Click on photo to read this article, interviewed by Straits Times.
Friday, August 09, 2013
Thursday, July 04, 2013
Media report- Straits Time on 2008 National Day Goodie Bag Design
'It makes me feel like a famous artist,' said Daren.
The students created their artwork at a printmaking and digital darkroom workshop held by Cultural Medallion-winner Chng Seok Tin and digital artist Tan Haur.
Meanwhile, organisers of this year's parade gave a sneak peek yesterday of the treats to be found in this year's funpacks.
One highlight: a giant inflatable glove that can be lit up for the night-time segment of the Aug 9 festivities.
Web site: http://www.straitstimes.com/National+Day+Special/G/Story/STIStory_254425.html
The students created their artwork at a printmaking and digital darkroom workshop held by Cultural Medallion-winner Chng Seok Tin and digital artist Tan Haur.
Meanwhile, organisers of this year's parade gave a sneak peek yesterday of the treats to be found in this year's funpacks.
One highlight: a giant inflatable glove that can be lit up for the night-time segment of the Aug 9 festivities.
Web site: http://www.straitstimes.com/National+Day+Special/G/Story/STIStory_254425.html
Monday, March 11, 2013
Media report - Digital art for all on MICA website
Tan Haur is the founder of community art project : Digital Art for Everybody
Supported by MICA.
Tuesday, December 18, 2012
[ Travelogue ] Group Show 国际艺术合作项目
Photo-Art + Essay + Drawing + PoemPembukaan/ 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
Tuesday, October 16, 2012
"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
Exhibition Graphic & Creative Design Consultant: Muijstudio.com
................................................
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.)
..........................
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.
.......................................................
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.
Thursday, July 12, 2012
1st prize winner of France + Singapore Photographic Arts Award 2012 - Tan Haur
Media report on Singapore Chinese Newspaper Zaobao 20120708
France + Singapore Photographic Arts Award 2012
Tan Haur winning series: Global Eyes
Related article: http://blog.omy.sg/tanhaur/archives/331
Thursday, July 07, 2011
Brand Design, Creative Project & Production
[ INTRO ]
Tan Haur is a multi- disciplinary designer cum artist, passionate and dedicated for almost 18 years to the branding and communications industry. Holds a masters degree with merit in digital imaging from the Australian National University. Equipped with a set of skills in team and project management , inter-personal communication and presentation skills.
He has been significantly involved in design consultancy projects from a wide range of business categories like telecom, FMCG, retail, fashion, electronic, mass media and entertainment, working with major brands like Mattel Toys, Barbie Doll, LEGO, Singapore Airlines, Kris Flyer, Mitsubishi, Apple, Mitsubishi, Informatics, Singapore Aerospace, Disney, EPSON and epSITE.
Tan enjoys developing brands from a user perspective along with a business perspective, striving for a strategic yet innovative approach to deliver rational solutions that enhance business needs and build brand equities.
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