Last year, I visited Yogyakarta for the first time. I never thought I’d be back in less than a year. Is this what we millennials supposedly call ‘manifesting’?

This newsletter comes a little late, and it is going to be a short one— for lack of time, not content. I am beginning production on a new artwork (yes, I have many ongoing ones that are throwing angry glares at me from under my table) and it is going to be intense.

Being on residency is an amazing experience, and such a big part of being an artist. My mum, who has never been supportive of my career choice and constantly thinks its 辛苦 (Chinese: tough), commented off hand the other day, “good life huh you, always get to travel.” Yes mum, now you got one thing right, sarcasm or not (-: It is a dream to be able to see new sights, live new lives, question what you think you know and constantly find new ways of expression.

WHAT I HAVE BEEN UP TO

LOHJINAWI Residency in Yogyakarta

I think the people you meet during any residency can make or break the experience. I’ve not been on that many, but I’ve had enough experiences to expect completely selfish and self-absorbed individuals. It makes me wonder why they chose to take themselves out of their comfort zones, when they are obviously unhappy being uncomfortable.

So it was a complete surprise that the other 2 residents, Carla and Dion, were such great residency mates. I was so appreciative of their company and chats, along with the 2 assistants Lestari and Dita; I learnt so much from them. About Indonesia, about life, about writing, Bahasa Indonesia, and most of all, how it is okay to take a break when I need it.

The slow, warm afternoons listening to the resident cow and chickens; watching Carla’s canvas growing slowly (her charcoal work is amazing!); chats with Dion about books; night rides on a motorbike, where inspiration hits the hardest; things I miss.

Thank you so much to Alia, and all who made my residency such a wonderful experience, and The Institutum for supporting this.

STUDIO VISITS

I was surprised by how many studio visits we did. It was an important learning experience for me, listening about the difference between Indonesia and Singapore’s art scenes in all respects, and seeing how every artist has their own way of working.

It was also an honour to spend time with veteran artists such as FX Harsono, and hear him talk about his journey. He asked us about our work, listened most attentively, and provided some good feedback. “Many people think focusing on just one small aspect is boring,” he said. “But it is only when you focus on one particular subject, that its layers start to reveal themselves.”

NEW EXPLORATIONS

Aside from doing a lot of reading and historical research (LOHJINAWI has a library space filled with lots of books, exhibition guides, etc.), I was keen to do material explorations with finds from the local market. I targeted to finish 2 experimental vessels during this time, and the one in the image above uses a multi-purpose bamboo woven basket.

There was also a ‘ceramic street’ nearby, and I was drawn by the common water jug with its little spout. I explored a different form of destruction with this piece, and really enjoyed the effect. Looking forward to having more time to develop these.

NEW THINGS I SAW

Transitory Nature of Earthly Joy

During my time in Yogyakarta, we took a day trip out to Solo (Surakarta). I was so glad to catch Albert Yonathan Setyawan’s new show, exhibiting an entirely new series of work that quietly introduces life and movement into his oeuvre of ceramic installations. Good art always inspires words in me, so here is the full ‘essay’ on my website if you’d like to read more.

RECENT HAPPENINGS

FIND Design Fair 2024

I literally cut my residency short by a couple of days so I could meet the Art Ripple Taitung team and the artisans who came to Singapore for the FIND Design Fair! Their booth showcased artisanal creations like weaving, tree bark lampshades and woodcarving, as well as the artworks of the artists who participated in the residency program.

I created 2 artworks during my residency in Taitung, and they were exhibited at the fair as well. Link below for photos on my website:

Part of the reason for my appearance was to bring my teacher Abus sightseeing. We visited the Kampong Glam area— I have a fondness for that area since my first studio was there from 2015-2017, and my first real job out of school was at Sultan Gate (2012-3!).

When we were walking around the area, I brought them to the Textile Centre, YKK, Arab Street— all my hangs when I was studying fashion (2008-2010). I was really surprised when all the store owners (even a food vendor from the eatery I used to frequent) still recognised me, and we started chatting. Honestly, this place feels more like home than the actual estate I live in.

Damn, when you access the little corners of Singapore that still retains that flavour from 20 years back, it really gets you. At risk of sounding like some old fogey, these are the best parts of Singapore we don’t get to have anymore.

If any of you would like to begin your journey in textile, there is no better place in Singapore than Craft Atelier. Having had a background in education, the 2 founders Chen Chen and Huilian are serious about what they do, and so very generous. I took my first rigid heddle loom class there, and also played with their wool carding tools. I just had to bring the Taitung team to meet them, and there were many happy discussions about leading Singaporean crafters to Taitung for an exchange trip! People who truly love craft will always speak a common language, getting all excited over materials and techniques.

LAST THOUGHTS

Anti-Intellectuals, Reading, Writing

For those who also follow me on social media, have you sensed a difference in my writing? I found that since I started writing away from Instagram, I’ve been better at organizing and articulating my thoughts.

When I was in design school, we liked to tease the other schools about how we didn’t have exams like them. When you’re a kid, it seems like a good thing. But that 3 years of lack of reading destroyed my years of habit. I was a complete bookworm since I was a kid, even trying to figure out how I could read in the shower (I failed). I read so many books during meals my parents confiscated them. I studied literature in secondary school. But by the time I graduated from design school, I had stopped reading completely. It is a big mistake I wish I didn’t make, because even now, I can never read as quickly or absorb as well as I would like.

With the rise of social media when I graduated, it seemed even less likely I would get back to books, also because I did not continue with my studies. Speaking with a friend recently, it seems there has been a general rise in the ‘anti-intellectual’. (On the flip side, there are also artists who are so conceptual and execute with such a lack of craft that I hesitate to call it art.) Learning, reading, and expressing with words is a big part of creating art. Perhaps, those who have been to art school would roll their eyes and say, duh. But there are also some creatives I have encountered, who think that deeper thought is unnecessary— partially fueled by their lacklustre art education, where sometimes learning is for learning’s sake.

I was surprised to hear from someone I met in Jogja that it is common for undergrads and fresh grads who have a background in literature or art, to write entire essays about art shows and even try to get them published. If you’ve attended art show openings in Singapore, you’d see young ‘influencers’ get invited, and all they do is post IGS with random gifs on it. Do we really need this ‘hype’ to help the art scene here? Aside from the few art-focused online publications, hardly anyone takes the time to properly review a show anymore (no, I cannot use ‘Instagram’ as the source even if someone notable has mentioned my work in their IGS.) Even if there are reviews or summaries, there is a lack of critical analysis or reflection, perhaps because people are so afraid of offending others in the tiny circle.

The person I was speaking to is part of a writing collective, and such initiatives are perhaps why there are many more serious curators there. I feel like this attitude is something we need in Singapore; why doesn’t the local writing scene have an interest in writing about visual arts in Singapore? (Correct me if I’m wrong, please)

But why can’t good craft and good thought exist together? In fact, they have to. Why do people focused on craft scorn at the intellectuals and say “I don’t understand contemporary art”, turn up their noses at the abstract, ‘hate’ Marina Abramović? Why do the intellectuals and academics think they can get away just churning out words to explain theories that few can relate to, ridicule the ‘superfluous’ nature of visual treats, use their essay as the artwork itself? I think it’s something we can all think about, especially here in Singapore. At least, it’s something I think about a lot.

Initiatives

I’ve always believed change begins with oneself. Last year, I offered to fully produce (not curate, which is something else) a friend’s exhibition— things like logistics, grant writing, marketing, etc.— because I had to produce my first solo show all on my own, on top of making the artwork. I hoped this initiative would kickstart some interest in people to take on production roles (fat hope) to take some pressure off artists, resulting in better exhibitions. For art school graduates, it might not be so difficult, but you might be surprised to learn how inaccessible some knowledge in relation to producing shows (e.g. available grants and how to apply for them, catalog design and printing) are, to those not in the art school circuit.

I don’t believe that people who don’t pursue their degree in art should be seen as not good enough and lacking knowledge. But, they HAVE to have the initiative to learn, and find answers— which requires self-discipline. And I believe self-taught artists (who, I might add, have possibly not gone to art school for a variety of reasons including finances, and should not be seen as people who ‘do not like studying’) should have a chance to access the art world too, IF they are willing to make the effort.

The ‘effort’ is the key. Somehow, we Singaporeans (understandably with the high cost of living) are so desperate to churn work out quickly, that quality and foundations are compromised. I think the danger of ‘contemporary art’ is making all of us forget that good work always takes time. Many end up creating the image of what they think a good work should look like, based on how many famous contemporary artworks tend to be ‘simplistic’. But if you think you can copy Lee U-fan just by daubing on a canvas, or be the next Walter De Maria just by pouring soil in the gallery, I’d say you have a very poor understanding of art.

I feel like the lack of critical thinking, lack of interest in affairs outside of oneself, and lack of interest in taking time to improve the craft in which you practise reflects a complacent attitude resulting from a pampered lifestyle in our modern city keen to leave its history behind. (Is what I’m saying going to piss some people off?)

Thank you again for reading to this point, especially to friends who are not based in Singapore— as the last bit is speaking from a very Singaporean perspective!

Off I go to crochet my fingers off (-;