{"title":"Nauti Artwork List","description":"","products":[{"product_id":"ng-eng-teng-untitled-kelong-1961","title":"Ng Eng Teng, Untitled (Kelong), 1961","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eOil on Masonite board\u003cbr\u003e48.5 x 60.5 cm \u003cbr\u003eCondition: Very good, with minor surface accretion accumulated and a few spots of paint loss on the middle and lower left corners. The condition of the painting is consistent with its age.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\" dir=\"ltr\"\u003e-\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003ePainted while Ng was still a student at the Nanyang Academy of Fine Arts (NAFA), this nautical scene is seen through the eyes of an artist who would later become renowned for his explorations of the human figure. Ng studied under Cheong Soo Pieng, whose teaching relied more on demonstration and critique than on a formal syllabus. He often took his students outdoors to paint the river and coastline directly. Ng later recalled setting up easels in front of kampongs and along the Singapore River during those formative years.\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThe water glows yellow with heat, while the scene—kelongs, wooden houses, and laundry strung along the shoreline—captures a Singapore that no longer exists. Viewed today, the painting serves as a record of a country that once lived far closer to the water than it does now.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e-\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e\u003cmeta charset=\"utf-8\"\u003eA seminal figure in Singaporean sculpture, Ng Eng Teng \u003cmeta charset=\"utf-8\"\u003e(Singaporean, 1934 - 2001) is celebrated for his figurative works found in public spaces across the country. Renowned pieces include \"Mother and Child\" outside Far East Shopping Centre and \"The Explorer\" at the entrance of the Singapore Art Museum. Ng's career was distinguished by his blend of Eastern and Western influences, honed through formal training at the Nanyang Academy of Fine Arts (NAFA). \u003cimg\u003eHis career reached new heights with solo exhibitions and prestigious awards, including the Cultural Medallion Award in 1981 for his contributions to Singapore's art scene.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eUntitled (Kelong)\u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003e (1961)\u003c\/strong\u003e was Ng's interpretation of the Nanyang Style, a Malaya art tradition characterised by motifs and subject matter associated with the landscape of Southeast Asia, and the everyday life of its communities. An early articulation of its element came from Lim Hak Tai, the first principle of Nanyang Academy of Fine Arts (NAFA), who declared that art should reflect ‘the reality of the Southern Seas, the localness of the place…taking from them aspects that are most suitable for the Nanyang Region’.\u003c\/p\u003e\n\u003cp\u003eAs a student at NAFA from 1959-1961 under the tutelage of Georgette Chen, Ng experimented with the styles defined, but also responded with acumen. Art Historian T.K. Sabapathy notes that Ng's works demonstrated ‘significant departures from the prevailing aesthetic drive, which was directed towards creating untroubled, idyllic images of nature; in Ng's pictures there are intimations of disequilibrium’. \u003c\/p\u003e\n\u003cp\u003e(Photographed in February 2025)\u003c\/p\u003e\n\u003cp style=\"text-align: start; white-space: pre-wrap;\" class=\"\"\u003e \u003c\/p\u003e","brand":"Art Again","offers":[{"title":"Default Title","offer_id":52045911425389,"sku":null,"price":16000.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/DSC05623.jpg?v=1751531437"},{"product_id":"anthony-poon-calli-dance-1985","title":"Anthony Poon, Calli-Dance, 1985","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAcrylic on canvas\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e113 x 113 cm (visible), 123 x 123 x 4 cm (framed)\u003cbr\u003eCondition: Very good\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eCertificate of Authenticity available\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eAcquired directly from the artist in the late 1980s.\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e \u003ca href=\"https:\/\/www.nationalgallery.sg\/sg\/en\/our-collections\/search-collection.artwork.html\/national-collection\/anthony-poon\/p\/P-0952.tif.html?search=anthony%20poon\" rel=\"noopener\" target=\"_blank\"\u003eA similar work of his sits in the National Collection\u003c\/a\u003e. \u003cstrong\u003eThis artwork also appears on the National University of Singapore Calendar 1987\u003c\/strong\u003e.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e-\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eAnthony Poon's Wave series is the nautical, made abstract, where water is reduced to its essential movement. Built from curvilinear bands drawn from frequency waves and set against a modular grid of grey panels, the work holds the same weightless, \u003cmeta charset=\"utf-8\"\u003eundulating quality as open water. By extending the wave beyond the flat picture plane into shallow relief, Poon synthesised line, colour, and form into a singular, ordered visual language. In \u003cem\u003eNauti\u003c\/em\u003e, the river and the sea are distilled into pure rhythm, balance, and the quiet momentum of the curve.\u003cbr\u003e\u003cbr\u003e-\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eAnthony Poon (Singaporean, 1945-2006) was a key figure in modern abstract art in Singapore. He trained at the Nanyang Academy of Fine Arts in the 1960s and later studied at Bynam Shaw School of Art and the Royal Academy of Art in London. Returning to Singapore in the 1970s, he became known for a systematic, formalist approach to abstraction that marked a shift away from the Nanyang School's figuration.\u003cbr\u003e\u003cbr\u003ePoon first gained recognition for his Shaped Canvas series in the early 1970s, in which geometric compositions extended beyond the traditional rectangular frame. This exploration of structure and form laid the groundwork for his best-known Wave series. By the 1980s, Poon was turning these waves into relief paintings and sculptural formats, constructing canvases over curved aluminium supports to create subtle three-dimensional effects. Later, he expanded the motif into public sculptures across Singapore. \u003cbr\u003e\u003cbr\u003eThe piece, with its segmented vertical divisions, undulating bands and a palette of greys, whites, pinks and blues, belongs stylistically to the panelled Wave reliefs sometimes described as \"6P Waves\" or \"multi-panel Waves.\" These compositions are distinguished by their modular structure of vertical strips anchoring the work while coloured wave-bands cut across. The work demonstrates how Poon combined a rigorous formal system with subtle shifts in colour and line to achieve harmony.\u003cbr\u003e\u003cbr\u003eThroughout his career, Poon exhibited widely in Singapore and internationally. He represented Singapore at the 1984 Venice Biennale, and his works are today held in major collections such as the National Gallery Singapore and the Singapore Art Museum. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e(Photographed in October 2025)\u003c\/span\u003e\u003c\/p\u003e","brand":"Art Again","offers":[{"title":"Default Title","offer_id":52605261021549,"sku":null,"price":58000.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/14-DSC01974.jpg?v=1759931408"},{"product_id":"henri-chen-kezhan-untitled-mountain-face-undated","title":"Henri Chen KeZhan, Untitled (Mountain Face), Undated","description":"\u003cp\u003eChinese ink and colour on paper\u003cbr\u003e21.5 x 16.5 cm (visible), 53 x 45 x 3.5 cm (framed)\u003cbr\u003eCondition: Very good, work has been reframed in dec 2025.\u003cbr\u003e\u003cbr\u003e-\u003cbr\u003e\u003cbr\u003eHenri Chen KeZhan 陈克湛 (Singaporean, b. 1959) is an abstract ink and wash painter who thrives on the border of Chinese and Western art. The subject matter of Chen’s paintings is nature, especially the lotus and other flowers. An enthusiastic gardener, he has even drawn inspiration from the plants he tends. The lotuses in his garden, for instance, inspired his Lotus series.\u003cbr\u003e\u003cbr\u003eBeing surrounded by nature is an important stimulant to his creativity. Music is Chen’s artistic muse, and listening to music while painting has become a ritual for him. Having studied both art and music, he fuses elements of sound and colour in his art.In Chen’s art, the orthodox marks of the Chinese brush are always evident, but they are recontextualised and reinterpreted within the realm of abstract expressionism. The fine balance and synthesis of both eastern and Western techniques of painting is characteristic of his works.\u003cbr\u003e\u003cbr\u003eAcquired in the mid-1990s from one of Singapore’s most stylish galleries, Cicada Gallery of Fine Arts in Ann Siang Hill—a quiet cul-de-sac home to ad agencies, design houses and discreet law firms. Run with impeccable taste and style, Cicada represented Singapore artists Henri Chen Kezhan and Jimmy Ong.\u003cbr\u003e\u003cbr\u003e(Photographed in December 2025)\u003c\/p\u003e","brand":"Art Again","offers":[{"title":"Default Title","offer_id":52860962963821,"sku":null,"price":2600.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/3-IMG_2080.jpg?v=1766397213"},{"product_id":"henri-chen-kezhan-letter-to-myself-series-iii-1994","title":"Henri Chen KeZhan, “Letter to Myself” Series III, 1994","description":"\u003cp\u003eChinese ink and colour on paper\u003cbr\u003e32.5 x 22 cm (visible), 47 x 37 x 2.5 cm (framed)\u003cbr\u003eCondition: Very good, work has been reframed in Dec 2025.\u003cbr\u003e\u003cbr\u003e-\u003cbr\u003e\u003cbr\u003eHenri Chen KeZhan 陈克湛 (Singaporean, b. 1959) is an abstract ink and wash painter who thrives on the border of Chinese and Western art. The subject matter of Chen’s paintings is nature, especially the lotus and other flowers. An enthusiastic gardener, he has even drawn inspiration from the plants he tends. The lotuses in his garden, for instance, inspired his Lotus series.\u003cbr\u003e\u003cbr\u003eBeing surrounded by nature is an important stimulant to his creativity. Music is Chen’s artistic muse, and listening to music while painting has become a ritual for him. Having studied both art and music, he fuses elements of sound and colour in his art.In Chen’s art, the orthodox marks of the Chinese brush are always evident, but they are recontextualised and reinterpreted within the realm of abstract expressionism. The fine balance and synthesis of both eastern and Western techniques of painting is characteristic of his works.\u003cbr\u003e\u003cbr\u003eAcquired in the mid-1990s from one of Singapore’s most stylish galleries, Cicada Gallery of Fine Arts in Ann Siang Hill—a quiet cul-de-sac home to ad agencies, design houses and discreet law firms. Run with impeccable taste and style, Cicada represented Singapore artists Henri Chen Kezhan and Jimmy Ong.\u003cbr\u003e\u003cbr\u003e(Photographed in December 2025)\u003c\/p\u003e","brand":"Art Again","offers":[{"title":"Default Title","offer_id":52860962996589,"sku":null,"price":3500.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/3-IMG_2095.jpg?v=1766397074"},{"product_id":"henri-chen-kezhan-letter-to-myself-series-ii-1994","title":"Henri Chen KeZhan, “Letter to Myself” Series II, 1994","description":"\u003cp\u003eChinese ink and colour on paper\u003cbr\u003e32 x 22.5 cm (visible), 47 x 36.5 x 2.5 cm (framed)\u003cbr\u003eCondition: Very good, work has been reframed in Dec 2025.\u003cbr\u003e\u003cbr\u003e-\u003cbr\u003e\u003cbr\u003eHenri Chen KeZhan 陈克湛 (Singaporean, b. 1959) is an abstract ink and wash painter who thrives on the border of Chinese and Western art. The subject matter of Chen’s paintings is nature, especially the lotus and other flowers. An enthusiastic gardener, he has even drawn inspiration from the plants he tends. The lotuses in his garden, for instance, inspired his Lotus series.\u003cbr\u003e\u003cbr\u003eBeing surrounded by nature is an important stimulant to his creativity. Music is Chen’s artistic muse, and listening to music while painting has become a ritual for him. Having studied both art and music, he fuses elements of sound and colour in his art. In Chen’s art, the orthodox marks of the Chinese brush are always evident, but they are recontextualised and reinterpreted within the realm of abstract expressionism. The fine balance and synthesis of both eastern and Western techniques of painting is characteristic of his works.\u003cbr\u003e\u003cbr\u003eAcquired in the mid-1990s from one of Singapore’s most stylish galleries, Cicada Gallery of Fine Arts in Ann Siang Hill—a quiet cul-de-sac home to ad agencies, design houses and discreet law firms. Run with impeccable taste and style, Cicada represented Singapore artists Henri Chen Kezhan and Jimmy Ong.\u003cbr\u003e\u003cbr\u003e(Photographed in December 2025)\u003c\/p\u003e","brand":"Art Again","offers":[{"title":"Default Title","offer_id":52860963062125,"sku":null,"price":3500.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/3-IMG_2085.jpg?v=1766396941"},{"product_id":"henri-chen-kezhan-letter-to-myself-series-i-1994","title":"Henri Chen KeZhan, “Letter to Myself” Series I, 1994","description":"\u003cp\u003eChinese ink and colour on paper\u003cbr\u003e29 x 21.5 cm (visible), 47 x 37 x 2 cm (framed)\u003cbr\u003eCondition: Very good, work has been reframed in Dec 2025.\u003cbr\u003e\u003cbr\u003e-\u003cbr\u003e\u003cbr\u003eHenri Chen KeZhan 陈克湛 (Singaporean, b. 1959) is an abstract ink and wash painter who thrives on the border of Chinese and Western art. The subject matter of Chen’s paintings is nature, especially the lotus and other flowers. An enthusiastic gardener, he has even drawn inspiration from the plants he tends. The lotuses in his garden, for instance, inspired his Lotus series.\u003cbr\u003e\u003cbr\u003eBeing surrounded by nature is an important stimulant to his creativity. Music is Chen’s artistic muse, and listening to music while painting has become a ritual for him. Having studied both art and music, he fuses elements of sound and colour in his art.In Chen’s art, the orthodox marks of the Chinese brush are always evident, but they are recontextualised and reinterpreted within the realm of abstract expressionism. The fine balance and synthesis of both eastern and Western techniques of painting is characteristic of his works.\u003cbr\u003e\u003cbr\u003eAcquired in the mid-1990s from one of Singapore’s most stylish galleries, Cicada Gallery of Fine Arts in Ann Siang Hill—a quiet cul-de-sac home to ad agencies, design houses and discreet law firms. Run with impeccable taste and style, Cicada represented Singapore artists Henri Chen Kezhan and Jimmy Ong.\u003cbr\u003e\u003cbr\u003e(Photographed in December 2025)\u003c\/p\u003e","brand":"Art Again","offers":[{"title":"Default Title","offer_id":52860963160429,"sku":null,"price":3000.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/2-IMG_2087.jpg?v=1766396740"},{"product_id":"henri-chen-kezhan-lotus-pm-46-1994","title":"Henri Chen KeZhan, Lotus PM 46, 1994","description":"\u003cp\u003eChinese ink and colour on paper\u003cbr\u003e33 x 34 cm (visible), 67.5 x 67.5 x 2 cm (framed)\u003cbr\u003eCondition: Very good, work has been reframed in Dec 2025.\u003cbr\u003e\u003cbr\u003e-\u003cbr\u003e\u003cbr\u003eHenri Chen KeZhan 陈克湛 (Singaporean, b. 1959) is an abstract ink and wash painter who thrives on the border of Chinese and Western art. The subject matter of Chen’s paintings is nature, especially the lotus and other flowers. An enthusiastic gardener, he has even drawn inspiration from the plants he tends. The lotuses in his garden, for instance, inspired his Lotus series.\u003cbr\u003e\u003cbr\u003eBeing surrounded by nature is an important stimulant to his creativity. Music is Chen’s artistic muse, and listening to music while painting has become a ritual for him. Having studied both art and music, he fuses elements of sound and colour in his art. In Chen’s art, the orthodox marks of the Chinese brush are always evident, but they are recontextualised and reinterpreted within the realm of abstract expressionism. The fine balance and synthesis of both eastern and Western techniques of painting is characteristic of his works.\u003cbr\u003e\u003cbr\u003e(Photographed in December 2025)\u003c\/p\u003e","brand":"Art Again","offers":[{"title":"Default Title","offer_id":52860963225965,"sku":null,"price":3800.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/1-IMG_2068.jpg?v=1766396306"},{"product_id":"low-puay-hua-singapore-river-undated","title":"Low Puay Hua, Singapore River, Undated","description":"\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eWatercolour on paper\u003cbr\u003e54 x 72 cm (visible), 79 x 97 (framed)\u003cbr\u003eCondition: Good, with foxing visible near the bottom and on the matboard.\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e-\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eLow Puay Hua \u003cspan\u003e刘培和 \u003c\/span\u003e(Singaporean, b. 1945) graduated from the Nanyang Academy of Fine Arts in 1965, with a career spanning over four decades. He has traveled across Southeast Asia, the Far East, and Europe, using these journeys as valuable opportunities to accumulate visual experiences and insights that strengthen his artistic practice. Sketching and painting on location allow him to train his ability to respond directly to diverse atmospheric lighting and cultural intricacies.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eLow's art is distinguished by his wide-ranging interests and diverse artistic directions. His landscape paintings reinforce his discipline, while his streetscape paintings deepen his understanding of local ethos. His contemporary Chinese ink paintings revitalize centuries-old traditions, and his abstract art explores the potential for artistic innovation.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eLow’s artistic versatility and dedication to his craft have solidified his place in Singapore’s art scene. His works are appreciated for their ability to bridge the past and present, offering viewers both a historical reflection and a contemporary perspective. Through his disciplined approach and evolving artistic explorations, Low Puay Hua continues to leave an indelible mark on Singaporean and regional art.\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003e(Photographed in December 2025)\u003c\/p\u003e","brand":"Art Again","offers":[{"title":"Default Title","offer_id":52896843661677,"sku":null,"price":6000.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/2-DSC07682.jpg?v=1767879576"},{"product_id":"prabhakara-jimmy-quek-changing-phenomenon-undated","title":"Prabhakara Jimmy Quek, Changing Phenomenon, Undated","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOil on canvas\u003cbr\u003e61 x 198.5 cm (visible), 67 x 204.5 x 4.5 cm (framed)\u003cbr\u003eCondition: Very good\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e-\u003cbr\u003e\u003cbr\u003e\u003cspan\u003ePrabhakara Jimmy Quek (Singaporean, b. 1955) is a painter and printmaker whose art is often based on Buddhist philosophy and an appreciation for nature’s transience. Having studied at the Baharuddin Vocational Institute and later trained in fine arts and design, Quek has spent decades exploring ideas of impermanence and continuity through his works. His artistic journey reflects a balance between traditional Asian aesthetics and contemporary experimentation, often drawing from his spiritual practice as a Buddhist.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eHis works combine Eastern brushwork techniques and meditative compositions with Western abstract sensibilities, creating a visual language that is both contemplative and dynamic. Over the years, Quek has exhibited extensively across Singapore and internationally, with his pieces held in both private and public collections. Beyond his painting, he is also known for his contributions to arts education and for fostering mindfulness in creative expression, bridging spirituality with modern art practice.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e(Photographed in January 2026)\u003c\/p\u003e","brand":"Art Again","offers":[{"title":"Default Title","offer_id":52969713500525,"sku":null,"price":2500.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/7-IMG_1947.jpg?v=1769600705"},{"product_id":"ng-eng-teng-chick-1980","title":"Ng Eng Teng, Chick, 1980","description":"\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003eCiment fondu\u003cbr\u003e10 x 8.5 x 8.5 cm\u003cbr\u003eCondition: Very good\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cmeta charset=\"utf-8\"\u003eBonhams Hong Kong, 27 May 2023, Lot 61\u003cbr\u003eAcquired as part of a group of sculptures from the above sale by the present owner.\u003cbr\u003e-\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eBest known for his public sculptures, Ng Eng Teng carried the study of the body into three dimensions with a seriousness that few of his peers brought to the figure. He was a member of Group 90, a collective that formed to \u003cmeta charset=\"utf-8\"\u003esustain life drawing and the study of the nude at a time when few institutions would take either discipline seriously.\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e\u003cmeta charset=\"utf-8\"\u003eAlthough his work is seldom discussed through the lens of his sexuality, his lifelong preoccupation with the strained, contorted figure invites such a reading. His bodies, which T.K. Sabapathy described as being \"predominantly afflicted\", embody both physical and psychological tension. Ng himself characterised some of these works simply as being about \"the difficulty of getting out of being what you are.\"\u003cbr\u003e\u003cbr\u003e-\u003cbr\u003e\u003cbr\u003eNg Eng Teng (Singaporean, 1934–2001) was a seminal figure in Singaporean sculpture, celebrated for his figurative works found in public spaces across the country. Renowned pieces include \"Mother And Child\" outside Far East Shopping Centre and \"The Explorer\" at the entrance of the Singapore Art Museum. Ng's career was distinguished by his blend of Eastern and Western influences, honed through formal training at the Slade School of Fine Art in London.\u003cbr\u003e\u003cbr\u003eReturning to Singapore, Ng initially worked in applied arts, designing ceramics for Carrigaline Pottery in County Cork, Ireland. However, he felt drawn to pursue his passion for sculpting and returned to his homeland. Ng's artistic journey was marked by financial challenges, but he persevered, eventually establishing himself as a full-time sculptor.\u003cbr\u003e\u003cbr\u003eHis career reached new heights with solo exhibitions and prestigious awards, including the Cultural Medallion Award in 1981 for his contributions to Singapore's art scene.\u003cbr\u003e\u003cbr\u003e(Photographed in March 2026)\u003c\/p\u003e","brand":"Art Again","offers":[{"title":"Default Title","offer_id":53188900454765,"sku":null,"price":4500.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/2-IMG_8435.jpg?v=1775143312"},{"product_id":"chua-ek-kay-life-of-a-river-triptych-c-2000s","title":"Chua Ek Kay, The Reflections — Life of a River (Triptych), c. 2000s","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eInk and colour on paper\u003cbr\u003e120 x 70 cm (visible) (each), 122 x 190 x 2 cm (framed)\u003cbr\u003eCondition: Very good, with light stains throughout, consistent with age of the work.\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eAcquired from Art Outreach Charity Auction in 2004.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e-\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\" class=\"font-claude-response-body break-words whitespace-normal\"\u003eChua Ek Kay is among Singapore's most celebrated ink painters, and the river was one of his enduring subjects.\u003cstrong\u003e \u003cem\u003eLife of a River\u003c\/em\u003e\u003c\/strong\u003e is a preparatory study for his best-known public commission: the 60-metre mural at Clarke Quay MRT station, silkscreened onto enamel panels, that still shows the life of the Singapore River, the early migrants, the tongkangs, the riverside buildings, to every commuter who passes through. This is where that vision was worked out, in the spontaneous ink-on-ink brushwork, \"black within black,\" as Chua called it, that made him the first ink painter to win the UOB Painting of the Year in 2008. To own it is to hold the origin of a work thousands see every day, the private study behind the public monument.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e-\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eLauded as the “bridge between Asian and Western art”\u003c\/span\u003e\u003cspan\u003e, Chua Ek Kay 蔡逸溪 (Singaporean, 1947-2008) was an artist who adeptly blended Chinese painting forms such as Chinese ink on paper, with Western art theories and techniques. His bold reinterpretation of ink traditions won him accolades such as the UOB Painting of the Year Award in 1991, being the first Chinese ink-painter to do so, and the Cultural Medallion in 1999. \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eChua’s early life was rich with Chinese cultural influences — he wrote Chinese poetry, read Chinese literature and practised calligraphy\u003c\/span\u003e\u003cspan\u003e. In 1975, he was taught Chinese brush painting by Fan Chang Tien, Singapore’s master ink painter of the Shanghai School. As Chua trained in the Shanghai School style, he found similarities to the works of Western artists like Henri Matisse, Pablo Picasso and Jackson Pollock, as both were rife with artistic spontaneity. As he continued to hone his artistic practice, he realised that the discipline of Chinese art helped strengthen his lines whilst Western techniques helped him in the mixing of tones. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/Screenshot_2026-05-24_at_2.28.47_PM.png?v=1779604147\" alt=\"\"\u003e\u003cbr\u003e\u003cem\u003ePhoto courtesy of Art Outreach Singapore.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003e\u003cstrong\u003e\u003cem\u003eReflections — Life of a River\u003c\/em\u003e \u003c\/strong\u003eis a preparatory work for Chua’s 60-metre long mural found at Clarke Quay MRT station. These images were silkscreened onto vitreous enamel panels now found at the station. The mural depicts life on the Singapore River, showing the arrival of early migrants in the 19th century, the tongkangs that used to ply the river, the buildings surrounding the river and street celebrations by the riverside. As Chua fondly said of this installation “My works at Clarke Quay are some of the largest works of my entire career. It will be a magical moment for me when the public views my works for the first time.” View a virtual tour of Chua’s full installation at the station \u003ca rel=\"noopener\" href=\"https:\/\/www.youtube.com\/watch?v=8lHEXLSRULc\" target=\"_blank\"\u003ehere\u003c\/a\u003e\u003ca href=\"youtube.com\/watch?time_continue=285\u0026amp;v=8lHEXLSRULc\u0026amp;embeds_referring_euri=https%3A%2F%2Fwww.artoutreachsingapore.org%2F\u0026amp;embeds_referring_origin=https%3A%2F%2Fwww.artoutreachsingapore.org\u0026amp;source_ve_path=MjM4NTE\" target=\"_blank\"\u003e\u003c\/a\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv style=\"text-align: left;\"\u003e\n\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/Screenshot_2025-11-20_at_10.29.48.png?v=1763605612\" alt=\"\" width=\"299\" height=\"345\"\u003e\u003cbr\u003e\u003cem\u003eArt in Transit: North East Line MRT \u003c\/em\u003eby Tan Su Yen\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"text-align: left;\"\u003e\n\u003cbr\u003eIn 2003, \u003cspan style=\"color: rgb(0, 0, 0);\"\u003ea book detailing the artworks that grace the stations and linkways of the North East Line titled\u003c\/span\u003e \u003cspan style=\"color: rgb(0, 0, 0);\"\u003eArt \u003cem\u003ein Transit: North East Line MRT \u003c\/em\u003ewas published by the \u003c\/span\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003eLand Transport Authority. It \u003c\/span\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003e\u003cspan\u003etells the story of the creation of the artworks on the North East Line and the many outstanding individuals who made it possible.\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e(Photographed in April 2026)\u003c\/div\u003e","brand":"Art Again","offers":[{"title":"Default Title","offer_id":53364888994157,"sku":null,"price":120000.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/Untitleddesign_8_0a63150a-fa52-4fbd-ab69-13282e1c831d.jpg?v=1784869870"},{"product_id":"teng-nee-cheong-untitled-tattoo-man-series-untitled-inv-4178-undated","title":"Teng Nee Cheong, Tattoo-Man Series Untitled in\/V#4(178), Undated","description":"\u003cp\u003eOil and gold leaf on canvas laid on masonite board\u003cbr\u003e130 x 163 cm\u003cbr\u003eCondition: Very good\u003cbr\u003e\u003cspan\u003eCertificate of Authenticity from the Estate of Teng Nee Cheong available.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e-\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003eWhere Teng Nee Cheong's charcoal studies were drawn from life and stripped to line and gesture, his oils translated the nude into another register entirely: colour, pattern and ornament, the figure set among flowers, fruit and textiles drawn from Balinese mythology, Hinduism and Buddhism. This is the lavish, decorative Teng, the figure worked into a surface of gold and glitter, richly patterned and almost devotional in its density. Though the charcoal drawings fed directly into these paintings, Teng described them as independent works that also served as templates, and where the drawings are quiet and private, the oils are made to dazzle.\u003cbr\u003e\u003cbr\u003eThis more decorative, finished treatment of the nude was also the side of his practice that reached the public. Unlike the drawings, which stayed largely in the studio, these oils were exhibited during his lifetime and entered institutional collections.\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e-\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eTeng Nee Cheong \u003cspan class=\"Yjhzub\"\u003e邓尔昌 \u003c\/span\u003e(Singaporean, 1951–2013)\u003c\/span\u003e\u003cspan\u003e studied at the Nanyang Academy of Fine Arts (1966–1968) under the influence of mentors like Georgette Chen and Ng Yat Chuan. Throughout his career, Teng demonstrated mastery across oil, pastel and charcoal, though it is his intimate still lifes that reveal a quieter, more contemplative strand of his practice.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn these early to mid‑career works, Teng imbued everyday produce with both formality and lyricism. Teng’s still lifes occupy an important place within his wider oeuvre, bridging his training in Nanyang figure and local landscape traditions with the more ornate, symbolic narratives he later developed. They demonstrate his capacity for attentive observation and formal refinement, serving as foundational studies in colour, shape and composition. \u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eTeng’s early career laid the groundwork for what would become a highly individual and expressive body of work. In 1978, he received the Ministry of Culture Special Award, marking a moment of national recognition that affirmed his artistic direction. While he would go on to explore identity and queerness in later decades, his earlier works already signalled enduring interests in visual storytelling, ornamentation, and cultural synthesis—elements that would come to define his singular artistic language.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e-\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/IMG_8785_1.jpg?v=1779976900\" alt=\"\" width=\"509\" height=\"442\" style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eTeng Nee Cheong, \u003cmeta charset=\"utf-8\"\u003e\u003cspan class=\"dd\"\u003eTattoo Series: Tattooed Nocturne Laid Bare, 2008\u003cbr\u003eOil on canvas\u003cbr\u003eCollection of the National Gallery Singapore\u003c\/span\u003e\u003cspan class=\"dd\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/DSC06073_3.jpg?v=1779976172\" alt=\"\" width=\"509\" height=\"428\"\u003e\u003cbr\u003eTeng Nee Cheong, Untitled, 2004\u003cbr\u003eCharcoal on paper\u003cbr\u003eCourtesy of the Estate of Teng Nee Cheong\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e(Photographed in May 2026)\u003c\/span\u003e\u003c\/p\u003e","brand":"Art Again","offers":[{"title":"Default Title","offer_id":53377761771885,"sku":null,"price":90000.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/6-IMG_8438_1.jpg?v=1779968981"},{"product_id":"teng-nee-cheong-untitled-no-c4-2003","title":"Teng Nee Cheong, Untitled, No. C4, 2003","description":"\u003cp\u003eCharcoal on paper\u003cbr\u003e118 x 88 cm \u003cbr\u003eCondition: Good, with light spots of foxing throughout the work.\u003cbr\u003eCertificate of Authenticity from the Estate of Teng Nee Cheong available\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e-\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eLiterature\u003cbr\u003eSabapathy, T. K. \u003cem\u003eEmbodiment | Sentience\u003c\/em\u003e. Singapore: The Private Museum, 2018, p. 46.\u003cbr\u003e\u003cbr\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/Screenshot_2026-07-29_at_4.51.10_PM.png?v=1785315081\" alt=\"\" width=\"246\" height=\"307\"\u003e   \u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/Screenshot_2026-07-29_at_5.00.30_PM.png?v=1785315647\" alt=\"\" width=\"245\" height=\"307\"\u003e\u003cbr\u003e-\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003eBy the 1990s and 2000s, Teng Nee Cheong's male nudes had become among the most intimate explorations of same-sex desire produced by a Singaporean artist of his generation. Where his earlier figure drawings adhered to the conventions of academic study, these works are marked by tenderness, quiet sensuality, and an unmistakable emotional intimacy. They reflect the same elegance and technical assurance found throughout his practice, while offering a deeply personal perspective on the male figure.\u003cbr\u003e\u003cbr\u003eCreated during a period when sex between men remained criminalised in Singapore, these drawings were seldom exhibited publicly during the artist's lifetime. They remained within his private collection until they were first shown in 2018, five years after his passing. Their delayed public emergence speaks not only to the social climate in which they were made, but also to the histories of visibility and concealment that \u003cem\u003eNauti\u003c\/em\u003e seeks to explore.\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e-\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eTeng Nee Cheong \u003cspan class=\"Yjhzub\"\u003e邓尔昌 \u003c\/span\u003e(Singaporean, 1951–2013)\u003c\/span\u003e\u003cspan\u003e studied at the Nanyang Academy of Fine Arts (1966–1968) under the influence of mentors like Georgette Chen and Ng Yat Chuan. Throughout his career, Teng demonstrated mastery across oil, pastel and charcoal, though it is his intimate still lifes that reveal a quieter, more contemplative strand of his practice.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn these early to mid‑career works, Teng imbued everyday produce with both formality and lyricism. Teng’s still lifes occupy an important place within his wider oeuvre, bridging his training in Nanyang figure and local landscape traditions with the more ornate, symbolic narratives he later developed. They demonstrate his capacity for attentive observation and formal refinement, serving as foundational studies in colour, shape and composition.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eTeng’s early career laid the groundwork for what would become a highly individual and expressive body of work. In 1978, he received the Ministry of Culture Special Award, marking a moment of national recognition that affirmed his artistic direction. While he would go on to explore identity and queerness in later decades, his earlier works already signalled enduring interests in visual storytelling, ornamentation, and cultural synthesis—elements that would come to define his singular artistic language.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003e(Photographed in May 2026)\u003c\/span\u003e\u003c\/p\u003e","brand":"Art Again","offers":[{"title":"Default Title","offer_id":53449632022893,"sku":null,"price":21000.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/DSC06008_bf5e3f0e-f402-45a3-a9de-772fcfefbb3a.jpg?v=1785416749"},{"product_id":"teng-nee-cheong-untitled-no-285-2004","title":"Teng Nee Cheong, Untitled, No. 285, 2004","description":"\u003cp\u003eCharcoal on paper\u003cbr\u003e86 x 112 cm (visible), 112.5 x 128.5 x 2.5 cm (framed)\u003cbr\u003eCondition: Good, with slight foxing on the top half of the work.\u003cbr\u003eCertificate of Authenticity from the Estate of Teng Nee Cheong available\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e-\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003eExhibited\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\u003cem\u003eEmbodiment | Sentience\u003c\/em\u003e. The Private Museum, Singapore, 4 October–9 December 2018.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eLiterature\u003cbr\u003e\u003cem\u003eSabapathy, T. K\u003c\/em\u003e. \u003cem\u003eEmbodiment | Sentience\u003c\/em\u003e. Singapore: The Private Museum, 2018, p. 43.\u003cbr\u003eTeng, Nee Cheong. \u003cem\u003eThose the Gods Love Grow Mightier.\u003c\/em\u003e Singapore: Gajah Gallery, 2010, p. 129.\u003cbr\u003e\u003cbr\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/Screenshot_2026-07-29_at_4.51.10_PM.png?v=1785315081\" alt=\"\" width=\"245\" height=\"306\"\u003e   \u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/Screenshot_2026-07-29_at_4.58.24_PM.png?v=1785315513\" alt=\"\" width=\"245\" height=\"306\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/Those-the-gods-love-1.jpg?v=1785316329\" alt=\"\" width=\"451\" height=\"273\"\u003e\u003cbr\u003e\u003cbr\u003e-\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eBy the 1990s and 2000s, Teng Nee Cheong's male nudes had become among the most intimate explorations of same-sex desire produced by a Singaporean artist of his generation. Where his earlier figure drawings adhered to the conventions of academic study, these works are marked by tenderness, quiet sensuality, and an unmistakable emotional intimacy. They reflect the same elegance and technical assurance found throughout his practice, while offering a deeply personal perspective on the male figure.\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eCreated during a period when sex between men remained criminalised in Singapore, these drawings were seldom exhibited publicly during the artist's lifetime. They remained within his private collection until they were first shown in 2018, five years after his passing. Their delayed public emergence speaks not only to the social climate in which they were made, but also to the histories of visibility and concealment that \u003cem\u003eNauti\u003c\/em\u003e seeks to explore.\u003cbr\u003e\u003cbr\u003e-\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eTeng Nee Cheong \u003cspan class=\"Yjhzub\"\u003e邓尔昌 \u003c\/span\u003e(Singaporean, 1951–2013)\u003c\/span\u003e\u003cspan\u003e studied at the Nanyang Academy of Fine Arts (1966–1968) under the influence of mentors like Georgette Chen and Ng Yat Chuan. Throughout his career, Teng demonstrated mastery across oil, pastel and charcoal, though it is his intimate still lifes that reveal a quieter, more contemplative strand of his practice.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn these early to mid‑career works, Teng imbued everyday produce with both formality and lyricism. Teng’s still lifes occupy an important place within his wider oeuvre, bridging his training in Nanyang figure and local landscape traditions with the more ornate, symbolic narratives he later developed. They demonstrate his capacity for attentive observation and formal refinement, serving as foundational studies in colour, shape and composition.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eTeng’s early career laid the groundwork for what would become a highly individual and expressive body of work. In 1978, he received the Ministry of Culture Special Award, marking a moment of national recognition that affirmed his artistic direction. While he would go on to explore identity and queerness in later decades, his earlier works already signalled enduring interests in visual storytelling, ornamentation, and cultural synthesis—elements that would come to define his singular artistic language.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e(Photographed in May 2026)\u003c\/span\u003e\u003c\/p\u003e","brand":"Art Again","offers":[{"title":"Default Title","offer_id":53449636446573,"sku":null,"price":21000.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/DSC06073.jpg?v=1785416898"},{"product_id":"teng-nee-cheong-untitled-no-270-2000","title":"Teng Nee Cheong, Untitled, No. 270, 2000","description":"\u003cp\u003eCharcoal on paper\u003cbr\u003e86 x 117 cm (visible), 110 x 142 x 6 cm (framed)\u003cbr\u003eCondition: Good, with foxing throughout the work and mould within the frame.\u003cbr\u003eCertificate of Authenticity from the Estate of Teng Nee Cheong available\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e-\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eExhibited\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cem\u003eEmbodiment | Sentience\u003c\/em\u003e. The Private Museum, Singapore, 4 October–9 December 2018.\u003cbr\u003e\u003cbr\u003eLiterature\u003cbr\u003eSabapathy, T. K. \u003cem\u003eEmbodiment | Sentience\u003c\/em\u003e. Singapore: The Private Museum, 2018, p. 41.\u003cbr\u003e\u003cbr\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/Screenshot_2026-07-29_at_4.51.10_PM.png?v=1785315081\" alt=\"\" width=\"245\" height=\"306\"\u003e   \u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/Screenshot_2026-07-29_at_4.56.16_PM.png?v=1785315398\" alt=\"\" width=\"245\" height=\"309\"\u003e\u003cbr\u003e-\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003eThe female nude ran through Teng Nee Cheong's practice for four decades, worked out almost entirely in charcoal, and almost always from life. Where his oils and pastels leaned into ornament and pattern, these studies strip that away, holding only line, weight and gesture, catching the figure directly from the model. He drew from life regularly from the 1970s through the 2000s, in his Singapore studio and while travelling through Bali, Thailand and Indonesia.\u003cbr\u003e\u003cbr\u003eFor all that steady output, Teng kept this body of work largely to himself. He told his family the Singapore market wasn't ready for it, that collectors still wanted his still lifes and landscapes, and so the nudes stayed in the studio. It is the divide \u003cem\u003eNauti\u003c\/em\u003e is built on — made openly, kept private — and it runs through even the most restrained of these drawings: a lifetime of looking closely at the body, shown to almost no one.\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e-\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eTeng Nee Cheong \u003cspan class=\"Yjhzub\"\u003e邓尔昌 \u003c\/span\u003e(Singaporean, 1951–2013)\u003c\/span\u003e\u003cspan\u003e studied at the Nanyang Academy of Fine Arts (1966–1968) under the influence of mentors like Georgette Chen and Ng Yat Chuan. Throughout his career, Teng demonstrated mastery across oil, pastel and charcoal, though it is his intimate still lifes that reveal a quieter, more contemplative strand of his practice.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn these early to mid‑career works, Teng imbued everyday produce with both formality and lyricism. Teng’s still lifes occupy an important place within his wider oeuvre, bridging his training in Nanyang figure and local landscape traditions with the more ornate, symbolic narratives he later developed. They demonstrate his capacity for attentive observation and formal refinement, serving as foundational studies in colour, shape and composition.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eTeng’s early career laid the groundwork for what would become a highly individual and expressive body of work. In 1978, he received the Ministry of Culture Special Award, marking a moment of national recognition that affirmed his artistic direction. While he would go on to explore identity and queerness in later decades, his earlier works already signalled enduring interests in visual storytelling, ornamentation, and cultural synthesis—elements that would come to define his singular artistic language.\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e(Photographed in May 2026)\u003c\/span\u003e\u003c\/p\u003e","brand":"Art Again","offers":[{"title":"Default Title","offer_id":53449639231853,"sku":null,"price":23000.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/DSC06089.jpg?v=1785417104"},{"product_id":"teng-nee-cheong-untitled-no-267-2000","title":"Teng Nee Cheong, Untitled, No. 267, 2000","description":"\u003cp\u003eCharcoal on paper\u003cbr\u003e88 x 117.5 cm (visible), 105 x 135.5 x 4 cm (framed)\u003cbr\u003eCondition: Good, with foxing on the top right corner of the work and mould within the frame.\u003cbr\u003eCertificate of Authenticity from the Estate of Teng Nee Cheong available\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e-\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eExhibited\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cem\u003eEmbodiment | Sentience\u003c\/em\u003e. The Private Museum, Singapore, 4 October–9 December 2018.\u003cbr\u003e\u003cbr\u003eLiterature\u003cbr\u003eSabapathy, T. K. \u003cem\u003eEmbodiment | Sentience\u003c\/em\u003e. Singapore: The Private Museum, 2018, p. 44.\u003cbr\u003eTeng, Nee Cheong. Those the Gods Love Grow Mightier. Singapore: Gajah Gallery, 2010, p. 123.\u003cbr\u003e\u003cbr\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/Screenshot_2026-07-29_at_4.51.10_PM.png?v=1785315081\" alt=\"\" width=\"245\" height=\"306\"\u003e  \u003c\/span\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/Screenshot_2026-07-29_at_4.53.08_PM.png?v=1785315199\" alt=\"\" width=\"246\" height=\"307\" style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem; margin: 0px 0px 1rem;\"\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/Those-the-gods-love-1.jpg?v=1785316329\" alt=\"\" width=\"451\" height=\"273\"\u003e\u003cbr\u003e\u003cspan\u003e\u003cbr\u003e-\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003eBy the 1990s and 2000s, Teng Nee Cheong's male nudes had become among the most intimate explorations of same-sex desire produced by a Singaporean artist of his generation. Where his earlier figure drawings adhered to the conventions of academic study, these works are marked by tenderness, quiet sensuality, and an unmistakable emotional intimacy. They reflect the same elegance and technical assurance found throughout his practice, while offering a deeply personal perspective on the male figure.\u003cbr\u003e\u003cbr\u003eCreated during a period when sex between men remained criminalised in Singapore, these drawings were seldom exhibited publicly during the artist's lifetime. They remained within his private collection until they were first shown in 2018, five years after his passing. Their delayed public emergence speaks not only to the social climate in which they were made, but also to the histories of visibility and concealment that \u003cem\u003eNauti\u003c\/em\u003e seeks to explore.\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e-\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eTeng Nee Cheong \u003cspan class=\"Yjhzub\"\u003e邓尔昌 \u003c\/span\u003e(Singaporean, 1951–2013)\u003c\/span\u003e\u003cspan\u003e studied at the Nanyang Academy of Fine Arts (1966–1968) under the influence of mentors like Georgette Chen and Ng Yat Chuan. Throughout his career, Teng demonstrated mastery across oil, pastel and charcoal, though it is his intimate still lifes that reveal a quieter, more contemplative strand of his practice.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn these early to mid‑career works, Teng imbued everyday produce with both formality and lyricism. Teng’s still lifes occupy an important place within his wider oeuvre, bridging his training in Nanyang figure and local landscape traditions with the more ornate, symbolic narratives he later developed. They demonstrate his capacity for attentive observation and formal refinement, serving as foundational studies in colour, shape and composition.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eTeng’s early career laid the groundwork for what would become a highly individual and expressive body of work. In 1978, he received the Ministry of Culture Special Award, marking a moment of national recognition that affirmed his artistic direction. While he would go on to explore identity and queerness in later decades, his earlier works already signalled enduring interests in visual storytelling, ornamentation, and cultural synthesis—elements that would come to define his singular artistic language.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e(Photographed in May 2026)\u003c\/span\u003e\u003c\/p\u003e","brand":"Art Again","offers":[{"title":"Default Title","offer_id":53449641394541,"sku":null,"price":23000.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/DSC06106_1.jpg?v=1785417356"},{"product_id":"sarkasi-said-untitled-mangroves-undated","title":"Sarkasi Said, Untitled (Mangroves), Undated","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBatik on cloth\u003cbr\u003e121 x 146 cm\u003cbr\u003eCondition: Very good\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eCertificate of Authenticity from the Estate of Sarkasi Said available.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e-\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eSarkasi \"Tzee\" Said, built his reputation on batik, a wax-resist technique he taught himself after watching a visiting Italian artist use it, going on to become its best-known Singapore practitioner. \u003cem\u003e\u003cstrong\u003eUntitled (Mangroves)\u003c\/strong\u003e \u003c\/em\u003eturns that method toward the coastline, dye pooling and resisting across cloth where his contemporaries used ink or oil: brown branches tangling in quick, squiggling lines against the pale blue of the water.\u003cbr\u003e\u003cbr\u003eMangroves are the quiet infrastructure of the Singapore coast, the tangle of roots that holds the shoreline together, shelters life, and buffers the land against the sea. Where much of \u003cem\u003eNauti's\u003c\/em\u003e nautical work looks at the river as it was worked and built, this looks at what grew along its edges - the same coastline, turned toward what held it in place.\u003cbr\u003e\u003cbr\u003e-\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003eSarkasi Said (Singaporean, 1940-2021), also known as Tzee, was a pioneering Singaporean batik artist who played a key role in elevating batik from a traditional craft into a recognised form of contemporary fine art. Working primarily with the wax-resist technique, he developed a distinctive abstract style characterised by fluid lines, layered textures, and vibrant colour.\u003cbr\u003e\u003cbr\u003eDeeply inspired by nature and his early exposure to batik through his family, Sarkasi experimented extensively with materials and processes, pushing the boundaries of the medium beyond its conventional decorative function. His works have been exhibited internationally, and he remains widely regarded as one of the leading figures in modern Southeast Asian batik art.\u003cbr\u003e\u003cbr\u003eIn 2020, he was awarded the Cultural Medallion, Singapore’s highest artistic honour, recognising his lifelong contributions to the development of visual arts in the region.\u003cbr\u003e\u003cbr\u003e(Photographed in May 2026)\u003c\/p\u003e","brand":"Art Again","offers":[{"title":"Default Title","offer_id":53549082607981,"sku":null,"price":4800.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/2-DSC06162_2.jpg?v=1784385355"},{"product_id":"cheong-soo-pieng-houses-on-the-shore-1961","title":"Cheong Soo Pieng, Houses on the Shore, 1961","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eInk and gouache on paper\u003cbr\u003e62 x 44 cm (unframed), 74 x 55 cm (framed)\u003cbr\u003eCondition: Very good\u003cbr\u003eExhibition label from \u003cmeta charset=\"utf-8\"\u003eFrost \u0026amp; Reed Gallery, London, England, is affixed (on the verso)\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003ePrivate Collection, England\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003ePrivate Collection, Singapore\u003cbr\u003e\u003cbr\u003e-\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eCheong Soo Pieng arrived in Singapore in 1946 with training in both Chinese ink and Western painting, and became one of the founding voices of the Nanyang style, artists taking hold of a new home by painting it into being. His influence runs right through the \u003cem\u003eNauti\u003c\/em\u003e exhibition: he taught many of the artists here, often out in the open along the river and the coast, demonstrating and then setting his students loose on the same scenes. \u003cbr\u003e\u003cbr\u003e\u003cem\u003e\u003cstrong\u003eHouses on the Shore \u003c\/strong\u003e\u003cstrong\u003e(1961)\u003c\/strong\u003e\u003c\/em\u003e sits squarely in that project, a coastal fishing village rendered with the graphic clarity and muted palette that made these waterways such a durable subject for his generation. It is worth seeing beside \u003ca href=\"https:\/\/artagain.co\/products\/ng-eng-teng-untitled-kelong-1961\"\u003eNg Eng Teng's kelong scene\u003c\/a\u003e from the same years, the student and the teacher turning to the same disappearing coastline, and beside the fact that a Cheong river painting from this very year sits in the National Collection. Painted four years before independence, it is an early entry in what would become the era's most collected and exhibited theme.\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\" dir=\"ltr\"\u003eThe handling is distinctive, too. In his ink works on paper, Cheong typically used the multiple shifting viewpoints of the Chinese tradition, where the eye travels up and across the surface and no single standing point governs the scene, as in a comparable harbour work of the same year, now in the National Collection. Here he does the opposite. Cheong adopts a Western vanishing point: the boats and shophouses recede into a single, coherent depth, drawing the viewer to one fixed position looking in. The same subject, the same year, two entirely different ways of organising space.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cimg src=\"https:\/\/isomer-user-content.by.gov.sg\/339\/930dfc95-e3a0-4363-9647-d37cadef5e58\/Cheong-Soo-Pieng-Singapore-River-1961.jpg\" alt='Cheong Soo Pieng, \"Singapore River\", c. 1961. Chinese ink and colour on paper, 60 × 111 cm. Gift of Ministry of Culture. Collection of the National Gallery Singapore, courtesy of National Heritage Board.' width=\"104\" height=\"227\"\u003e\u003cbr\u003e\u003cspan\u003e\u003cem\u003eCheong Soo Pieng, \"Singapore River\", c. 1961. Chinese ink and colour on paper, 60 × 111 cm. Gift of Ministry of Culture. Collection of the National Gallery Singapore, courtesy of National Heritage Board.\u003c\/em\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e-\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eUnder the generous patronage of Singapore cinema magnate Dato Loke Wan Tho, Cheong Soo Pieng resigned from his post as teacher at the Nanyang Academy of Fine Art (NAFA) in Singapore, and embarked on a two-year-long sojourn in Europe from late 1961 to 1963. The trip was a turning point in Cheong's artistic career - with a move toward abstraction, and the eventual development of his own characteristic style of abstract expressionism with Chinese aesthetics.\u003cbr\u003e\u003cbr\u003eWhilst in Europe, Cheong held three solo exhibitions - Frost \u0026amp; Reed Gallery in London, Galerie Schoninger in Munich, and Redfern Gallery in London. The works produced during this European period remain some of the most sought-after works from his entire artistic career. \u003cstrong\u003e\u003cem\u003eHouses on the Shore \u003c\/em\u003e\u003c\/strong\u003epresents us with the opportunity of surveying Cheong's remarkable range of artistic production during his time in Europe. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e-\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003eCheong Soo Pieng (Singaporean, 1917–1983) was one of Singapore's most influential modern artists and a pioneering figure of the Nanyang style. Born in Xiamen, China, he received formal training at the Xiamen Academy of Fine Arts and the Xinhua Academy of Fine Arts in Shanghai before settling in Singapore in 1946, where he taught at the Nanyang Academy of Fine Arts. Throughout his career, he developed a distinctive artistic language that synthesised Chinese ink traditions, Western modernism, and the landscapes and cultures of Southeast Asia. \u003cbr\u003e\u003cbr\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003eRenowned for his continual experimentation, Cheong worked across oil, ink, watercolour, collage, batik, and mixed media, producing works that ranged from representational scenes to increasingly abstract compositions. His iconic depictions of elongated Southeast Asian figures became a defining feature of his mature style, reflecting his innovative approach to form and identity. Widely recognised as a leading pioneer of Singaporean modern art, his work has had a lasting influence on generations of artists and remains central to the history of the Nanyang movement.\u003cbr\u003e\u003cbr\u003e(Photographed in May 2026)\u003c\/p\u003e","brand":"Art Again","offers":[{"title":"Default Title","offer_id":53549195493741,"sku":null,"price":40000.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/2-IMG_1464.jpg?v=1784385903"},{"product_id":"wong-keen-red-hair-girl-1996","title":"Wong Keen, Red Hair Girl, 1996","description":"\u003cdiv class=\"ProductItem-details-checkout\"\u003e\n\u003cdiv id=\"yui_3_17_2_1_1738811141045_129\" class=\"ProductItem-product-price preFade fadeIn\"\u003e\u003c\/div\u003e\n\u003cdiv id=\"yui_3_17_2_1_1738811141045_128\" class=\"ProductItem-details-excerpt ProductItem-details-excerpt-below-price\"\u003e\n\u003cdiv class=\"ProductItem-details-checkout\"\u003e\n\u003cdiv id=\"yui_3_17_2_1_1738811760315_129\" class=\"ProductItem-product-price preFade fadeIn\"\u003e\n\u003cdiv class=\"product-mark sold-out\"\u003e\n\u003cdiv class=\"ProductItem-details-checkout\"\u003e\n\u003cdiv class=\"ProductItem-product-price preFade fadeIn\" id=\"yui_3_17_2_1_1738812356691_129\"\u003e\n\u003cdiv class=\"product-price\"\u003e\n\u003cdiv class=\"ProductItem-details-checkout\"\u003e\n\u003cdiv id=\"yui_3_17_2_1_1738812667137_146\" class=\"ProductItem-product-price preFade fadeIn\"\u003e\u003c\/div\u003e\n\u003cdiv id=\"yui_3_17_2_1_1738812667137_145\" class=\"ProductItem-details-excerpt ProductItem-details-excerpt-below-price\"\u003e\n\u003cdiv class=\"ProductItem-details-checkout\"\u003e\n\u003cdiv class=\"ProductItem-product-price preFade fadeIn\" id=\"yui_3_17_2_1_1738813179871_129\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"ProductItem-details-excerpt ProductItem-details-excerpt-below-price\" id=\"yui_3_17_2_1_1738813179871_128\"\u003e\n\u003cdiv class=\"ProductItem-details-checkout\"\u003e\n\u003cdiv class=\"ProductItem-details-excerpt ProductItem-details-excerpt-below-price\" id=\"yui_3_17_2_1_1738815382897_145\"\u003e\n\u003cp\u003eOil on canvas\u003cbr\u003e152 x 91 cm, 158 x 97 x 6 cm (framed)\u003cbr\u003eCondition: Very good, with surface accretion throughout the work.\u003cbr\u003eAcquired from Art Commune, with an old label from Shenn's Fine Art.\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e-\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eWong Keen turned to the female form in the mid-1960s and never quite abandoned it, though in his hands the body becomes less a subject than a proposition. Here, the nude occupies the composition with commanding presence, rendered at almost life-size scale.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eUnlike many of his works, where the figure dissolves into its surroundings, the body here remains distinctly articulated. Even so, Wong's signature fluid drips and washes, together with the restrained colour palette, draw the figure and background into a quiet dialogue, so that each seems perpetually on the verge of dissolving into the other. The head is cropped from the composition, separating the body from individual identity and transforming it into a form to be explored and reimagined rather than simply portrayed.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eWong envelops the figure in cool tones of blue and violet, and it is here that Nauti's two central themes converge within a single image: the nude and the water, flowing into one another.\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e-\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\" dir=\"ltr\"\u003eWong Keen (Singaporean, b.1942) is one of Singapore’s most celebrated painters, recognised for his distinctive fusion of Chinese ink traditions and American Abstract Expressionism. Trained under pioneer artists \u003cspan class=\"hover:entity-accent entity-underline inline cursor-pointer align-baseline\"\u003e\u003cspan class=\"whitespace-normal\"\u003eLiu Kang\u003c\/span\u003e\u003c\/span\u003e and \u003cspan class=\"hover:entity-accent entity-underline inline cursor-pointer align-baseline\"\u003e\u003cspan class=\"whitespace-normal\"\u003eChen Wen Hsi\u003c\/span\u003e\u003c\/span\u003e before studying in New York, he developed a highly individual visual language that combines gestural brushwork, bold colour, and expressive forms. Working across oil, acrylic, ink, collage, and mixed media, his practice spans both abstraction and figuration while maintaining a strong emphasis on experimentation and reinvention. \u003cbr\u003e\u003cbr\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003eHaving spent more than five decades between Singapore and the United States, Wong absorbed the energy of the post-war New York art scene while retaining a deep connection to Chinese aesthetics and calligraphic traditions. Throughout his long career, he has returned repeatedly to recurring subjects such as the lotus, the nude, and the natural world, transforming them through a dynamic interplay of form, colour, and movement. Widely regarded as a pioneering figure in Singaporean contemporary art, Wong continues to be celebrated for a body of work that defies easy categorisation.\u003cbr\u003e\u003cbr\u003e(Photographed in June 2026)\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Art Again","offers":[{"title":"Default Title","offer_id":53549324075373,"sku":null,"price":30000.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/IMG_3722.jpg?v=1785417552"},{"product_id":"seah-kim-joo-untitled-singapore-river-scene-undated","title":"Seah Kim Joo, Untitled (Singapore River Scene), Undated","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBatik on cloth\u003cbr\u003e89 x 59 cm (visible), 105.5 x 75 x 2.5 cm (framed)\u003cbr\u003eCondition: Very good, with a tear on the lower right corner.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e-\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003eSeah Kim Joo returned to the Singapore River throughout his career, one of several waterfront and kampong subjects he rendered in the wax-resist batik technique he was known for. This piece catches the river at its most crowded: boats packed hull to hull, masts and rigging crosshatching the sky, shophouses and godowns stacked up behind, the whole scene pressed dense with activity. It is the river in the middle of its own growth: chaotic, commercial, worked from bank to bank, a waterway we no longer see.\u003cbr\u003e\u003cbr\u003eIn the batik, the bustle is reduced to a web of fine dark lines and pooled dye, the crackle of the wax running through it like the noise of the place made visible. Where the river today is tidy and tourist-facing, Seah kept it at its busiest, preserving the heritage of the working river in his work.\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e-\u003cbr\u003e\u003cbr\u003eSeah Kim Joo (Singaporean, b. 1939) is an artist best known for his pioneering work in batik painting, a medium traditionally associated with textile art. Educated at the Nanyang Academy of Fine Arts (NAFA), Seah became one of the key figures in the Nanyang art movement, which sought to combine Western artistic principles with Southeast Asian themes and materials. He played an instrumental role in popularising batik as a legitimate medium for fine art, using it to depict scenes of local culture and everyday life.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eSeah’s works are distinguished by their rich textures, bold lines, and vibrant colours, created using the traditional wax-resist dyeing technique of batik. His subject matter often features kampong villages, fishermen, market scenes, and tropical landscapes, reflecting his deep connection to Southeast Asian heritage and rural life. His art captures a sense of nostalgia and simplicity, showcasing themes of community, tradition, and the rhythms of daily living.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003eHis ability to merge modern artistic sensibilities with traditional craft exemplifies the spirit of the Nanyang style. Seah Kim Joo’s contributions to batik painting have left a lasting impact on Singaporean art, highlighting the potential of indigenous materials and techniques in contemporary practice.\u003cbr\u003e\u003cbr\u003e(Photographed in July 2025)\u003c\/p\u003e","brand":"Art Again","offers":[{"title":"Default Title","offer_id":53566495326573,"sku":null,"price":5000.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/DSC00702_531c7110-644a-42d0-bdc8-0941036f40cf.jpg?v=1785487276"},{"product_id":"lin-hsin-hsin-inversion-1972","title":"Lin Hsin Hsin, Inversion, 1972","description":"\u003cp dir=\"ltr\"\u003eOil on canvas\u003cbr\u003e89 x 73.5 cm (visible), 90 x 74.5 x 2 cm (framed)\u003cbr\u003eCondition: Good, with mould present throughout the work, and a vertical indentation on the lower right corner of the work. The condition is consistent with the age of the work. \u003cbr\u003e\u003cbr\u003e\u003cspan\u003e-\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eLin Hsin Hsin came to painting from mathematics and computer science, and it shows in her works of large oils built on structure, rhythm and the behaviour of colour rather than on a singular subject. Lin turned to abstraction, working out a visual language closer to music or a system than to a scene. In the blues of these canvases, colour itself becomes the subject, chromatic, layered, and rhythmic, drawing on the same instinct that led her toward composition and mathematics as much as paint. She studied under Cheong Soo Pieng, the Nanyang figure who also taught several artists in this show, and painted through the same decades, taking the lineage somewhere entirely her own.\u003cbr\u003e\u003cbr\u003e-\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLin Hsin Hsin 林欣欣 (Singaporean, b. 1952) is an award-winning interdisciplinary artist renowned for her pioneering work across diverse media, including early innovations in digital art for visual and performing arts. With a foundation in mathematics and computer science, she is also an accomplished poet and composer, finding a shared abstractness in art, mathematics, and music. \u003cbr\u003e\u003cbr\u003eHer artistic journey began in childhood but took shape after high school, when she delved into oil painting under the guidance of Nanyang-style pioneer Cheong Soo Pieng (Singaporean, 1917–1983). Inspired by European masters like Pablo Picasso, Paul Klee, and Joan Miró—who also explored the intersections of music and mathematics—Lin developed a unique approach to abstraction. \u003cbr\u003e\u003cbr\u003eHer oil paintings from the 1970s to 1990s are marked by vibrant chromaticism and rhythmic compositions, reflecting philosophical meditations on the complexities of contemporary life in Singapore. Lin’s work stands as a significant contribution to Singapore’s post-independence arts landscape.\u003cbr\u003e\u003cbr\u003e(Photographed in April 2025)\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Art Again","offers":[{"title":"Default Title","offer_id":53584183951725,"sku":null,"price":6200.0,"currency_code":"SGD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/2-DSC08465.jpg?v=1784813727"},{"product_id":"lin-hsin-hsin-celebration-1994","title":"Lin Hsin Hsin, Celebration, 1994","description":"\u003cp dir=\"ltr\"\u003eOil on canvas\u003cbr\u003e110 x 85 cm (visible), 116 x 90.5 x 4 cm (framed)\u003cbr\u003eCondition: Very good, with mould and surface accretion throughout the work. The condition is consistent with the age of the work.\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e-\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eLin Hsin Hsin came to painting from mathematics and computer science, and it shows in her works of large oils built on structure, rhythm and the behaviour of colour rather than on singular subject. Lin turned to abstraction, working out a visual language closer to music or a system than to a scene. In the blues of these canvases, colour itself becomes the subject, chromatic, layered, and rhythmic, drawing on the same instinct that led her toward composition and mathematics as much as paint. She studied under Cheong Soo Pieng, the Nanyang figure who also taught several artists in this show, and painted through the same decades, taking the lineage somewhere entirely her own.\u003cbr\u003e\u003cbr\u003e-\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLin Hsin Hsin 林欣欣 (Singaporean, b. 1952) is an award-winning interdisciplinary artist renowned for her pioneering work across diverse media, including early innovations in digital art for visual and performing arts. With a foundation in mathematics and computer science, she is also an accomplished poet and composer, finding a shared abstractness in art, mathematics, and music. \u003cbr\u003e\u003cbr\u003eHer artistic journey began in childhood but took shape after high school, when she delved into oil painting under the guidance of Nanyang-style pioneer Cheong Soo Pieng (Singaporean, 1917–1983). Inspired by European masters like Pablo Picasso, Paul Klee, and Joan Miró—who also explored the intersections of music and mathematics—Lin developed a unique approach to abstraction. \u003cbr\u003e\u003cbr\u003eHer oil paintings from the 1970s to 1990s are marked by vibrant chromaticism and rhythmic compositions, reflecting philosophical meditations on the complexities of contemporary life in Singapore. Lin’s work stands as a significant contribution to Singapore’s post-independence arts landscape.\u003cbr\u003e\u003cbr\u003e(Photographed in August 2025)\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Art Again","offers":[{"title":"Default Title","offer_id":53584451305837,"sku":null,"price":8000.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/2-DSC01618.jpg?v=1784814838"},{"product_id":"lin-hsin-hsin-genius-at-work-1984","title":"Lin Hsin Hsin, Genius at work, 1984","description":"\u003cp dir=\"ltr\"\u003eOil on canvas\u003cbr\u003e88 x 158 cm (visible), 92.5 x 163 x 4 cm (framed)\u003cbr\u003eCondition: Very good, with mould and surface accretion throughout the work. The condition is consistent with the age of the work.\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e-\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eLin Hsin Hsin came to painting from mathematics and computer science, and it shows in her works of large oils built on structure, rhythm and the behaviour of colour rather than on singular subject. Lin turned to abstraction, working out a visual language closer to music or a system than to a scene. In the blues of these canvases, colour itself becomes the subject, chromatic, layered, and rhythmic, drawing on the same instinct that led her toward composition and mathematics as much as paint. She studied under Cheong Soo Pieng, the Nanyang figure who also taught several artists in this show, and painted through the same decades, taking the lineage somewhere entirely her own.\u003cbr\u003e\u003cbr\u003e-\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLin Hsin Hsin 林欣欣 (Singaporean, b. 1952) is an award-winning interdisciplinary artist renowned for her pioneering work across diverse media, including early innovations in digital art for visual and performing arts. With a foundation in mathematics and computer science, she is also an accomplished poet and composer, finding a shared abstractness in art, mathematics, and music. \u003cbr\u003e\u003cbr\u003eHer artistic journey began in childhood but took shape after high school, when she delved into oil painting under the guidance of Nanyang-style pioneer Cheong Soo Pieng (Singaporean, 1917–1983). Inspired by European masters like Pablo Picasso, Paul Klee, and Joan Miró—who also explored the intersections of music and mathematics—Lin developed a unique approach to abstraction. \u003cbr\u003e\u003cbr\u003eHer oil paintings from the 1970s to 1990s are marked by vibrant chromaticism and rhythmic compositions, reflecting philosophical meditations on the complexities of contemporary life in Singapore. Lin’s work stands as a significant contribution to Singapore’s post-independence arts landscape.\u003cbr\u003e\u003cbr\u003e(Photographed in August 2025)\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Art Again","offers":[{"title":"Default Title","offer_id":53584453042541,"sku":null,"price":10000.0,"currency_code":"SGD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/2-DSC01574.jpg?v=1784815184"},{"product_id":"lin-hsin-hsin-atomizer-1988","title":"Lin Hsin Hsin, Atomizer, 1988","description":"\u003cp dir=\"ltr\"\u003eOil on canvas\u003cbr\u003e138 x 130 cm (visible), 144 x 137 x 4 cm (framed)\u003cbr\u003eCondition: Very good, with foxing on the bottom section of the work.\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e-\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eLin Hsin Hsin came to painting from mathematics and computer science, and it shows in her works of large oils built on structure, rhythm and the behaviour of colour rather than on singular subject. Lin turned to abstraction, working out a visual language closer to music or a system than to a scene. In the blues of these canvases, colour itself becomes the subject, chromatic, layered, and rhythmic, drawing on the same instinct that led her toward composition and mathematics as much as paint. She studied under Cheong Soo Pieng, the Nanyang figure who also taught several artists in this show, and painted through the same decades, taking the lineage somewhere entirely her own.\u003cbr\u003e\u003cbr\u003e-\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLin Hsin Hsin 林欣欣 (Singaporean, b. 1952) is an award-winning interdisciplinary artist renowned for her pioneering work across diverse media, including early innovations in digital art for visual and performing arts. With a foundation in mathematics and computer science, she is also an accomplished poet and composer, finding a shared abstractness in art, mathematics, and music. \u003cbr\u003e\u003cbr\u003eHer artistic journey began in childhood but took shape after high school, when she delved into oil painting under the guidance of Nanyang-style pioneer Cheong Soo Pieng (Singaporean, 1917–1983). Inspired by European masters like Pablo Picasso, Paul Klee, and Joan Miró—who also explored the intersections of music and mathematics—Lin developed a unique approach to abstraction. \u003cbr\u003e\u003cbr\u003eHer oil paintings from the 1970s to 1990s are marked by vibrant chromaticism and rhythmic compositions, reflecting philosophical meditations on the complexities of contemporary life in Singapore. Lin’s work stands as a significant contribution to Singapore’s post-independence arts landscape.\u003cbr\u003e\u003cbr\u003e(Photographed in August 2025)\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Art Again","offers":[{"title":"Default Title","offer_id":53584457400685,"sku":null,"price":13000.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/2-DSC01886.jpg?v=1784815570"},{"product_id":"lin-hsin-hsin-shaped-by-the-tides-1991","title":"Lin Hsin Hsin, Shaped by the Tides, 1991","description":"\u003cp dir=\"ltr\"\u003eOil on paper\u003cbr\u003e55 x 56 cm (visible), 56 x 57 x 2 cm (framed)\u003cbr\u003eCondition: Very good, with slight foxing on the reverse of the work.\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e-\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cem\u003eThe Sun in the Studio\u003c\/em\u003e is a 24-piece room installation Lin Hsin Hsin painted in 1991, using fluorescent paint in deliberately strident, psychedelic colour to capture the sun's shifting moods as seen from her own studio.The series was first shown at the National Museum Art Gallery, framed in perspex, where it was chosen to contrast against her more restrained works in the same room.\u003cbr\u003e\u003cbr\u003eLin paired the paintings with her own poem of the same name, its imagery of tides, hourglasses, and shifting light echoing the series' preoccupation with time and its passage. Individual works from the series are now held in institutional collections, including the Singapore Art Museum.\u003cbr\u003e\u003cbr\u003e-\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eLin Hsin Hsin 林欣欣 (Singaporean, b. 1952) is an award-winning interdisciplinary artist renowned for her pioneering work across diverse media, including early innovations in digital art for visual and performing arts. With a foundation in mathematics and computer science, she is also an accomplished poet and composer, finding a shared abstractness in art, mathematics, and music. \u003cbr\u003e\u003cbr\u003eHer artistic journey began in childhood but took shape after high school, when she delved into oil painting under the guidance of Nanyang-style pioneer Cheong Soo Pieng (Singaporean, 1917–1983). Inspired by European masters like Pablo Picasso, Paul Klee, and Joan Miró—who also explored the intersections of music and mathematics—Lin developed a unique approach to abstraction. \u003cbr\u003e\u003cbr\u003eHer oil paintings from the 1970s to 1990s are marked by vibrant chromaticism and rhythmic compositions, reflecting philosophical meditations on the complexities of contemporary life in Singapore. Lin’s work stands as a significant contribution to Singapore’s post-independence arts landscape.\u003cbr\u003e\u003cbr\u003e(Photographed in April 2026)\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Art Again","offers":[{"title":"Default Title","offer_id":53584466542957,"sku":null,"price":3000.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/2-DSC04860.jpg?v=1784816145"},{"product_id":"lin-hsin-hsin-what-happen-next-1990","title":"Lin Hsin Hsin, What Happen Next?, 1990","description":"\u003cp dir=\"ltr\"\u003eOil on paper\u003cbr\u003e26 x 27.5 cm (visible), 28 x 29.5 x 1 cm (framed)\u003cbr\u003eCondition: Very good, with mould present within the frame, reframing is advised.\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e-\u003cbr\u003e\u003cbr\u003eRendered in a pale ultramarine wash, this piece is built around a single, decisive stroke of hot pink cutting through the centre, a spare, gestural approach where one mark carries the whole composition. The title reads as an open question posed by that gesture itself: the wash is calm, almost held in suspension, like still water, until the pink stroke breaks across it the way a wave breaks without warning, leaving the moment right after the mark is made as the piece's real subject.\u003cbr\u003e\u003cbr\u003e-\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLin Hsin Hsin 林欣欣 (Singaporean, b. 1952) is an award-winning interdisciplinary artist renowned for her pioneering work across diverse media, including early innovations in digital art for visual and performing arts. With a foundation in mathematics and computer science, she is also an accomplished poet and composer, finding a shared abstractness in art, mathematics, and music. \u003cbr\u003e\u003cbr\u003eHer artistic journey began in childhood but took shape after high school, when she delved into oil painting under the guidance of Nanyang-style pioneer Cheong Soo Pieng (Singaporean, 1917–1983). Inspired by European masters like Pablo Picasso, Paul Klee, and Joan Miró—who also explored the intersections of music and mathematics—Lin developed a unique approach to abstraction.\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eHer oil paintings from the 1970s to 1990s are marked by vibrant chromaticism and rhythmic compositions, reflecting philosophical meditations on the complexities of contemporary life in Singapore. Lin’s work stands as a significant contribution to Singapore’s post-independence arts landscape.\u003cbr\u003e\u003cbr\u003e(Photographed in April 2026)\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Art Again","offers":[{"title":"Default Title","offer_id":53584471490925,"sku":null,"price":2000.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/2-DSC05225_1.jpg?v=1784899805"},{"product_id":"lin-hsin-hsin-jelly-fish-and-octopus-1993","title":"Lin Hsin Hsin, Jelly Fish and Octopus, 1993","description":"\u003cp dir=\"ltr\"\u003eOil on paper\u003cbr\u003e29 x 37.5 cm (visible), 50 x 62 x 2 cm (framed)\u003cbr\u003eCondition: Very good, with mould present within the frame, reframing is advised.\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e-\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003eAnimals recur across Lin Hsin Hsin's work from this period, treated in a whimsical, often satirical way as part of her broader interest in the natural world. Rather than realistic depiction, these figures sit within loosely abstract, brightly coloured grounds, closer to visual commentary than illustration.\u003cbr\u003e\u003cbr\u003eHere that same interest plays out through soft watercolour-like blobs suggesting bubbles or water, with a jellyfish and octopuses drifting through the composition and a single turtle tucked into the corner, continuing the loose, abstracted treatment of nature characteristic of her work.\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e-\u003cbr\u003e\u003cbr\u003eLin Hsin Hsin 林欣欣 (Singaporean, b. 1952) is an award-winning interdisciplinary artist renowned for her pioneering work across diverse media, including early innovations in digital art for visual and performing arts. With a foundation in mathematics and computer science, she is also an accomplished poet and composer, finding a shared abstractness in art, mathematics, and music. \u003cbr\u003e\u003cbr\u003eHer artistic journey began in childhood but took shape after high school, when she delved into oil painting under the guidance of Nanyang-style pioneer Cheong Soo Pieng (Singaporean, 1917–1983). Inspired by European masters like Pablo Picasso, Paul Klee, and Joan Miró—who also explored the intersections of music and mathematics—Lin developed a unique approach to abstraction. \u003cbr\u003e\u003cbr\u003eHer oil paintings from the 1970s to 1990s are marked by vibrant chromaticism and rhythmic compositions, reflecting philosophical meditations on the complexities of contemporary life in Singapore. Lin’s work stands as a significant contribution to Singapore’s post-independence arts landscape.\u003cbr\u003e\u003cbr\u003e(Photographed in April 2026)\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Art Again","offers":[{"title":"Default Title","offer_id":53584483385709,"sku":null,"price":1600.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/2-DSC05100_1.jpg?v=1784901401"},{"product_id":"lin-hsin-hsin-once-more-1994","title":"Lin Hsin Hsin, Once More, 1994","description":"\u003cp dir=\"ltr\"\u003eOil on paper\u003cbr\u003e29 x 37.5 cm (visible), 50 x 62 x 2 cm (framed)\u003cbr\u003eCondition: Very good, with mould present within the frame, reframing is advised. \u003cbr\u003e\u003cbr\u003e\u003cspan\u003e-\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003eAnimals recur across Lin Hsin Hsin's work from this period, treated in a whimsical, often satirical way as part of her broader interest in the natural world. Rather than realistic depiction, these figures sit within loosely abstract, brightly coloured grounds, closer to visual commentary than illustration.\u003cbr\u003e\u003cbr\u003eThe blue, water-like field beneath the turtles in this piece continues that same interest in nature as subject, abstracted rather than literally rendered, and characteristic of her approach to painting the natural world throughout the early 1990s.\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e-\u003cbr\u003e\u003cbr\u003eLin Hsin Hsin 林欣欣 (Singaporean, b. 1952) is an award-winning interdisciplinary artist renowned for her pioneering work across diverse media, including early innovations in digital art for visual and performing arts. With a foundation in mathematics and computer science, she is also an accomplished poet and composer, finding a shared abstractness in art, mathematics, and music. \u003cbr\u003e\u003cbr\u003eHer artistic journey began in childhood but took shape after high school, when she delved into oil painting under the guidance of Nanyang-style pioneer Cheong Soo Pieng (Singaporean, 1917–1983). Inspired by European masters like Pablo Picasso, Paul Klee, and Joan Miró—who also explored the intersections of music and mathematics—Lin developed a unique approach to abstraction. \u003cbr\u003e\u003cbr\u003eHer oil paintings from the 1970s to 1990s are marked by vibrant chromaticism and rhythmic compositions, reflecting philosophical meditations on the complexities of contemporary life in Singapore. Lin’s work stands as a significant contribution to Singapore’s post-independence arts landscape.\u003cbr\u003e\u003cbr\u003e(Photographed in April 2026)\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Art Again","offers":[{"title":"Default Title","offer_id":53584488595821,"sku":null,"price":1600.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/2-DSC05006.jpg?v=1784901903"},{"product_id":"lin-hsin-hsin-tie-girl-1990","title":"Lin Hsin Hsin, Tie-girl?, 1990","description":"\u003cp dir=\"ltr\"\u003eOil on paper\u003cbr\u003e37.5 x 27 cm (visible), 62 x 50 x 2.5 cm (framed)\u003cbr\u003eCondition: Good, foxing throughout the work, with mould present within the frame. The condition is consistent with the age of the work. Restoration and reframing is advised.\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e-\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\" dir=\"ltr\"\u003eLiterature\u003cbr\u003eLin, Hsin Hsin. \u003cem\u003eLin Hsin Hsin: Work from Time Series\u003c\/em\u003e. Singapore: National Museum Art Gallery, 1991, p. 64.\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThis painting can be viewed in both ways: horizontal: tiger, vertical: girl with plats. \u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cimg src=\"https:\/\/eservice.nlb.gov.sg\/bookcoverwrapper\/cover\/72510c46-6b14-4c08-a69a-9297711a596b?s=LG\u0026amp;type=UUID\" alt=\"Lin Hsin Hsin : work from time series\" width=\"215\" height=\"323\"\u003e\u003cbr\u003e\u003cbr\u003e-\u003cbr\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\" dir=\"ltr\"\u003eLin Hsin Hsin's works on paper are playful, and a little aloof in their play. Where her canvases lean into colour and system, the paper works loosen up, holding character and wit while staying abstract, playing openly with form and with what to reveal or withhold.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\" dir=\"ltr\"\u003eMade to be read either way up, horizontal or vertical, with a title that questions itself as openly as the image does, \u003cem\u003e\u003cstrong\u003eTie-girl?\u003c\/strong\u003e\u003c\/em\u003e is an exercise in play, concealment, and how the form something takes is left to its beholder.\u003c\/p\u003e\n\u003cp dir=\"ltr\" class=\"font-claude-response-body break-words whitespace-normal\"\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e-\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\" dir=\"ltr\"\u003e\u003cbr\u003e\u003cspan\u003eLin Hsin Hsin 林欣欣 (Singaporean, b. 1952) is an award-winning interdisciplinary artist renowned for her pioneering work across diverse media, including early innovations in digital art for visual and performing arts. With a foundation in mathematics and computer science, she is also an accomplished poet and composer, finding a shared abstractness in art, mathematics, and music. \u003cbr\u003e\u003cbr\u003eHer artistic journey began in childhood but took shape after high school, when she delved into oil painting under the guidance of Nanyang-style pioneer Cheong Soo Pieng (Singaporean, 1917–1983). Inspired by European masters like Pablo Picasso, Paul Klee, and Joan Miró—who also explored the intersections of music and mathematics—Lin developed a unique approach to abstraction. \u003cbr\u003e\u003cbr\u003eHer oil paintings from the 1970s to 1990s are marked by vibrant chromaticism and rhythmic compositions, reflecting philosophical meditations on the complexities of contemporary life in Singapore. Lin’s work stands as a significant contribution to Singapore’s post-independence arts landscape.\u003cbr\u003e\u003cbr\u003e(Photographed in April 2026)\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Art Again","offers":[{"title":"Default Title","offer_id":53584495411565,"sku":null,"price":1600.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/2-DSC08644.jpg?v=1784984437"},{"product_id":"lin-hsin-hsin-cinderella-1990","title":"Lin Hsin Hsin, Cinderella, 1990","description":"\u003cp dir=\"ltr\"\u003eOil on lama \u0026amp; Arche paper\u003cbr\u003e56 x 51 cm (visible), 57 x 52 x 2 cm (framed)\u003cbr\u003eCondition: Good, with foxing throughout the work.\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e-\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\" dir=\"ltr\"\u003eLiterature\u003cbr\u003eLin, Hsin Hsin. \u003cem\u003eLin Hsin Hsin: Work from Time Series\u003c\/em\u003e. Singapore: National Museum Art Gallery, 1991, p. 68.\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThis painting can be viewed in both ways: horizontal: tiger, vertical: girl with plats. \u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cimg src=\"https:\/\/eservice.nlb.gov.sg\/bookcoverwrapper\/cover\/72510c46-6b14-4c08-a69a-9297711a596b?s=LG\u0026amp;type=UUID\" alt=\"Lin Hsin Hsin : work from time series\" width=\"215\" height=\"323\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e-\u003cbr\u003e\u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\" dir=\"ltr\"\u003eLin Hsin Hsin's works on paper are playful, and a little aloof in their play. Where her canvases lean into colour and system, the paper works loosen up, holding character and wit while staying abstract, playing openly with form and with what to reveal or withhold.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\" dir=\"ltr\"\u003e\u003cem\u003e\u003cstrong\u003eCinderella\u003c\/strong\u003e\u003c\/em\u003e gives us a foot and an oversized shoe, the slipper too big for its wearer, who remains in perpetual reach of it, a fairy tale suspended just short of its ending.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cbr\u003e-\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eLin Hsin Hsin 林欣欣 (Singaporean, b. 1952) is an award-winning interdisciplinary artist renowned for her pioneering work across diverse media, including early innovations in digital art for visual and performing arts. With a foundation in mathematics and computer science, she is also an accomplished poet and composer, finding a shared abstractness in art, mathematics, and music. \u003cbr\u003e\u003cbr\u003eHer artistic journey began in childhood but took shape after high school, when she delved into oil painting under the guidance of Nanyang-style pioneer Cheong Soo Pieng (Singaporean, 1917–1983). Inspired by European masters like Pablo Picasso, Paul Klee, and Joan Miró—who also explored the intersections of music and mathematics—Lin developed a unique approach to abstraction. \u003cbr\u003e\u003cbr\u003eHer oil paintings from the 1970s to 1990s are marked by vibrant chromaticism and rhythmic compositions, reflecting philosophical meditations on the complexities of contemporary life in Singapore. Lin’s work stands as a significant contribution to Singapore’s post-independence arts landscape.\u003cbr\u003e\u003cbr\u003e(Photographed in April 2026)\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Art Again","offers":[{"title":"Default Title","offer_id":53584511107437,"sku":null,"price":3200.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/2-DSC04838.jpg?v=1784985819"},{"product_id":"lin-hsin-hsin-making-time-diptych-1991","title":"Lin Hsin Hsin, Making Time (Diptych), 1991","description":"\u003cp dir=\"ltr\"\u003eOil on paper\u003cbr\u003e56 x 56 cm (visible), 57 x 57 x 1 cm (framed)\u003cbr\u003eCondition: Very good, with slight foxing throughout the work.\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e-\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eLin Hsin Hsin 林欣欣 (Singaporean, b. 1952) is an award-winning interdisciplinary artist renowned for her pioneering work across diverse media, including early innovations in digital art for visual and performing arts. With a foundation in mathematics and computer science, she is also an accomplished poet and composer, finding a shared abstractness in art, mathematics, and music. \u003cbr\u003e\u003cbr\u003eHer artistic journey began in childhood but took shape after high school, when she delved into oil painting under the guidance of Nanyang-style pioneer Cheong Soo Pieng (Singaporean, 1917–1983). Inspired by European masters like Pablo Picasso, Paul Klee, and Joan Miró—who also explored the intersections of music and mathematics—Lin developed a unique approach to abstraction. \u003cbr\u003e\u003cbr\u003eHer oil paintings from the 1970s to 1990s are marked by vibrant chromaticism and rhythmic compositions, reflecting philosophical meditations on the complexities of contemporary life in Singapore. Lin’s work stands as a significant contribution to Singapore’s post-independence arts landscape.\u003cbr\u003e\u003cbr\u003e(Photographed in April 2026)\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Art Again","offers":[{"title":"Default Title","offer_id":53584516120941,"sku":null,"price":3800.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/3-Untitleddesign_8_b3664b98-1f56-4df0-a228-5f650e98b1d0.jpg?v=1784987550"},{"product_id":"lin-hsin-hsin-untitled-3d-deck-chair-1989","title":"Lin Hsin Hsin, Untitled (3D Deck Chair), 1989","description":"\u003cp dir=\"ltr\"\u003eOil on paper\u003cbr\u003e21 x 34 x 29 cm\u003cbr\u003eCondition: Good, with foxing throughout the work and mould present within the frame.\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e-\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eLin Hsin Hsin 林欣欣 (Singaporean, b. 1952) is an award-winning interdisciplinary artist renowned for her pioneering work across diverse media, including early innovations in digital art for visual and performing arts. With a foundation in mathematics and computer science, she is also an accomplished poet and composer, finding a shared abstractness in art, mathematics, and music. \u003cbr\u003e\u003cbr\u003eHer artistic journey began in childhood but took shape after high school, when she delved into oil painting under the guidance of Nanyang-style pioneer Cheong Soo Pieng (Singaporean, 1917–1983). Inspired by European masters like Pablo Picasso, Paul Klee, and Joan Miró—who also explored the intersections of music and mathematics—Lin developed a unique approach to abstraction. \u003cbr\u003e\u003cbr\u003eHer oil paintings from the 1970s to 1990s are marked by vibrant chromaticism and rhythmic compositions, reflecting philosophical meditations on the complexities of contemporary life in Singapore. Lin’s work stands as a significant contribution to Singapore’s post-independence arts landscape.\u003cbr\u003e\u003cbr\u003e(Photographed in April 2026)\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Art Again","offers":[{"title":"Default Title","offer_id":53584520249709,"sku":null,"price":3800.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/2-DSC05341.jpg?v=1785048548"},{"product_id":"lin-hsin-hsin-woodpecker-1987","title":"Lin Hsin Hsin, Woodpecker, 1987","description":"\u003cp dir=\"ltr\"\u003eCollograph\u003cbr\u003e33 x 22 cm (visible), 58.5 x 42 x 2 cm (framed)\u003cbr\u003eCondition: Good, with foxing throughout the work and mould present within the frame, reframing is advised.\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e-\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eLin Hsin Hsin 林欣欣 (Singaporean, b. 1952) is an award-winning interdisciplinary artist renowned for her pioneering work across diverse media, including early innovations in digital art for visual and performing arts. With a foundation in mathematics and computer science, she is also an accomplished poet and composer, finding a shared abstractness in art, mathematics, and music. \u003cbr\u003e\u003cbr\u003eHer artistic journey began in childhood but took shape after high school, when she delved into oil painting under the guidance of Nanyang-style pioneer Cheong Soo Pieng (Singaporean, 1917–1983). Inspired by European masters like Pablo Picasso, Paul Klee, and Joan Miró—who also explored the intersections of music and mathematics—Lin developed a unique approach to abstraction. \u003cbr\u003e\u003cbr\u003eLin’s paper-based work runs parallel to her exploration with technology, as she believes in the preserving paper art. She has not only learned printmaking from established masters from Japan, but has also handmade her own acid-free paper using natural resources such as papaya and umbrella plants. Lin’s creative process, particularly with her paper works, effortlessly bridges her digital mastery and scientific rigor with tangible sustainability.\u003cbr\u003e\u003cbr\u003e(Photographed in April 2026)\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Art Again","offers":[{"title":"Default Title","offer_id":53584528245101,"sku":null,"price":2000.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/2-DSC04928.jpg?v=1784990099"},{"product_id":"lin-hsin-hsin-cloud-9-1997","title":"Lin Hsin Hsin, Cloud 9, 1997","description":"\u003cp dir=\"ltr\"\u003ePrint on canvas\u003cbr\u003e80 x 82 cm (visible), 123 x 120 x 2 cm (framed)\u003cbr\u003eCondition: Very good\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e-\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eThis piece sits within Lin Hsin Hsin's body of fluorescent, psychedelic-toned oil paintings on paper, using strident, non-naturalistic colour rather than representational imagery. Here the palette leans into blue, softened at the corners by pink and purple, closer to the murk and glow of an undersea world than to any fixed shore, a more atmospheric take on the vivid colour work she became known for.\u003cbr\u003e\u003cbr\u003e-\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eLin Hsin Hsin 林欣欣 (Singaporean, b. 1952) is an award-winning interdisciplinary artist renowned for her pioneering work across diverse media, including early innovations in digital art for visual and performing arts. With a foundation in mathematics and computer science, she is also an accomplished poet and composer, finding a shared abstractness in art, mathematics, and music. \u003cbr\u003e\u003cbr\u003eHer artistic journey began in childhood but took shape after high school, when she delved into oil painting under the guidance of Nanyang-style pioneer Cheong Soo Pieng (Singaporean, 1917–1983). Inspired by European masters like Pablo Picasso, Paul Klee, and Joan Miró—who also explored the intersections of music and mathematics—Lin developed a unique approach to abstraction. \u003cbr\u003e\u003cbr\u003eLin’s paper-based work runs parallel to her exploration with technology, as she believes in the preserving paper art. She has not only learned printmaking from established masters from Japan, but has also handmade her own acid-free paper using natural resources such as papaya and umbrella plants. Lin’s creative process, particularly with her paper works, effortlessly bridges her digital mastery and scientific rigor with tangible sustainability.\u003cbr\u003e\u003cbr\u003e(Photographed in March 2025)\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Art Again","offers":[{"title":"Default Title","offer_id":53584545153389,"sku":null,"price":4000.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/1-DSC01641.jpg?v=1785049308"},{"product_id":"teng-jee-hum-nude-2000","title":"Teng Jee Hum, Ooh my back hurts, 2000","description":"\u003cp dir=\"ltr\"\u003eInk on paper \u003cbr\u003e29 x 21 cm (visible), 50 x 40.5 x 3 cm (framed)\u003cbr\u003eCondition: Very good\u003cbr\u003e\u003cbr\u003e-\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eTeng Jee Hum spent his early career as a fund manager, trading Asian equities and later commodities, before turning to collecting and, eventually, making. Self-taught, he works by laying down unplanned brushstrokes and paint washes, then extracting figures and forms through observation — a practice of pareidolia and pattern recognition.\u003c\/p\u003e\n\u003cp\u003eHis two Nudes take that method to opposite ends of restraint: one built from loose, saturated marks that resolve into a seated figure seen from behind, in \u003cem\u003e\u003cstrong\u003e\u003ca href=\"https:\/\/artagain.co\/products\/teng-jee-hum-untitled-nude-2004?utm_source=copyToPasteBoard\u0026amp;utm_medium=product-links\u0026amp;utm_content=web\"\u003eIn Bondage, 2003\u003c\/a\u003e\u003c\/strong\u003e\u003c\/em\u003e, while the other, \u003ca href=\"https:\/\/artagain.co\/products\/teng-jee-hum-nude-2000?utm_source=copyToPasteBoard\u0026amp;utm_medium=product-links\u0026amp;utm_content=web\" rel=\"noopener\" target=\"_blank\"\u003e\u003cem\u003e\u003cstrong\u003eOoh my back hurts, 2000\u003c\/strong\u003e\u003c\/em\u003e\u003c\/a\u003e, is pared down to a single contour line. \u003cmeta charset=\"utf-8\"\u003eTeng has spent decades on the other side of this — building a collection, deciding what goes on view. Here, it's his own work in the room, out into view.\u003cbr\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e-\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003eTeng Jee Hum (Singaporean, b. unknown) is a self-taught artist, collector, and author whose practice explores themes of Singapore’s identity, history, and social development. Working across painting, sculpture, and works on paper, he often reflects on personal memories and national narratives, particularly through his interpretations of Singapore’s transformation and the legacy of its founding years. His works combine figurative imagery, symbolism, and text to examine the relationship between individual experience and collective memory.\u003cbr\u003e\u003cbr\u003eBeyond his artistic practice, Teng is also recognised as the founder of The Teng Collection, which focuses on modern and contemporary Asian art, and as the author of publications including Beyond ISMS (1999) and Godsmacked (2016). Through both collecting and creating, he has contributed to discussions surrounding art, cultural identity, and the role of visual narratives in understanding Singapore’s history.\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e(Photographed in June 2026)\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Art Again","offers":[{"title":"Default Title","offer_id":53584555508077,"sku":null,"price":1200.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/2-IMG_6341.jpg?v=1784898799"},{"product_id":"teng-jee-hum-untitled-nude-2004","title":"Teng Jee Hum, In Bondage, 2003","description":"\u003cp dir=\"ltr\"\u003eAcrylic on canvas laid on board\u003cbr\u003e77 x 61 cm \u003cbr\u003eCondition: Very good\u003cbr\u003e\u003cbr\u003e-\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003cp\u003eTeng Jee Hum spent his early career as a fund manager, trading Asian equities and later commodities, before turning to collecting and, eventually, making. Self-taught, he works by laying down unplanned brushstrokes and paint washes, then extracting figures and forms through observation — a practice of pareidolia and pattern recognition.\u003c\/p\u003e\n\u003cp\u003eHis two Nudes take that method to opposite ends of restraint: one built from loose, saturated marks that resolve into a seated figure seen from behind, in \u003cem\u003e\u003cstrong\u003e\u003ca href=\"https:\/\/artagain.co\/products\/teng-jee-hum-untitled-nude-2004?utm_source=copyToPasteBoard\u0026amp;utm_medium=product-links\u0026amp;utm_content=web\"\u003eIn Bondage, 2003\u003c\/a\u003e\u003c\/strong\u003e\u003c\/em\u003e, while the other, \u003ca href=\"https:\/\/artagain.co\/products\/teng-jee-hum-nude-2000?utm_source=copyToPasteBoard\u0026amp;utm_medium=product-links\u0026amp;utm_content=web\" rel=\"noopener\" target=\"_blank\"\u003e\u003cem\u003e\u003cstrong\u003eOoh my back hurts, 2000\u003c\/strong\u003e\u003c\/em\u003e\u003c\/a\u003e, is pared down to a single contour line. \u003cmeta charset=\"utf-8\"\u003eTeng has spent decades on the other side of this — building a collection, deciding what goes on view. Here, it's his own work in the room, out into view.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e-\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003eTeng Jee Hum (Singaporean, b. unknown) is a self-taught artist, collector, and author whose practice explores themes of Singapore’s identity, history, and social development. Working across painting, sculpture, and works on paper, he often reflects on personal memories and national narratives, particularly through his interpretations of Singapore’s transformation and the legacy of its founding years. His works combine figurative imagery, symbolism, and text to examine the relationship between individual experience and collective memory.\u003cbr\u003e\u003cbr\u003eBeyond his artistic practice, Teng is also recognised as the founder of The Teng Collection, which focuses on modern and contemporary Asian art, and as the author of publications including Beyond ISMS (1999) and Godsmacked (2016). Through both collecting and creating, he has contributed to discussions surrounding art, cultural identity, and the role of visual narratives in understanding Singapore’s history.\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e(Photographed in June 2026)\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Art Again","offers":[{"title":"Default Title","offer_id":53584558129517,"sku":null,"price":3000.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/5-IMG_9174_1.jpg?v=1784898103"},{"product_id":"ho-huu-thu-untitled-moon-season-1992","title":"Ho Huu Thu, Untitled (Moon Season), 1992","description":"\u003cp dir=\"ltr\"\u003eOil on canvas \u003cbr\u003e65 x 55 cm (visible), 78 x 68 x 3 cm (framed)\u003cbr\u003eCondition: Very good\u003cbr\u003eAcquired from Cafe Gallery, Singapore.\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e-\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003eThe female nude in Ho Huu Thu's work is treated less as an anatomical study than as an idealised, almost devotional figure, rendered through his signature technique of layered light and translucency. Rather than the direct, life-model tradition common to academic nude drawing, his women appear softened and dreamlike, closer to spiritual or symbolic presences than to observed bodies.\u003cbr\u003e\u003cbr\u003eThis approach was shaped by his shift away from early Western influences like Paul Gauguin, Pablo Picasso and Marc Chagall toward Buddhist philosophy and the lacquer tradition of Nguyen Gia Tri. The result is a nude stripped of overt sensuality or provocation, positioned instead within a broader vocabulary of innocence, peace and reverence for the female form.\u003cbr\u003e\u003cbr\u003e-\u003cbr\u003e\u003cbr\u003eHo Huu Thu (Vietnamese, 1940–2024) was a prominent Vietnamese painter known for his lyrical figurative works and mastery of lacquer painting. Born in Nghệ An, Vietnam, he graduated from the National Fine Arts College of Saigon in 1964 and later taught there before 1975. His practice often centres on female figures, rural landscapes, and scenes of Vietnamese life, expressed through harmonious compositions, soft tonal palettes, and a distinctive balance between traditional Vietnamese aesthetics and modern artistic approaches. \u003cbr\u003e\u003cbr\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003eThroughout his career, Ho developed a deeply personal style marked by poetic atmosphere and refined control of colour and space. He was particularly recognised for his large-scale lacquer paintings, in which he explored themes of nature, beauty, and human experience through serene and contemplative imagery. His works have been exhibited internationally, including in Singapore, Malaysia, France, Japan, and the United States, and are held in institutional and private collections, including the Vietnam National Museum of Fine Arts and the Singapore Art Museum.\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e(Photographed in June 2026)\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Art Again","offers":[{"title":"Default Title","offer_id":53584563437933,"sku":null,"price":15000.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/2-IMG_9178.jpg?v=1784808306"},{"product_id":"chen-cheng-mei-jurong-shipyard-singapore-1988","title":"Chen Cheng Mei, Jurong Shipyard (Singapore), 1988","description":"\u003cp\u003eEtching on paper\u003cbr\u003e35 x 46 cm \u003cbr\u003eCondition: Very good, with a spot of accretion on the top.\u003cbr\u003eEdition 1 of 30\u003cbr\u003eCertificate of Authenticity from the Estate of Chen Cheng Mei available.\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e-\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\" class=\"font-claude-response-body break-words whitespace-normal\"\u003e\u003cmeta charset=\"utf-8\"\u003eChen Cheng Mei is celebrated for the scenes she brought back from her travels, but her paintings of home possess the same unhurried, observant eye. Across these works, she returns to familiar views, allowing colour to do the changing. Blues deepen and soften, shifting into greens and back again, so that a single landscape yields multiple interpretations. These changing hues mirror a Singapore that was itself in transition, its working waterfront gradually giving way to the city we know today.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\" dir=\"ltr\"\u003e\u003cem\u003e\u003cstrong\u003eJurong Shipyard (1988)\u003c\/strong\u003e\u003c\/em\u003e holds a site now gone quiet. Once a place of cargo and labour, the shipyard is kept here at the moment it was still busy, the industry that built the country caught before it moved on.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e-\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eChen Cheng Mei \u003cspan\u003e陈城梅 \u003c\/span\u003e(Singaporean, 1927–2020) was a trailblazing artist whose resolute presence marked her as one of the few Singaporean women of her generation to sustain a lifelong artistic practice. A graduate of the Nanyang Academy of Fine Arts in 1954, she studied under Cheong Soo Pieng and Lim Hak Tai, spending weekends sketching outdoors with them. Chen was part of the Ten Men Art Group and travelled across Southeast Asia with them, but it was after the group’s reconfiguration that she journeyed more extensively throughout not only Asia, but Africa and the Americas.\u003c\/p\u003e\n\u003cp\u003eChen's paintings, etchings, and prints are marked by a quiet intensity. While her works appear simple or naive, they reflect a sophisticated understanding of texture, colour and form, and importantly the anthropocene, honed through printmaking and a deep engagement with literature and the natural world. Chen’s ethos was shaped by her belief that culture is the backbone of a country. Her works form a personal visual diary, documenting lives across regions with honesty. Often working outside the spotlight and at an intimate scale, Chen reminded us that art is not just about seeing, but feeling.\u003cbr\u003e\u003cbr\u003e(Photographed in July 2026)\u003c\/p\u003e","brand":"Art Again","offers":[{"title":"Default Title","offer_id":53584573268333,"sku":null,"price":3200.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/2-2-IMG_6842.jpg?v=1784722823"},{"product_id":"chen-cheng-mei-singapore-river-i-undated","title":"Chen Cheng Mei, Singapore River I, Undated","description":"\u003cp\u003eiiEtching on paper\u003cbr\u003e40 x 60 cm \u003cbr\u003eCondition: Very good\u003cbr\u003eEdition unknown\u003cbr\u003eCertificate of Authenticity from the Estate of Chen Cheng Mei available.\u003cbr\u003e\u003cspan\u003e\u003cbr\u003e-\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eChen Cheng Mei is celebrated for the scenes she brought back from her travels, but her paintings of home possess the same unhurried, observant eye. Across these works, she returns to familiar views, allowing colour to do the changing. Blues deepen and soften, shifting into greens and back again, so that a single landscape yields multiple interpretations. These changing hues mirror a Singapore that was itself in transition, its working waterfront gradually giving way to the city we know today.\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHere, the same stretch of river is revisited time and again, each composition calibrated to a different register of colour. Together, they form a meditation on place - one landscape observed across changing light, shifting moods, and the passage of time.\u003c\/p\u003e\n\u003cp dir=\"ltr\" class=\"font-claude-response-body break-words whitespace-normal\"\u003e-\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eChen Cheng Mei \u003cspan\u003e陈城梅 \u003c\/span\u003e(Singaporean, 1927–2020) was a trailblazing artist whose resolute presence marked her as one of the few Singaporean women of her generation to sustain a lifelong artistic practice. A graduate of the Nanyang Academy of Fine Arts in 1954, she studied under Cheong Soo Pieng and Lim Hak Tai, spending weekends sketching outdoors with them. Chen was part of the Ten Men Art Group and travelled across Southeast Asia with them, but it was after the group’s reconfiguration that she journeyed more extensively throughout not only Asia, but Africa and the Americas.\u003c\/p\u003e\n\u003cp\u003eChen's paintings, etchings, and prints are marked by a quiet intensity. While her works appear simple or naive, they reflect a sophisticated understanding of texture, colour and form, and importantly the anthropocene, honed through printmaking and a deep engagement with literature and the natural world. Chen’s ethos was shaped by her belief that culture is the backbone of a country. Her works form a personal visual diary, documenting lives across regions with honesty. Often working outside the spotlight and at an intimate scale, Chen reminded us that art is not just about seeing, but feeling.\u003cbr\u003e\u003cbr\u003e(Photographed in July 2026)\u003c\/p\u003e","brand":"Art Again","offers":[{"title":"Default Title","offer_id":53584577233261,"sku":null,"price":3200.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/2-1-IMG_6835.jpg?v=1784646521"},{"product_id":"chen-cheng-mei-singapore-river-ii-undated","title":"Chen Cheng Mei, Singapore River II, Undated","description":"\u003cp\u003eEtching on paper\u003cbr\u003e40 x 60 cm \u003cbr\u003eCondition: Very good\u003cbr\u003eEdition unknown\u003cbr\u003eCertificate of Authenticity from the Estate of Chen Cheng Mei available.\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e-\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eChen Cheng Mei is celebrated for the scenes she brought back from her travels, but her paintings of home possess the same unhurried, observant eye. Across these works, she returns to familiar views, allowing colour to do the changing. Blues deepen and soften, shifting into greens and back again, so that a single landscape yields multiple interpretations. These changing hues mirror a Singapore that was itself in transition, its working waterfront gradually giving way to the city we know today.\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHere, the same stretch of river is revisited time and again, each composition calibrated to a different register of colour. Together, they form a meditation on place - one landscape observed across changing light, shifting moods, and the passage of time.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\" dir=\"ltr\"\u003e\u003cbr\u003e-\u003c\/p\u003e\n\u003cp\u003eChen Cheng Mei \u003cspan\u003e陈城梅 \u003c\/span\u003e(Singaporean, 1927–2020) was a trailblazing artist whose resolute presence marked her as one of the few Singaporean women of her generation to sustain a lifelong artistic practice. A graduate of the Nanyang Academy of Fine Arts in 1954, she studied under Cheong Soo Pieng and Lim Hak Tai, spending weekends sketching outdoors with them. Chen was part of the Ten Men Art Group and travelled across Southeast Asia with them, but it was after the group’s reconfiguration that she journeyed more extensively throughout not only Asia, but Africa and the Americas.\u003c\/p\u003e\n\u003cp\u003eChen's paintings, etchings, and prints are marked by a quiet intensity. While her works appear simple or naive, they reflect a sophisticated understanding of texture, colour and form, and importantly the anthropocene, honed through printmaking and a deep engagement with literature and the natural world. Chen’s ethos was shaped by her belief that culture is the backbone of a country. Her works form a personal visual diary, documenting lives across regions with honesty. Often working outside the spotlight and at an intimate scale, Chen reminded us that art is not just about seeing, but feeling.\u003cbr\u003e\u003cbr\u003e(Photographed in July 2026)\u003c\/p\u003e","brand":"Art Again","offers":[{"title":"Default Title","offer_id":53584620945773,"sku":null,"price":3200.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/2-3-IMG_6851.jpg?v=1784723093"},{"product_id":"chen-cheng-mei-singapore-river-iii-undated","title":"Chen Cheng Mei, Singapore River III, Undated","description":"\u003cp\u003eEtching on paper\u003cbr\u003e40 x 60 cm \u003cbr\u003eCondition: Very good\u003cbr\u003eEdition unknown\u003cbr\u003eCertificate of Authenticity from the Estate of Chen Cheng Mei available.\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e-\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eChen Cheng Mei is celebrated for the scenes she brought back from her travels, but her paintings of home possess the same unhurried, observant eye. Across these works, she returns to familiar views, allowing colour to do the changing. Blues deepen and soften, shifting into greens and back again, so that a single landscape yields multiple interpretations. These changing hues mirror a Singapore that was itself in transition, its working waterfront gradually giving way to the city we know today.\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHere, the same stretch of river is revisited time and again, each composition calibrated to a different register of colour. Together, they form a meditation on place - one landscape observed across changing light, shifting moods, and the passage of time.\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e-\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eChen Cheng Mei \u003cspan\u003e陈城梅 \u003c\/span\u003e(Singaporean, 1927–2020) was a trailblazing artist whose resolute presence marked her as one of the few Singaporean women of her generation to sustain a lifelong artistic practice. A graduate of the Nanyang Academy of Fine Arts in 1954, she studied under Cheong Soo Pieng and Lim Hak Tai, spending weekends sketching outdoors with them. Chen was part of the Ten Men Art Group and travelled across Southeast Asia with them, but it was after the group’s reconfiguration that she journeyed more extensively throughout not only Asia, but Africa and the Americas.\u003c\/p\u003e\n\u003cp\u003eChen's paintings, etchings, and prints are marked by a quiet intensity. While her works appear simple or naive, they reflect a sophisticated understanding of texture, colour and form, and importantly the anthropocene, honed through printmaking and a deep engagement with literature and the natural world. Chen’s ethos was shaped by her belief that culture is the backbone of a country. Her works form a personal visual diary, documenting lives across regions with honesty. Often working outside the spotlight and at an intimate scale, Chen reminded us that art is not just about seeing, but feeling.\u003cbr\u003e\u003cbr\u003e(Photographed in July 2026)\u003c\/p\u003e","brand":"Art Again","offers":[{"title":"Default Title","offer_id":53584985293165,"sku":null,"price":3200.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/2-4-IMG_6858.jpg?v=1784723392"},{"product_id":"chen-cheng-mei-singapore-river-iv-undated","title":"Chen Cheng Mei, Singapore River IV, Undated","description":"\u003cp\u003eEtching on paper\u003cbr\u003e40 x 60 cm \u003cbr\u003eCondition: Very good\u003cbr\u003eEdition unknown\u003cbr\u003eCertificate of Authenticity from the Estate of Chen Cheng Mei available.\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e-\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eChen Cheng Mei is celebrated for the scenes she brought back from her travels, but her paintings of home possess the same unhurried, observant eye. Across these works, she returns to familiar views, allowing colour to do the changing. Blues deepen and soften, shifting into greens and back again, so that a single landscape yields multiple interpretations. These changing hues mirror a Singapore that was itself in transition, its working waterfront gradually giving way to the city we know today.\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHere, the same stretch of river is revisited time and again, each composition calibrated to a different register of colour. Together, they form a meditation on place - one landscape observed across changing light, shifting moods, and the passage of time.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\" dir=\"ltr\"\u003e-\u003cbr\u003e\u003cbr\u003eChen Cheng Mei \u003cspan\u003e陈城梅 \u003c\/span\u003e(Singaporean, 1927–2020) was a trailblazing artist whose resolute presence marked her as one of the few Singaporean women of her generation to sustain a lifelong artistic practice. A graduate of the Nanyang Academy of Fine Arts in 1954, she studied under Cheong Soo Pieng and Lim Hak Tai, spending weekends sketching outdoors with them. Chen was part of the Ten Men Art Group and travelled across Southeast Asia with them, but it was after the group’s reconfiguration that she journeyed more extensively throughout not only Asia, but Africa and the Americas.\u003c\/p\u003e\n\u003cp\u003eChen's paintings, etchings, and prints are marked by a quiet intensity. While her works appear simple or naive, they reflect a sophisticated understanding of texture, colour and form, and importantly the anthropocene, honed through printmaking and a deep engagement with literature and the natural world. Chen’s ethos was shaped by her belief that culture is the backbone of a country. Her works form a personal visual diary, documenting lives across regions with honesty. Often working outside the spotlight and at an intimate scale, Chen reminded us that art is not just about seeing, but feeling.\u003cbr\u003e\u003cbr\u003e(Photographed in July 2026)\u003c\/p\u003e","brand":"Art Again","offers":[{"title":"Default Title","offer_id":53584989127021,"sku":null,"price":3200.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/2-5-IMG_6866.jpg?v=1784723586"},{"product_id":"tay-bak-koi-nude-2-2001","title":"Tay Bak Koi, Nude 2, 2001","description":"\u003cp\u003eOil on canvas\u003cbr\u003e70 x 100 cm\u003cbr\u003eCondition: Very good\u003cbr\u003eCertificate of Authenticity from the Estate of Tay Bak Koi available.\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e-\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eTay Bak Koi is remembered for buffaloes: that instantly recognisable, simple silhouette with its inverted V-legs, set against Singapore's vanishing kampong and rural landscape. Trained under Cheong Soo Pieng at the Nanyang Academy of Fine Arts from 1957 to 1960, Tay would later develop the buffalo-and-kampong landscapes that would define his market: that stylised, inverted-V-legged silhouette set against Singapore's vanishing rural scenery. However, with \u003ca href=\"https:\/\/artagain.co\/products\/tay-bak-koi-nude-1-2001?variant=53601263550829\" target=\"_blank\" rel=\"noopener\"\u003e\u003cem\u003e\u003cstrong\u003eNude 1\u003c\/strong\u003e\u003c\/em\u003e\u003c\/a\u003e and \u003ca href=\"https:\/\/artagain.co\/products\/tay-bak-koi-nude-2-2001\" target=\"_blank\" rel=\"noopener\"\u003e\u003cem\u003e\u003cstrong\u003eNude 2\u003c\/strong\u003e\u003c\/em\u003e\u003c\/a\u003e, they predate that signature — or sit outside it. Figure work rarely surfaces in Tay's market today; they are a reminder that the artist who is better known for animals and villages, could hold a body just as surely.\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e-\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eTay Bak Koi (Singaporean, 1939–2003\u003c\/span\u003e\u003cspan\u003e)\u003c\/span\u003e\u003cspan\u003e studied under Cheong Soo Pieng (Chinese, 1917–1983) at the Nanyang Academy of Fine Arts in 1957. During his three-year course, he supported himself by selling crabs at a market stall while experimenting with oils and watercolours. Frustrated by the structural rigidity and formal instructional methods of art academia, he was determined to pursue a lifelong career in the arts but recognised the need to cultivate a distinctive style to establish himself as an artist.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003eTay’s early works captured Singapore’s vanishing landscapes, portraying geometric kelongs and kampongs with a keen sensitivity to texture. His restrained use of colour acted as a form of punctuation, emphasising contrast and meaning within his compositions. Blending fantasy and reality, his art often reimagined urban landscapes through abstraction. A master of elimination and distortion, Tay distilled complex forms to their essence, developing a visual language that was both striking and deeply introspective.\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e(Photographed in July 2026)\u003cbr\u003e\u003c\/p\u003e","brand":"Art Again","offers":[{"title":"Default Title","offer_id":53601263518061,"sku":null,"price":38000.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/2-DSC06906.jpg?v=1785155030"},{"product_id":"tay-bak-koi-nude-1-2001","title":"Tay Bak Koi, Nude 1, 2001","description":"\u003cp\u003eOil on canvas\u003cbr\u003e70 x 100 cm\u003cbr\u003eCondition: Very good\u003cbr\u003eCertificate of Authenticity from the Estate of Tay Bak Koi available.\u003cbr\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e-\u003c\/p\u003e\n\u003cp\u003eTay Bak Koi is remembered for buffaloes: that instantly recognisable, simple silhouette with its inverted V-legs, set against Singapore's vanishing kampong and rural landscape. Trained under Cheong Soo Pieng at the Nanyang Academy of Fine Arts from 1957 to 1960, Tay would later develop the buffalo-and-kampong landscapes that would define his market: that stylised, inverted-V-legged silhouette set against Singapore's vanishing rural scenery. However, with \u003cem\u003e\u003cstrong\u003e\u003ca href=\"https:\/\/artagain.co\/products\/tay-bak-koi-nude-1-2001?variant=53601263550829\" target=\"_blank\" rel=\"noopener\"\u003eNude 1\u003c\/a\u003e \u003c\/strong\u003e\u003c\/em\u003eand \u003ca href=\"https:\/\/artagain.co\/products\/tay-bak-koi-nude-2-2001?variant=53601263518061\" target=\"_blank\" rel=\"noopener\"\u003e\u003cem\u003e\u003cstrong\u003eNude 2\u003c\/strong\u003e\u003c\/em\u003e\u003c\/a\u003e, they predate that signature — or sit outside it. Figure work rarely surfaces in Tay's market today; they are a reminder that the artist who is better known for animals and villages, could hold a body just as surely.\u003c\/p\u003e\n\u003cp\u003e-\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTay Bak Koi (Singaporean, 1939–2003\u003c\/span\u003e\u003cspan\u003e)\u003c\/span\u003e\u003cspan\u003e studied under Cheong Soo Pieng (Chinese, 1917–1983) at the Nanyang Academy of Fine Arts in 1957. During his three-year course, he supported himself by selling crabs at a market stall while experimenting with oils and watercolours. Frustrated by the structural rigidity and formal instructional methods of art academia, he was determined to pursue a lifelong career in the arts but recognised the need to cultivate a distinctive style to establish himself as an artist.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003eTay’s early works captured Singapore’s vanishing landscapes, portraying geometric kelongs and kampongs with a keen sensitivity to texture. His restrained use of colour acted as a form of punctuation, emphasising contrast and meaning within his compositions. Blending fantasy and reality, his art often reimagined urban landscapes through abstraction. A master of elimination and distortion, Tay distilled complex forms to their essence, developing a visual language that was both striking and deeply introspective.\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e(Photographed in July 2026)\u003cbr\u003e\u003c\/p\u003e","brand":"Art Again","offers":[{"title":"Default Title","offer_id":53601263550829,"sku":null,"price":38000.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/2-DSC06916.jpg?v=1785155447"},{"product_id":"tay-bak-koi-fishing-undated","title":"Tay Bak Koi, Fishing, Undated","description":"\u003cp\u003eOil on canvas\u003cbr\u003e114.5 x 111 cm \u003cbr\u003eCondition: Very good\u003cbr\u003eCertificate of Authenticity from the Estate of Tay Bak Koi available.\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e-\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003eAlongside his signature water buffaloes, Tay Bak Koi's other constant subject was the working waterway of fishing villages, floating markets, boats drawn up on rocks, rendered in the muted browns, blues and yellows he reserved for the Singapore River and its trades. Of this group, \u003ca href=\"https:\/\/artagain.co\/products\/tay-bak-koi-floating-market-1967\" target=\"_blank\" rel=\"noopener\"\u003e\u003cem\u003e\u003cstrong\u003eFloating Market (1967)\u003c\/strong\u003e\u003c\/em\u003e\u003c\/a\u003e is the earliest artwork painted while that world was still fully intact; \u003ca href=\"https:\/\/artagain.co\/products\/tay-bak-koi-trees-1989\"\u003e\u003cem\u003e\u003cstrong\u003eTrees (1989)\u003c\/strong\u003e\u003c\/em\u003e\u003c\/a\u003e and \u003ca href=\"https:\/\/artagain.co\/products\/tay-bak-koi-returning-home-3-1989\"\u003e\u003cem\u003e\u003cstrong\u003eReturning Home (3) (1989)\u003c\/strong\u003e\u003c\/em\u003e\u003c\/a\u003e comes after the waterfront's clearance, looking back at the same subject from further away, and while \u003cem\u003e\u003cstrong\u003e\u003ca href=\"https:\/\/artagain.co\/products\/tay-bak-koi-fishing-undated\"\u003eFishing\u003c\/a\u003e\u003c\/strong\u003e\u003c\/em\u003e and \u003ca href=\"https:\/\/artagain.co\/products\/tay-bak-koi-fishing-on-a-rock-undated\" target=\"_blank\" rel=\"noopener\"\u003e\u003cem\u003e\u003cstrong\u003eFishing on a Rock\u003c\/strong\u003e\u003c\/em\u003e\u003c\/a\u003e are undated, they sit within the same body of work. Together they trace one subject across decades of Tay's career.\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e-\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e\u003c\/span\u003e\u003cspan\u003eTay Bak Koi (Singaporean, 1939–2003\u003c\/span\u003e\u003cspan\u003e)\u003c\/span\u003e\u003cspan\u003e studied under Cheong Soo Pieng (Chinese, 1917–1983) at the Nanyang Academy of Fine Arts in 1957. During his three-year course, he supported himself by selling crabs at a market stall while experimenting with oils and watercolours. Frustrated by the structural rigidity and formal instructional methods of art academia, he was determined to pursue a lifelong career in the arts but recognised the need to cultivate a distinctive style to establish himself as an artist.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003eTay’s early works captured Singapore’s vanishing landscapes, portraying geometric kelongs and kampongs with a keen sensitivity to texture. His restrained use of colour acted as a form of punctuation, emphasising contrast and meaning within his compositions. Blending fantasy and reality, his art often reimagined urban landscapes through abstraction. A master of elimination and distortion, Tay distilled complex forms to their essence, developing a visual language that was both striking and deeply introspective.\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e(Photographed in July 2026)\u003cbr\u003e\u003c\/p\u003e","brand":"Art Again","offers":[{"title":"Default Title","offer_id":53601263583597,"sku":null,"price":35000.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/2-a3ed00d4-570f-4491-ab66-aacd4e0d8263.jpg?v=1785156008"},{"product_id":"tay-bak-koi-fishing-on-a-rock-undated","title":"Tay Bak Koi, Fishing on a Rock, Undated","description":"\u003cp\u003eWatercolour on paper\u003cbr\u003e46 x 45 cm\u003cbr\u003eCondition: Very good, with some superficial stains on the matboard and interior glazing of the frame.\u003cbr\u003eCertificate of Authenticity from the Estate of Tay Bak Koi available.\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e-\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAlongside his signature water buffaloes, Tay Bak Koi's other constant subject was the working waterway of fishing villages, floating markets, boats drawn up on rocks, rendered in the muted browns, blues and yellows he reserved for the Singapore River and its trades. Of this group, \u003ca href=\"https:\/\/artagain.co\/products\/tay-bak-koi-floating-market-1967\" target=\"_blank\" rel=\"noopener\"\u003e\u003cem\u003e\u003cstrong\u003eFloating Market (1967)\u003c\/strong\u003e\u003c\/em\u003e\u003c\/a\u003e is the earliest artwork painted while that world was still fully intact; \u003ca href=\"https:\/\/artagain.co\/products\/tay-bak-koi-trees-1989\" target=\"_blank\" rel=\"noopener\"\u003e\u003cem\u003e\u003cstrong\u003eTrees (1989)\u003c\/strong\u003e\u003c\/em\u003e\u003c\/a\u003e and \u003ca href=\"https:\/\/artagain.co\/products\/tay-bak-koi-returning-home-3-1989\" target=\"_blank\" rel=\"noopener\"\u003e\u003cem\u003e\u003cstrong\u003eReturning Home (3) (1989)\u003c\/strong\u003e\u003c\/em\u003e\u003c\/a\u003e comes after the waterfront's clearance, looking back at the same subject from further away, and while \u003ca href=\"https:\/\/artagain.co\/products\/tay-bak-koi-fishing-undated\" target=\"_blank\" rel=\"noopener\"\u003e\u003cem\u003e\u003cstrong\u003eFishing\u003c\/strong\u003e\u003c\/em\u003e\u003c\/a\u003e and \u003ca href=\"https:\/\/artagain.co\/products\/tay-bak-koi-fishing-on-a-rock-undated\" target=\"_blank\" rel=\"noopener\"\u003e\u003cem\u003e\u003cstrong\u003eFishing on a Rock\u003c\/strong\u003e \u003c\/em\u003e\u003c\/a\u003eare undated, they sit within the same body of work. Together they trace one subject across decades of Tay's career.\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e-\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTay Bak Koi (Singaporean, 1939–2003\u003c\/span\u003e\u003cspan\u003e)\u003c\/span\u003e\u003cspan\u003e studied under Cheong Soo Pieng (Chinese, 1917–1983) at the Nanyang Academy of Fine Arts in 1957. During his three-year course, he supported himself by selling crabs at a market stall while experimenting with oils and watercolours. Frustrated by the structural rigidity and formal instructional methods of art academia, he was determined to pursue a lifelong career in the arts but recognised the need to cultivate a distinctive style to establish himself as an artist.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003eTay’s early works captured Singapore’s vanishing landscapes, portraying geometric kelongs and kampongs with a keen sensitivity to texture. His restrained use of colour acted as a form of punctuation, emphasising contrast and meaning within his compositions. Blending fantasy and reality, his art often reimagined urban landscapes through abstraction. A master of elimination and distortion, Tay distilled complex forms to their essence, developing a visual language that was both striking and deeply introspective.\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e(Photographed in July 2026)\u003cbr\u003e\u003c\/p\u003e","brand":"Art Again","offers":[{"title":"Default Title","offer_id":53601265746285,"sku":null,"price":9000.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/2-DSC06863.jpg?v=1785158054"},{"product_id":"tay-bak-koi-trees-1989","title":"Tay Bak Koi, Trees, 1989","description":"\u003cp\u003eCollage and watercolour on paper\u003cbr\u003e76 x 70 cm \u003cbr\u003eCondition: Very good\u003cbr\u003eCertificate of Authenticity from the Estate of Tay Bak Koi available.\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e-\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAlongside his signature water buffaloes, Tay Bak Koi's other constant subject was the working waterway of fishing villages, floating markets, boats drawn up on rocks, rendered in the muted browns, blues and yellows he reserved for the Singapore River and its trades. Of this group, \u003ca href=\"https:\/\/artagain.co\/products\/tay-bak-koi-floating-market-1967\" target=\"_blank\" rel=\"noopener\"\u003e\u003cem\u003e\u003cstrong\u003eFloating Market (1967)\u003c\/strong\u003e\u003c\/em\u003e\u003c\/a\u003e is the earliest artwork painted while that world was still fully intact; \u003ca href=\"https:\/\/artagain.co\/products\/tay-bak-koi-trees-1989\" target=\"_blank\" rel=\"noopener\"\u003e\u003cem\u003e\u003cstrong\u003eTrees (1989)\u003c\/strong\u003e\u003c\/em\u003e\u003c\/a\u003e and \u003ca href=\"https:\/\/artagain.co\/products\/tay-bak-koi-returning-home-3-1989\" target=\"_blank\" rel=\"noopener\"\u003e\u003cem\u003e\u003cstrong\u003eReturning Home (3) (1989)\u003c\/strong\u003e\u003c\/em\u003e\u003c\/a\u003e comes after the waterfront's clearance, looking back at the same subject from further away, and while \u003ca href=\"https:\/\/artagain.co\/products\/tay-bak-koi-fishing-undated\" target=\"_blank\" rel=\"noopener\"\u003e\u003cem\u003e\u003cstrong\u003eFishing\u003c\/strong\u003e\u003c\/em\u003e\u003c\/a\u003e and \u003ca href=\"https:\/\/artagain.co\/products\/tay-bak-koi-fishing-on-a-rock-undated\" target=\"_blank\" rel=\"noopener\"\u003e\u003cem\u003e\u003cstrong\u003eFishing on a Rock\u003c\/strong\u003e\u003c\/em\u003e\u003c\/a\u003e are undated, they sit within the same body of work. Together they trace one subject across decades of Tay's career.\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e-\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eTay Bak Koi (Singaporean, 1939–2003\u003c\/span\u003e\u003cspan\u003e)\u003c\/span\u003e\u003cspan\u003e studied under Cheong Soo Pieng (Chinese, 1917–1983) at the Nanyang Academy of Fine Arts in 1957. During his three-year course, he supported himself by selling crabs at a market stall while experimenting with oils and watercolours. Frustrated by the structural rigidity and formal instructional methods of art academia, he was determined to pursue a lifelong career in the arts but recognised the need to cultivate a distinctive style to establish himself as an artist.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003eTay’s early works captured Singapore’s vanishing landscapes, portraying geometric kelongs and kampongs with a keen sensitivity to texture. His restrained use of colour acted as a form of punctuation, emphasising contrast and meaning within his compositions. Blending fantasy and reality, his art often reimagined urban landscapes through abstraction. A master of elimination and distortion, Tay distilled complex forms to their essence, developing a visual language that was both striking and deeply introspective.\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e(Photographed in July 2026)\u003cbr\u003e\u003c\/p\u003e","brand":"Art Again","offers":[{"title":"Default Title","offer_id":53601266598253,"sku":null,"price":17000.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/2-DSC06883.jpg?v=1785159564"},{"product_id":"tay-bak-koi-returning-home-3-1989","title":"Tay Bak Koi, Returning Home (3), 1989","description":"\u003cp\u003eWatercolour on paper\u003cbr\u003e75 x 68 cm\u003cbr\u003eCondition: Very good\u003cbr\u003eCertificate of Authenticity from the Estate of Tay Bak Koi available.\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e-\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/span\u003eAlongside his signature water buffaloes, Tay Bak Koi's other constant subject was the working waterway of fishing villages, floating markets, boats drawn up on rocks, rendered in the muted browns, blues and yellows he reserved for the Singapore River and its trades. Of this group, \u003ca href=\"https:\/\/artagain.co\/products\/tay-bak-koi-floating-market-1967\" target=\"_blank\" rel=\"noopener\"\u003e\u003cem\u003e\u003cstrong\u003eFloating Market (1967)\u003c\/strong\u003e\u003c\/em\u003e\u003c\/a\u003e is the earliest artwork painted while that world was still fully intact; \u003ca href=\"https:\/\/artagain.co\/products\/tay-bak-koi-trees-1989\" target=\"_blank\" rel=\"noopener\"\u003e\u003cem\u003e\u003cstrong\u003eTrees (1989)\u003c\/strong\u003e\u003c\/em\u003e\u003c\/a\u003e and \u003ca href=\"https:\/\/artagain.co\/products\/tay-bak-koi-returning-home-3-1989\" target=\"_blank\" rel=\"noopener\"\u003e\u003cem\u003e\u003cstrong\u003eReturning Home (3) (1989)\u003c\/strong\u003e\u003c\/em\u003e\u003c\/a\u003e comes after the waterfront's clearance, looking back at the same subject from further away, and while \u003ca href=\"https:\/\/artagain.co\/products\/tay-bak-koi-fishing-undated\"\u003e\u003cem\u003e\u003cstrong\u003eFishing\u003c\/strong\u003e\u003c\/em\u003e\u003c\/a\u003e and \u003ca href=\"https:\/\/artagain.co\/products\/tay-bak-koi-fishing-on-a-rock-undated\" target=\"_blank\" rel=\"noopener\"\u003e\u003cem\u003e\u003cstrong\u003eFishing on a Rock\u003c\/strong\u003e\u003c\/em\u003e\u003c\/a\u003e are undated, they sit within the same body of work. Together they trace one subject across decades of Tay's career.\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e-\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eTay Bak Koi (Singaporean, 1939–2003\u003c\/span\u003e\u003cspan\u003e)\u003c\/span\u003e\u003cspan\u003e studied under Cheong Soo Pieng (Chinese, 1917–1983) at the Nanyang Academy of Fine Arts in 1957. During his three-year course, he supported himself by selling crabs at a market stall while experimenting with oils and watercolours. Frustrated by the structural rigidity and formal instructional methods of art academia, he was determined to pursue a lifelong career in the arts but recognised the need to cultivate a distinctive style to establish himself as an artist.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003eTay’s early works captured Singapore’s vanishing landscapes, portraying geometric kelongs and kampongs with a keen sensitivity to texture. His restrained use of colour acted as a form of punctuation, emphasising contrast and meaning within his compositions. Blending fantasy and reality, his art often reimagined urban landscapes through abstraction. A master of elimination and distortion, Tay distilled complex forms to their essence, developing a visual language that was both striking and deeply introspective.\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e(Photographed in July 2026)\u003cbr\u003e\u003c\/p\u003e","brand":"Art Again","offers":[{"title":"Default Title","offer_id":53601267024237,"sku":null,"price":17000.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/2-DSC06894.jpg?v=1785160247"},{"product_id":"tay-bak-koi-floating-market-1967","title":"Tay Bak Koi, Floating Market, 1967","description":"\u003cp\u003eWatercolour on paper\u003cbr\u003e46 x 96 cm\u003cbr\u003eCondition: Very good\u003cbr\u003eCertificate of Authenticity from the Estate of Tay Bak Koi available.\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e-\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eAlongside his signature water buffaloes, Tay Bak Koi's other constant subject was the working waterway of fishing villages, floating markets, boats drawn up on rocks, rendered in the muted browns, blues and yellows he reserved for the Singapore River and its trades. Of this group, \u003ca href=\"https:\/\/artagain.co\/products\/tay-bak-koi-floating-market-1967\" target=\"_blank\" rel=\"noopener\"\u003e\u003cem\u003e\u003cstrong\u003eFloating Market (1967)\u003c\/strong\u003e\u003c\/em\u003e\u003c\/a\u003e is the earliest artwork painted while that world was still fully intact; \u003cem\u003e\u003cstrong\u003e\u003ca href=\"https:\/\/artagain.co\/products\/tay-bak-koi-trees-1989\" target=\"_blank\" rel=\"noopener\"\u003eTrees (1989)\u003c\/a\u003e \u003c\/strong\u003e\u003c\/em\u003eand \u003ca href=\"https:\/\/artagain.co\/products\/tay-bak-koi-returning-home-3-1989\" target=\"_blank\" rel=\"noopener\"\u003e\u003cem\u003e\u003cstrong\u003eReturning Home (3) (1989)\u003c\/strong\u003e\u003c\/em\u003e\u003c\/a\u003e comes after the waterfront's clearance, looking back at the same subject from further away, and while \u003cem\u003e\u003cstrong\u003e\u003ca href=\"https:\/\/artagain.co\/products\/tay-bak-koi-fishing-undated\" target=\"_blank\" rel=\"noopener\"\u003eFishing\u003c\/a\u003e\u003c\/strong\u003e\u003c\/em\u003e and \u003ca href=\"https:\/\/artagain.co\/products\/tay-bak-koi-fishing-on-a-rock-undated\" target=\"_blank\" rel=\"noopener\"\u003e\u003cem\u003e\u003cstrong\u003eFishing on a Rock\u003c\/strong\u003e\u003c\/em\u003e\u003c\/a\u003e are undated, they sit within the same body of work. Together they trace one subject across decades of Tay's career.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e-\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eTay Bak Koi (Singaporean, 1939–2003\u003c\/span\u003e\u003cspan\u003e)\u003c\/span\u003e\u003cspan\u003e studied under Cheong Soo Pieng (Chinese, 1917–1983) at the Nanyang Academy of Fine Arts in 1957. During his three-year course, he supported himself by selling crabs at a market stall while experimenting with oils and watercolours. Frustrated by the structural rigidity and formal instructional methods of art academia, he was determined to pursue a lifelong career in the arts but recognised the need to cultivate a distinctive style to establish himself as an artist.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003eTay’s early works captured Singapore’s vanishing landscapes, portraying geometric kelongs and kampongs with a keen sensitivity to texture. His restrained use of colour acted as a form of punctuation, emphasising contrast and meaning within his compositions. Blending fantasy and reality, his art often reimagined urban landscapes through abstraction. A master of elimination and distortion, Tay distilled complex forms to their essence, developing a visual language that was both striking and deeply introspective.\u003cbr\u003e\u003cbr\u003e(Photographed in August 2026)\u003c\/p\u003e","brand":"Art Again","offers":[{"title":"Default Title","offer_id":53601267319149,"sku":null,"price":26000.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/DSC06872_2.jpg?v=1785417781"},{"product_id":"ng-eng-teng-eve-ii-1997","title":"Ng Eng Teng, Eve II, 1997","description":"\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003eSlip-cast, white stoneware with olive green glaze\u003cbr\u003e11.5 x 12 x 11 cm \u003cbr\u003eCondition: Very good\u003cbr\u003eAcquired directly from the artist in 2000.\u003cbr\u003e\u003cbr\u003e-\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eLiterature\u003cbr\u003eT.K. Sabapathy. \u003cem\u003eNg Eng Teng: Art and Thoughts\u003c\/em\u003e. Singapore: NUS Museum, The National University of Singapore (Singapore), 1998, Unpaginated.\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cimg height=\"314\" width=\"244\" src=\"https:\/\/museum.nus.edu.sg\/wp-content\/uploads\/sites\/3\/2019\/07\/Ng-Eng-Teng.jpg\"\u003e\u003cbr\u003e\u003cbr\u003e-\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\" dir=\"ltr\"\u003eBest known for his public sculptures, Ng Eng Teng carried the study of the body into three dimensions with a seriousness few of his peers brought to the figure. He was a member of Group 90, a circle that formed to keep life drawing and the nude alive as disciplines at a time when few institutions would take them seriously.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\" dir=\"ltr\"\u003eAlthough his work is seldom discussed through the lens of his sexuality, his lifelong preoccupation with the strained, contorted figure invites such a reading. His bodies, which T.K. Sabapathy described as being \"predominantly afflicted\", embody both physical and psychological tension. Ng himself characterised some of these works simply as being about \"the difficulty of getting out of being what you are.\"\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\" dir=\"ltr\"\u003eIn \u003cem\u003e\u003cstrong\u003eEve II\u003c\/strong\u003e\u003c\/em\u003e, that folding of the body finds a named subject, the first woman, the first temptation, rendered less as a person than as a charged form, the weight of her own story pulling her in.\u003c\/p\u003e\n\u003cp style=\"white-space: pre-wrap;\" class=\"\"\u003e-\u003cbr\u003e\u003cbr\u003eNg Eng Teng (Singaporean, 1934–2001) was a seminal figure in Singaporean sculpture, celebrated for his figurative works found in public spaces across the country. Renowned pieces include \"Mother And Child\" outside Far East Shopping Centre and \"The Explorer\" at the entrance of the Singapore Art Museum. Ng's career was distinguished by his blend of Eastern and Western influences, honed through formal training at the Slade School of Fine Art in London.\u003cbr\u003e\u003cbr\u003eReturning to Singapore, Ng initially worked in applied arts, designing ceramics for Carrigaline Pottery in County Cork, Ireland. However, he felt drawn to pursue his passion for sculpting and returned to his homeland. Ng's artistic journey was marked by financial challenges, but he persevered, eventually establishing himself as a full-time sculptor.\u003cbr\u003e\u003cbr\u003eHis career reached new heights with solo exhibitions and prestigious awards, including the Cultural Medallion Award in 1981 for his contributions to Singapore's art scene.\u003cbr\u003e\u003cbr\u003e(Photographed in March 2026)\u003c\/p\u003e","brand":"Art Again","offers":[{"title":"Default Title","offer_id":53601269383533,"sku":null,"price":7800.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/files\/16eb8d85-4c64-4339-aff6-436d75ed3611_1_1_2.jpg?v=1785489983"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0889\/4159\/2941\/collections\/Assets-09_1_86aada76-05e3-4eea-9f9a-d8009938958c.jpg?v=1785296583","url":"https:\/\/artagain.co\/collections\/nauti-pricelist.oembed?page=2","provider":"Art Again","version":"1.0","type":"link"}