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  • Chen Cheng Mei, Untitled (Baskets of Bounty), 1978
  • Chen Cheng Mei, Untitled (Baskets of Bounty), 1978
  • Chen Cheng Mei, Untitled (Baskets of Bounty), 1978
  • Chen Cheng Mei, Untitled (Baskets of Bounty), 1978
  • Chen Cheng Mei, Untitled (Baskets of Bounty), 1978

    Chen Cheng Mei, Untitled (Baskets of Bounty), 1978

    Regular price $26,000

    Oil on canvas
    61 x 106 cm, 62.5 x 107.5 x 3 cm (framed)
    Condition: Very good, with surface accretion accumulated, and minor paint losses throughout. 
    Certificate of Authenticity from the Estate of Chen Cheng Mei available.

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    Chen Cheng Mei (Singaporean, 1927–2020) was a trailblazing artist whose quiet, 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.

    Chen'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 and form, 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 quiet honesty. Often working outside the spotlight and at an intimate scale, Chen reminded us that art is not just about seeing, but feeling.

    Rattan baskets lie scattered across the composition, some brimming with greens, others seemingly tossed aside in haste. Though rendered in a simple style, the scene feels vividly real, made recognisable by its universal familiarity. Likely painted in the back alley of a market, the casual disorder feels oddly charming, capturing the unpolished beauty of everyday life.

    (Photographed in May 2025)

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