Visit SPADICE at Design Orchard, Singapore.

 Visit SPADICE at Design Orchard and make this holiday season truly memorable with our handcrafted treasures. Unwrap the magic of Christmas at SPADICE! Now until December 31st.

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*At SPADICE, we’re all about teamwork. A portion of every sale goes to our incredible partners and collaborators, making success a shared adventure.

Pay us a visit @ 250 Orchard Road, Singapore 238905. We're excited to have you drop by!

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School of Art and Design

School of Art & Design, ANU College of Arts & Social Sciences.

spadice.com https://soad.cass.anu.edu.au/news/tan-haur-launches-multi-network-project-singapore?fbclid=IwAR0GHFwq07yBIeWJ5AynmaOZDtNk7jTi2Lf0YK_cmMY2F3VeKEbwnVXZq-s ✨ ✨ ✨ #sgcultureanywhere #patterndesign #pattern #spadice #singapore #designsingapore #anu #schoolofart #schoolofdesign #anucass
 

SPADICE

"The stars will never be won by little minds; we must be big as space itself." ~Robert A. Heinlein SPADICE (Surface Pattern Art & Design Interdisciplinary Collaborative Effort) Established in 2021, SPADICE is a new project concept initiated by its founder Tan Haur (Singapore) during the COVID-19 pandemic, whereby many art educators are facing quite a fair bit of challenges in the physical classroom teaching & learning, as well as brick-and-mortar space to showcase and share the artistic effort of the creators. The key idea of SPADICE is to enable the participants to have a feel of how their two-dimensional drawing (digital/ conventional media) can be transformed and realized in the form of a 3-D product after attending Tan Haur's NAC AEP courses and visual art workshops. As for phase one of the SPADICE project (November 2021 - 31st March 2022), the team is working with the Rainbow Centre (Margaret Drive School), River Valley High School, and Anderson Serangoon Junior College as a start. This project is to let the students experience a full journey from their learning to art creation and virtual presentation. SPADICE also works with several guests, including SEPs, musicians, artists with special needs, designers, crafters, and independent art creators who specialize in areas with their right and churn out something new with the surface pattern design methodology and craft technology via collaborative effort. Over this growing platform, we encourage communication, suggestions, and future collaboration. Together, we’ll be able to improve, grow, and benefit everybody in a long run. Hence, SPADICE encompasses a complete journey started from curriculum design, teaching, learning, drawing, painting, pattern-designing, printing, and crafting till finished 3-D products for sharing. We welcome your constructive input as well as all forms of support. Thank you very much! Contact founder (Tan Haur): tanhaur@gmail.com *SPADICE is a creative art project proudly supported by the National Arts Council, Singapore. 

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 #spadice #singapore #surfacepatterndesign #SGCultureAnywhere #pattern #art #design #patternmaking #patternlove #illustration #collaborative #collaboraiveart #textile

The Art of Collaboration

Congrats to all art students and art educators on their collaborative effort and exhibition at the National Gallery Singapore! We are all very proud of this meaningful event and enjoy the journey of creation and interaction.

As an artist & educator, I enjoy working through art collaboration and self-designed art-making processes to obtain unique artistic lingo. It fuels my art, pushes me by understanding a subject matter from different perspectives, and helps me grow by challenging me through group participation, interaction, and interpretation.

In this series of work, I worked with two separate groups of students to create two-dimensional spaces made up of elements that resonate between the familiar and the unknown. By employing different perspectives, I try to encourage an experiential view of the mindscape, as the landscape that exists for the viewer in the physical world, where sightlines are constantly shifting.

I was inspired by the NGS art collection “Under construction” created by Leng Joon Wong. His painting has an immense power to draw viewers into his subject matter through the painted perspective line works. I intended to focus on the art-making processes rather than the final outcome, so we started on-site sketching with pencil and Chinese ink on paper materials as a seeding unit, followed by planting the group's mindscape by working with acrylic paint on canvases. These painted mindscapes had grown organically and become a rhythmic labyrinth to enter and travel through, wherein the viewer experiences his or her own personal associations.

[Connection]

Email Tan Haur at:

tanhaur@gmail.com

WhatsApp & SMS:

(+65) 9070 2000

ASEAN COCI 2008 亚细安艺术交流营

Tan Haur represented Singapore for the ASEAN COCI ‘Art for All, All for Peace’ 2008 in Thailand organized by the Thai secretariat of the ASEAN Committee on Culture and Information to promote effective cooperation in the fields of culture and information for the purpose of enhancing mutual understanding and solidarity among the peoples of ASEAN as well as in furthering regional development.
陈豪参加了今年在曼谷举行的 ASEAN COCI 2008 “Art for All, All for Peace” 的艺术活动。
想要了解更多有关艺术活动，可联系陈豪。

这是一项亚细安师生交流艺术营活动。

新加坡学生代表

Related: 

http://blog.omy.sg/muij/archives/123
Author: muij / reported on Omy blog.

Global Eyes: Monsoon Rain

ALLIANCE FRANÇAISE DE SINGAPOUR, 1 Sarkies Road – Societe Generale Gallery. It is 29th November 2013 and there is a monsoon outside. A monsoon. Rain, wind, beams of lightning. I keep looking out the window expecting a whale to fly by… or at the very least a dolphin. Sipping coffee when its raining and am now trying to trace the journey that has led me here, attempting to figure out how and where it all started. My life has certainly not followed any  prescribed path. I refuse to accept absolute answers in exchange for gentle truths, and I count my wealth in the ability to own my dreams and pursue them when I wake up each morning. I abandon any faith as being entirely right, but rather recognize the fact that each one contains so many truths and accept the goodness and compassion of each as the juice and gift of life. I challenge my students to be citizens of the world and to rejoice in the differences they experience and encounter. They are black, brown, yellow, and white. All as one family on this living planet where we sing, dance, music and art.

~ Tan Haur
iPhoneographer 

[ Travelogue ] Group Show 国际艺术合作项目

Photo-Art + Essay + Drawing + Poem

Pembukaan/ Opening: 13 December 2012, 7pm

Exhibition: 14 -28 December 2012

Mui & Tan Haur (Singapore)
together with special invited Guest Artists (Bol Brutu, Indonesia)
Putu Sutawijaya, Pande Ketut Taman, Feintje Likawati, Sandat Wangi, Ida Fitri, Ninuk Retno Raras, Boen Mada, Edy Hamzah, Nur Cahyati Wahyuni, Rani Februandari, Suci Pri Hatiningsih and Dyah Merta.

Curator: Kris Budiman (Indonesia)
Organizer : Jenni Vi Mee Yei (Indonesia)
Graphic & Creative Design Consultant: Tan Haur Studio, Singapore 

Today’s world has transformed into a terrain termed by Arjun Appadurai (1996) as the global ethnoscape. When someone’s attachment to a certain nation-state and homeland seems to fade away, human being then bears a brand new status as trans-migrant, non-temporary traveler creatures either in physical, intellectual, or imaginary conception. Tan Haur and Kit Mui are such kind of couple who barely ceases to travel from many departure points (with almost no return points). During their many travels, incessantly they bear in mind various ethnoscapes they ever witness through the aid of certain media, mostly photography, sketches, and other no less practical visual media. From this point onward, the seemingly incessant travels then turn into a working series of space construction, either for aesthetical production or appropriation purpose. In brief, citing John Urry’s terminology (1995), both of them has and been continuously involved in the activity of visual consumption.

From this standpoint, we can propose a sort of presupposition correlated to how the visual consumption they did can be similar or different, either between Tan and Mui themselves or between them and some colleagues from Bol Brutu (Gerombolan Pemburu Batu; band of stoneseekers) who are invited as the guest artists, as exposed in this exhibition entitled Travelogue. What are the visual consumption elements, through action that we call gaze, which unify or set them apart? Generally, we can hypothesize that on one side both Tan and Mui accentuate romantic gaze, but on the other side they tend to be anthropological. Their gaze exposes several characteristics such as solitary, becomes absorbed and drifted away by the moment, and involves vision, aura, and amazement over the exotics and extraordinary. This anthropological tendency will probably also be apparent in the process which involves scrutiny and active interpretation inside of themselves.

Knowing Tan and Mui since early 2012, I have witnessed how they arrange travelogue –a narrative genre interlacing the enchantment of traveling amidst the drama of victory and failure – through the visual perception towards and experience of encountering the Other in other places (Ijo Temple and Mangir Village in Yogyakarta; Merak Temple and Sendang Tirta Mulyani in Klaten; Klenteng Singosaren and Pasar Gede in Solo). By means of visual travelogue in the form of photos and sketches, they recount the perception and experience in a way I can call passionate. Especially in the sketches, this passion is manifested in the lines they scratch on pieces of papers. Tan, with his obvious philosophical vision, met and conversed with the biggest Buddhist monument worldwide; while Mui, with her intuitive and bold-minded lines, meditated over the tiny plain objects she encountered. Both seem to enjoy their traveling experience, the experience of ethnoscape disjunction liberated from the tendency towards factual accuracy in narrating.

Original Text in bahasa indonesia by Kris Budiman (Curator) / Translated by Ana Zahida


Sangkring Art Space
Nitiprayan rt 1, rw 20 no.88 Kasihan Bantul, Yogyakarta.

Supported by: Sangkring Art Space and Singapore International Foundation

"Global Eyes" Art Exhibition 国际艺术合作项目

GLOBAL EYES is an international collaboration between Singaporean artist Tan Haur and Australian artist Jack Kee Gamble to explore the impact of globalisation on localised values and traditions through Photography, digital imaging art and iPhoneography. Besides sharing their individual visual art creations, there is also a special showcase of integrated Phoneographic works by Tan and Jack, throughout the teamwork, photo files and ideas were sent among each other via web-based email, digital works development, communication & discussion across both hemispheres.

Exhibition supported by Singapore International Foundation.

Exhibition Graphic & Creative Design Consultant: Muijstudio.com 

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Artist: Tan Haur

My iPhoneography series provoke questions in the context of globalisation in present. Busy streets of people chasing time, unnoticed corners of places within business districts and indicators on roads or pedestrian ways – I would love to take the viewers to a journey of the synthesis of city scenes and overlapping avenue photos of Melbourne and Singapore by my visual art making, producing a channel that causes boundaries separating the two nations to fade, or interlaced by a collage of two different places. The presence of globalisation in the art works becomes evident in the final visual effect when pieces of still moments are thrown forward – simultaneously being captured in their state of actuality; more than a photo journal of my photo-travelogue, they added thoughts that create the pictorial scrutiny of practice, nature and objects that have been adapted to a contemporary civilisation.

The negative photographic turnabout acts like preservatives to keep that place and time alive. The vibrancy of base colours in digital print akin to magenta, cyan and yellow appear strategically to place a dimension where two places meet. The deliberate distortion of colours as a depiction of state of the place and time, or evoking emotions, is an indicator of post impressionism, and even an evolution of the artistic style due to the characteristics of implementing digital media, if one would allow the term that is not yet formalised but apparently imminent, is technically part of the existing mode of post-impressionism in digital.

Melbourne and Singapore as formal British colonial countries and notably owning significant amount of Chinese immigrants were eventually chosen by me as the places of interest for this series I were working on, both in which are cities that I have constantly traveled to and fro for several years, enhancing my project with the input of actual experiences and study of signifiers that could be identified visually by people on the streets. Extending my view with my Singaporean entity and as a person whom seeks discovery around the globe, my experiments art with digital imaging and iPhoneography as my media, a mode of visual language. Through the productions and art works, I attempt to reflect a sequence of multi-dimensional viewpoint of existence I capture, deconstruction of representational objects, activities, signifiers and environments to achieve investigating and questioning the fundamental value of culture and human existence in relationship with globalisation and glocalisation.

(*Full article regarding Global Eyes/ Perspectives in Transition written by Yu Benedict Tan was published on Singapore Art Gallery Guide - June/ July 2012 issue.)

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Artist: Jack Kee Gamble

The lingering darkness of Silence Emerged acts as a metaphor for individual and societal disquiet. Jack Kee Gamble’s photographic series unveils a sense of shared contemporary fears through strong tonal contrasts and dense colour saturation. He creates an eerie theatricality in his photographs where simultaneously our attention is drawn to the transient beauty of our world and the haunting prospect of what might lay ahead.

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Global Eyes series exhibited at Singapore National Museum 8Q, 16 NOV ~ 2 DEC 2012.