Constructive Critique

On our trip to the NUS museum, we were brought along to 2 exhibitions, 17 volcanoes and Radio Malaya. There was one section in particular, a collection of 3 pieces by Harry Chin Chun Wah that caught my attention in its simplicity and direct nature that piqued a certain nostalgia in me. As such, i will be applying the Constructive Critique model to this work.

Harry Chin Chun Wah. Sketches, 1972. Pen on paper. 40 x 31.5 cm. Donated by the artist

RESPONSE

The artwork creates a sense of comfort in its casual style as its simplicity contributes to its portrayal as a personal work of an individual in which you can directly see the artist’s experiences and view of his landscape around him. The fluidity of the sketches and banal forms of the figures add life and movement to the sketches in which it truly feels like one is watching these very characters go about their everyday lives in the same space as the artist, painting an overall scene that imbues character into the figures.

DESCRIPTION

“Sketches” (1972) by Harry Chin Chua Wah in pen on paper is exhibited under the “Radio Malaya: abridged conversations about art” exhibit. The sketches are done in simple black ink on paper in which the figure are drawn using messy, irregular lines in light, deft strokes. These quick, casual sketches lack intricacy of details but yet is able to portray depth, form and character. The faded and yellowing of the paper is testament to the age of the work and the torn, ragged edges of the paper suggests that it was perhaps torn directly from the pages of the artist’s sketchbook. The sketches follow a minimalist style using solid single coloured, black lines and each figure or group of figures is demarcated by a boundary of white, negative space to separate the human figures. Each component features different figures of different ages and ethnicities in different poses from different angles and perspectives, creating interest and variation to the work and adding a different kind of dimension to the flat 2-Dimensional image.  

ANALYSIS AND INTERPRETATION

In the simplicity of the piece, there is a sense of rootedness brought about through the intimacy of the sketches in which viewers are given a glimpse into the lives of these strangers as well snapshots of the artist’s view of his landscape. As the artist is known for his artworks that depict local scenes, the figures studied as a part of Singapore’s post-independence landscape showcases the social diversity of the period and serves as a record of what society and its citizens were like. As the artist’s sketches are direct and easy to understand, this strips away the formality and detachment that is common in many polished, abstract modern works, successfully adding a more personal, nostalgic aspect to the piece. The poses captured by the artist are more passive, suggesting a possible melancholy surrounding the period.

EVALUATION AND JUDGEMENT

Thus this work serves as an important documentation of the changing landscape of Singapore, especially in its capturing of the essence of its people and the depiction of locals. This serves as a connection between art and Singapore’s history and allows for younger generations to get a visual sense of their nation’s past. These sketches portray common sights that one would still be able to see around Singapore, yet there is an air of tranquillity that is uncharacteristic of the fast paced modern world. Additionally, the ability of Chin Wah in telling a story through the gestures, facial expressions and body positions of these live figures captures the human aspect of history, providing a unique perspective of the community from an observational point of view. 

Especially in regard to the convenience of simply taking photographs as a means of documenting people and moments, having a physical representation in the form of such artists that are able to instil life and movement and even authenticity into their works make such works even more meaningful. Rather than seeing a direct perspective of what the artist is seeing, we are able to get another layered perspective filtered through and transformed by the artist.