The Lie of the Land: Real
FOST Gallery is delighted to present a special edition of the annual group show, The Lie of the Land, in conjunction with Singapore’s National Day. As with past editions, the artworks are inspired by the urban and natural landscapes of Singapore. However, there will be two parts to the exhibition this year, Real and Imagined, each part will feature five artists working across different mediums. The first part, Real, will feature representational works by Jon Chan, Lavender Chang, Kray Chen, John Clang and Yeo Tze Yang.
Jon Chan’s two new paintings, disjointed in their composition and format, alludes to the sense of alienation felt by many urbanities; while Yeo Tze Yang’s large scale painting of a stretched plastic sheet, evokes drama in the ordinary. Kray Chen interprets the ubiquitous plastic chairs sat on by almost everyone, but with legs at different heights, hints at the hierarchical structure of any society. John Clang’s image of the glamorous kebaya-clad Singapore Airlines stewardess, iconic for being photographed in world-famous exotic locales, is now placed in a public housing estate playground. Lavender Chang’s long exposure photographs taken on different bus rides produces a ghostly documentation mirroring the hazy memory of a weary passenger meandering through familiar streets everyday but not quite present in the moment.
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FOST Gallery is delighted to present a special edition of the annual group show, The Lie of the Land, in conjunction with Singapore’s National Day. As with past editions, the artworks are inspired by the urban and natural landscapes of Singapore. However, there will be two parts to the exhibition this year, Real and Imagined, each part will feature five artists working across different mediums. The first part, Real, will feature representational works by Jon Chan, Lavender Chang, Kray Chen, John Clang and Yeo Tze Yang.
Jon Chan’s two new paintings, disjointed in their composition and format, alludes to the sense of alienation felt by many urbanities; while Yeo Tze Yang’s large scale painting of a stretched plastic sheet, evokes drama in the ordinary. Kray Chen interprets the ubiquitous plastic chairs sat on by almost everyone, but with legs at different heights, hints at the hierarchical structure of any society. John Clang’s image of the glamorous kebaya-clad Singapore Airlines stewardess, iconic for being photographed in world-famous exotic locales, is now placed in a public housing estate playground. Lavender Chang’s long exposure photographs taken on different bus rides produces a ghostly documentation mirroring the hazy memory of a weary passenger meandering through familiar streets everyday but not quite present in the moment.