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
Exhibition Graphic & Creative Design Consultant: Muijstudio.com
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Artist: Tan Haur
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.
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.)
..........................
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.
Global Eyes series exhibited at Singapore National Museum 8Q, 16 NOV ~ 2 DEC 2012.
