The Wriggled


I posted this doodle in 2011, without a commentary, in one of those days that we are at a loss for words, where we are painfully wondering: what happened to that dream? And where we are truthfully discovering – we don’t have an answer. And then 4 years later, we find ourselves saying, “OK, I was wriggling. I took a walk in the woods. Now, I am ready to re-begin. Let’s get to work. I just needed some time to regain my clarity and intent.”

Peng-Ean Khoo
charKOL Pte Ltd
May 18, 2015


Re-visiting Another Woman

Re-visiting Another Woman


by Amanda Heng

Photographs and text, 2008
Variable dimensions


Amanda Heng, born in 1951, is a full-time artist who adopts an interdisciplinary approach to art-making. Her works focus on the intersections of eastern and western values and the traditions and gender roles in a multi-cultural and rapidly-changing  Singapore. Her recent works discuss  the issues of communication and human relationships in urban condition. Often, she would collaborate with both artists and non-artists. Amanda was one of the members who established the Artists Village  in 1988. She is also active in curating and organising shows, forums, and workshops and lectures on contemporary art. She was a former civil tax officer.


A full-time independent art practitioner, Amanda Heng adopts an interdisciplinary approach to her art practice and is often concerned with issues of communication and human relationship in urban condition, history and identity, and gender politic. Her works have been exhibited in Cleveland Performance Art Festival USA (1997), the 3rd Asia-Pacific Triennial of Contemporary Art in Brisbane, Australia (1999), the 1st Fukuoka Asian Art Triennale, Japan (1999), the 7th Havana Biennial in Cuba (2000). Werkleitz Biennale in Germany (2000), Performance Art Festival in Spain (2001) and Channel N at Kyoto Art Center (2001). Her other art activities include co-directing theatre production “Bernard’s Story” written by Dana Lam (2001), performed in theatre production “A Woman On the Tree in the Hill” directed by Ivan Heng (2001), which was presented at the Singapore International Performing art Festival. She has also organised and participated in various exhibitions, public forums, workshops, research projects and art events such as, The Space, fringe event of 1992 International Art Fest in Singapore, Women And Their Arts (1990), The 1st Asian film Appreciation workshop (1994), Memories of Senses (1994), Women About Women (1997), The Friday Event (2000) and Open Ends (2001). Amanda was involved in the founding of Artists’ Village, the first artists-run space in Singapore, in 1988, and WITA (Women In The Arts), the first artists-run women collective in Singapore in 1999, which is currently establishing the archives of women in the Arts in Singapore.

A Differing Point of View

A Differing Point of View

by Twardzik Ching Chor Leng

Cement Bricks, 2008


As the popular Beuysian saying goes, ‘Every man is an Artist’, the logical spatial definition would then follow ‘Every space is an art space’. A serious artist begins with showing in the ‘right’ spaces, the spaces delineated as “art spaces”, where art is worshiped, and legitimised. The artists who show in these spaces are thereby anointed as ‘established’. Joseph Beuys’ proposal re-opened the definition of art, artist and ultimately that of the art space. Twardzik Ching Chor Leng’s interest is in exploring the boundaries of art both outside and within traditional art spaces. Adapting the artwork to the specific needs of the space often informs her aesthetic approaches. By installing art works in varied spaces such as neighbourhood cafés, office spaces, underground tunnels, shopping malls, museums and galleries, Chor Leng underscores the theory that art can exist anywhere.


Chor Leng creates a platform where the environment – be it the public or the indoor/outdoor conditions – play a vital role in the outcome and life of the artwork. Her site-specific installations/sculptures create a physical and actual connection between the work, the place and its viewers. Using art to affect a material and often-public manifestation of social-consciousness is integral to her work.


Twardzik Ching Chor Leng has been practising Installation art and Land art for more than 10 years.  She has exhibited extensively in group and solo exhibitions internationally and locally. Her latest commissioned sculptures are currently being exhibited at the National Museum. Founder of the arts group Landing Space that is active in promoting Land Art in Singapore, she is also an independent curator as well as a member of WITA (Women in the Arts). A regular recipient of meritorious awards and scholarships including the Hanna Kristmanson Ceramic Scholarship, the Ceramics Canada Award, and the Crown Life Entrance Award, Chor Leng’s work is included in numerous public and corporate collections.  Chor Leng holds a Master of Fine Arts Degree from University of Regina, Canada, a Bachelor of Fine Arts in Ceramics and a Diploma in Ceramic Arts from Alberta College of Art and Design, Canada.  She has lectured in Lasalle College of the Arts, Nanyang Academy of Fine Arts and the National Institute of Education. She is currently Head of the Fine Arts Program in NUS High School of Math and Science.

horror is a vaccum: collection fictions


horror is a vacuum: collected fictions


By Susie Lingham

Cigarette paper, tracing paper & ink


‘….speculating on what lies beneath, art criticism is the result of the condition of horror vacuui – horror of a vacuum, an aversion to (what it sees as) empty spaces.


And so it spins, like a spider determined to inhabit an empty corner with watchful, sticky webs to catch any wisp of possible meaning. To write over, cover any surface tension with intention to embed, bury. In the absence of interpretation, horror is a vacuum in symmetry.’


~Susie Lingham


Susie Lingham is currently senior lecturer and course leader of the Contemporary Art Degree Programmes at Nanyang Academy of Fine Arts, Singapore. She has recently completed her DPhil (PhD) in Literature, Religion and Philosophy at the University of Sussex, U.K. Her interdisciplinary work – text, image, performance, sound – synthesizes ideas and research across various fields relating to the nature of mind.

Love Struck


Love Struck 

 By Vincent Twardzik Ching


“My primary concern is in creating paintings that will not simply catch the attention, but will instead like nature, gradually reveal more of their complexities over time.”


When you reach the threshold of your physical limits and really expose yourself to the natural environment and weather conditions,  it is easy to feel connected to life in a way that seems circumvented by the way we live our everyday lives. Painting is about this re-connection with natural processes. As children we had a spectacular engagement with our senses, the world was a tactile paradise where plants and objects shimmered in the sun and colours and shapes were experiences in themselves. Abstract paintings in particular, if not all artworks, are meant to be experienced firstly as a purely visual and present sensation. If you have ever enjoyed the sunset from the beach you were most likely not thinking, “oh, how beautiful that burning ball of hydrogen appears to be as the earth rotates…” you were probably not thinking at all, you were experiencing the absolutely riveting sensation of pure luminous colour and the cool ocean breeze as they overwhelmed your senses in a highly enjoyable way.


Vincent Twardzik Ching

Artist, teacher and illustrator, Vincent Twardzik Ching holds  a  Bachelor of Fine Arts degree from the University of Regina, Canada. A  recipient of  the Honourable Mention award in the Philip Morris Singapore art competition 2002, he has been residing and exhibiting in Singapore for the past eight years and his work is included in several private collections in Singapore and abroad.

Learning Difficulties (Dentist)

L E A R N I N G  D I F F I C U L T I E S 

( D E N T I S T )

By Cecily Cheo

Print on paper
38cm x 56cm


This work is part of an on-going series, also titled Learning Difficulties. ‘Learning difficulties’ is a specialist term that first came into use in the 1960 in English and American educational discourse. It has been used to describe a particular difficulty that a child or an adult person of average or above average intelligence experiences on an ongoing basis which interferes with his or her process of acquiring knowledge. The work in this exhibition derives from the experience of picking up and perusing the pages of some primary one exercise books I found discarded in  a rubbish bin.  As I browsed through them, I became acutely aware that each page provided a unique visual record of one child’s rather painful entry into the primary school education system.  Each page seemed to document, from a child’s point of view, how awkward and unwieldy the experience of learning how to learning’ must sometimes be. Through this work, I ponder the complex, strange and delicate processes of trial and error entailed in the learning process. I also seek to draw the viewer’s attention to the wild, carnivalesque world of ‘learning’ that   a child’s exercise book can reveal.

Cecily Cheo is a painter, writer and independent curator. Since the early 1980s, Cecily has taught art history and theory as well as studio practice in various art schools and universities in Australia. As a painter, she has exhibited her work in Australia, Singapore and China. She has also initiated and curated exhibitions which relate to issues in contemporary inter-cultural discourse. Cecily holds a MA in Communication & Cultural Studies, University of Western Sydney; a Graduate Diploma in Visual Arts and a BA Visual Arts, Sydney College of the Arts; and a Graduate Diploma in Language Teaching (TESOL), University of Technology, Sydney.

Siapa Nama Saya? Di Mana Saya Tinggal?

S I A P A  N A M A  S A Y A ?

D I  M A N A  S A Y A  T I N G G A L ?

(What is my name?
Where do I live?)

By Cheo Chai-Hiang

Mixed media (boxed stainless steel lettering and mirror)
16cm x 141cm, 2007


While Chua Mia Tee’s painting  National Language Class  records the enthusiasm towards an independent Malaya through  learning of the National Language, Cheo’s work asks questions about cultural policies and national identity in post-independent Singapore.


Cheo Chai-Hiang currently lives and works in Singapore, having spent over 30 years developing his creative practice and teaching in UK, Italy and Australia. He held the positions of Senior Lecturer in Fine Art and Coordinator of Creative Strategies in the School of Contemporary Arts, the University of Western Sydney, where he was also Curator of the University Gallery and Art Collection. Cheo’s work and thought negotiates trajectories through domains related to identity, culture and place. His practice spans a wide range of disciplines, including writing. He has held 20 solo-shows in Singapore, Italy, Australia and China. Cheo graduated from the Royal College of Art before becoming a Rome Scholar at the British School at Rome. He was a Senior Lecturer at the School of Contemporary Arts, University of Western Sydney.