery, Tokyo
Satani Gallery, Tokyo
Gallery Toi\e, Fukuoka
Moris Gallery, Tokyo
Drawing Show, Nabisu Gallery, Tokyo

Group Exhibitions

1988
1989
1990
1991

1992

B-Semi Show, YokohamaCitizens' Gallery, Yokohama
HB Show, Gallery Gen, Tokyo
B-Semi Show, Yokohama Citizens' Gallery, Yokohama
B-Semi Show, Yokohama Citizens' Gallery, Yokohama
Art Festival MITO, Art Tower Milo, Milo
Drawing Show, Hillside Gallery, Tokyo
Uncertainness as itself-Painting in Prescription,
Aoyama Gallery, Tokyo
3 Persons Show, Aoyama Gallery, Tokyo
Poetics of Hue-Message from Two Dimensions ofContemporary Paintings, Kawasaki City Museum,
Kawasaki
FUTURE CHRONICLE Part I, Memories Gallery,
NagoyaDrawing Show, Hillside Gallery, Tokyo
Some Aspects of Painting, Gallery Haku, Osaka
1st TRANSART. ANNUAL-Painting / Crossing,
YokohamaGaleria, Yokohama
Kaiga no Tenbo (Outlook on the Painting), Gallery
Furukawa, TokyoA Perspective on Contemporary Art- Among the
Figures, The National Museum of Modern Art ,Tokyo/ The National Museum of Art, Osaka

Address : 1193-2F Okagami , Asao -ku, Kawasaki, Kanagawa Prefecture, 215 Japan

17