“This chimerical mode of working is what excites me and gets me into the studio the next day.” – Alvin Ong

comment rencontrer un homme riche et beau Alvin Ong synthesizes mythologies, histories and the anecdotal into non-linear narratives and surreal improvisations. A graduate from the Ruskin School of Art, he is reading his MA at the Royal College of Art. He has since exhibited at SAM (2007, 2012, 2013), NAFA (2007), Asian Civilizations Museum (2010), Peranakan Museum (2015) and Northampton Contemporary (2017).

köpa generisk Sildenafil Citrate online 2016-2018   Royal College of Art, London

click here 2013-2016   Ruskin School of Art, University of Oxford

jasez ca rencontres www.alvin-ong.com

http://ecapguatemala.org.gt/poioe/9693 What inspired you to be an artist? When did you begin expressing yourself through creative avenues?

According to my mum, as a kid, the first thing I drew when I first picked up a pencil was to draw circles. Growing up as an only child in the city suburbs of Singapore, drawing became a true escape into another world. On the other hand, I often found my external world rather banal.

http://huntersneeds.net/rigaro/2025 Tell us about your artistic journey: where did you receive an art education, or are you are self-taught or currently studying? Where are you from and where do you currently live and practice art?

The art books in the library were my main teachers when I was growing up. After serving my national service in Singapore, I went to architecture school but it didn’t really work out for me so I left for the Ruskin School of Art in Oxford. Following which, a generous grant from the Elizabeth Greenshields Foundation has allowed me to continue onto doing my MA at the Royal College of Art in London, which I’m currently completing. At the moment, I divide my time between Singapore and a studio in Bow, London.

go here What ideas are you currently exploring in your work?

My paintings don’t begin with a blueprint. I allow the characters and gestures to be born out of themselves. Parasitic at times, and in others, informed by design and accident, wrestling between a mark and an image.

Take ‘Mountain Cat King’ for example, where I thought to use a tropical and pungent spiky fruit (the durian) to construct a narrative for the painting. But its when when the “durian” becomes abstracted that it somehow becomes activated to me. It became rhythm, and it also somehow became infused with the figures involved in its consumption. This chimerical mode of working is what excites me and gets me into the studio the next day.

source link Which mediums do you use in your work, and what appeals to you about them?

I work primarily in oils – call me an old-fashioned painter-painter if you may. And I use a very particular palette of cadmium yellows, reds, ochres and whites, which I like to pair with alazarin crimsons and prussian blues; a very theatrical palette. They begin on unprimed canvas and linen, which allows me a great deal of scope in building up layers with a very light touch. I also enjoy working with Chinese ink, which I found to be a very reponsive and lucid medium. I like to compare this to deep frying food in the kitchen; a quick dip in very hot oil with just the right amount of crispyness in the batter for a good bite.

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