Chua Ek Kay, Where The Seasons Are, 2002

Black lithograph on hand made paper
127 x 101 cm (visible), 142.5 x 117 x 7 cm (framed)
Condition: Very good, with slight foxing along the perimeter of the work.
Edition 3 of 30

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Exhibited
Being and Becoming: The Lotus Pond by Chua Ek Kay. STPI, Singapore, 14 February-23 March 2003. 

Literature
Being and Becoming: The Lotus Pond by Chua Ek Kay. Singapore, STPI, 2003, illustrated.

 

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Chua Ek Kay 蔡逸溪 (Singaporean, 1947–2008) was a prominent Singaporean artist renowned for his contemporary ink paintings. His art journey began in the 1960s, heavily influenced by Chinese ink traditions yet evolving into a unique style that merged Eastern and Western techniques. Ek Kay's works often explored themes of nature, tradition, and spirituality, capturing the essence of his cultural heritage while embracing modern interpretations. His innovative approach to ink painting earned him recognition both locally and internationally, solidifying his legacy as a pioneering figure in Singapore's art scene.

Chua's celebrated Lotus Series, adopted during his 3-month residency under the Visiting Artists Programme (VAP) at the Singapore Tyler Print Institute (STPI) in 2003, extends beyond the lotus as a visual motif. While the lotus is a defining symbol in Eastern culture, Chua employed it as a philosophical vehicle to explore the nature of existence. Rather than depicting static forms of the lotus, the series contemplates the perpetual state of becoming, where all life is in constant flux, transformation and renewal.

The lithographs and hand-coloured pressed paper pulp works produced during the residency represent some of the most compelling interpretations of the lotus in his oeuvre. Among the 6 major lithographs and over 30 pressed paper pulp works created during this period, Where the Seasons Are (2002) exemplifies his innovative printmaking process.

To create the work, Chua painted directly onto Mylar sheets, manipulating ink with brushes of varying sizes while spraying arcs of water to achieve expressive bleeding effects. Unlike traditional rice paper, Mylar is minimally absorbent, allowing the artist to embrace chance, accident and inconsistency as integral elements of the composition. The resulting image was then transferred onto photosensitive aluminium plates before being printed through the lithographic press machines onto paper.

(Photographed in May 2026)

Black lithograph on hand made paper
127 x 101 cm (visible), 142.5 x 117 x 7 cm (framed)
Condition: Very good, with slight foxing along the perimeter of the work.
Edition 3 of 30

-

Exhibited
Being and Becoming: The Lotus Pond by Chua Ek Kay. STPI, Singapore, 14 February-23 March 2003. 

Literature
Being and Becoming: The Lotus Pond by Chua Ek Kay. Singapore, STPI, 2003, illustrated.

 

-

Chua Ek Kay 蔡逸溪 (Singaporean, 1947–2008) was a prominent Singaporean artist renowned for his contemporary ink paintings. His art journey began in the 1960s, heavily influenced by Chinese ink traditions yet evolving into a unique style that merged Eastern and Western techniques. Ek Kay's works often explored themes of nature, tradition, and spirituality, capturing the essence of his cultural heritage while embracing modern interpretations. His innovative approach to ink painting earned him recognition both locally and internationally, solidifying his legacy as a pioneering figure in Singapore's art scene.

Chua's celebrated Lotus Series, adopted during his 3-month residency under the Visiting Artists Programme (VAP) at the Singapore Tyler Print Institute (STPI) in 2003, extends beyond the lotus as a visual motif. While the lotus is a defining symbol in Eastern culture, Chua employed it as a philosophical vehicle to explore the nature of existence. Rather than depicting static forms of the lotus, the series contemplates the perpetual state of becoming, where all life is in constant flux, transformation and renewal.

The lithographs and hand-coloured pressed paper pulp works produced during the residency represent some of the most compelling interpretations of the lotus in his oeuvre. Among the 6 major lithographs and over 30 pressed paper pulp works created during this period, Where the Seasons Are (2002) exemplifies his innovative printmaking process.

To create the work, Chua painted directly onto Mylar sheets, manipulating ink with brushes of varying sizes while spraying arcs of water to achieve expressive bleeding effects. Unlike traditional rice paper, Mylar is minimally absorbent, allowing the artist to embrace chance, accident and inconsistency as integral elements of the composition. The resulting image was then transferred onto photosensitive aluminium plates before being printed through the lithographic press machines onto paper.

(Photographed in May 2026)

Artwork located in: Singapore