Monday, November 14, 2016

Seeing Them Differently 2

Flaneur Gallery
18 June – 5 July, 2015

Teo Huey Ling’s works involve intricate and laborious art processes. She believes that the concentrated activity of the making process will uncover the responsiveness hidden within the materials, hence bring forward the spirit of the labour and its energy to the viewer. Her works has taken a multifaceted direction in drawings, contemporary ceramics and art installation. Through an agglomeration and adding her skills in both ceramics and knitting, this series reflect the slow and steady way in which technologies are taken up into a tradition. Her knitted porcelain are artifacts which contain within themselves, the continuously evolving social and technological situations she has been exposed to. Graduated with high distinction in both ceramics and drawings from the National Art School, Australia in 2006. She has won the NAS Ceramics Discipline Award, Ceramics Art and Perception award and the student award show in Sydney Australia. She has exhibited in Singapore, Malaysia, Australia and France.

Combine Knitting and Porcelain. Each work is knitted to dip into Southern Ice porcelain slip.

In-between Amorphous

Wood-Repurposed, Glocal Village Gallery, Temasek Poly

Working mainly with clay, wood is a new material for me, both natural material with a different set of characteristic and properties. Wood is warm, heavy and strong, it’s resistance in carving, a subtractive process contrast with clay’s malleable and after firing brittle quality.

The work traces the log’s natural curves while retaining a memory of its previous shape. It mimicked a softness and biomorphic entity that resemble nature’s formation and growth. The organic form does not have a direct reference but evokes in the viewer a sense of ambiguity derived from its sensual volume.

The wood logs came from the fallen trees around Singapore.

Chainsaw was the primary tool, a circular sander for the smooth surface

 Before and after.

After more than 1 month of hardwork, ready for the exhibition.

The toil and sweat behind the scene is beyond comprehension for most people.
By far this is the most technical and physical challenging work that I have done..

The Curious Paradox of 50 House

Singaplural Celebration Design 2016 - Senses,  7-13 march, 99 Beach Road

"A whimsical exploration of 50 house using the material of Clay and Wool.  To the artist, the image of a house is a conception of home and more recently a manifest of the self.

The work hopes to push the boundaries in the amalgamation of both material and also to explore a tactile sensory aesthetic through the image of a house."

Preparation of work for the exhibition

Slip casting with porcelain with merino needle felted wool.
Some fitted with LED lights.

It took 3 months to work on this project, a fruitful learning journey.

Took 2 days 1 night to set up. Drilling the tables and fixing the Leds on site.

Overall view of exhibition room.

Sunday, November 13, 2016

Composition II - Recollection

Urban:ness: Encountering the City, Ductac, Gallery of Lights, Dubai, 2015

The second edition of Composition II, previously exhibited at the Esplanade Community Wall.

Comprising of small whimsical objects made from Ceramics and Wool, this work was a deliberate act of self archiving. It expresses a deeply personal notion of domesticity and belongingness that frequently resurface in my work.

Tuesday, December 29, 2015

Drawings Dec 2014

Cite Des Arts, Paris, France

28th SEA Games 2015


Community Light Sculpture

Marina Bay Sands

The Continuity of Spirit

"The Continuity of Spirt" was inspired by the persistent and yearning spirit of sportmanship, while the form was base on elements of an organic, rhythmic and harmonic qualities.

The shape started like a playful doodle line, where the line expanded outwards into the outside space only to turn into loops again and again consistently towards the center.The outwardness of the shape represent reaching to the outside world while the loop directing inwards revolving around the center symbolize the need to contemplate and communicate with one's heart. The bulging form when viewed from its side could also be imagined like a doodle of flower or a cloud.

SingaPlura 2015 – Process 

10 Mar- 15 March 2015 

99 Beach Road         

The composition series were mainly made with wool and porcelain. It began with an interest to traverse, transform and explore, sometimes based on spontaneous reaction, other times a necessity for an expression.

Enclaved in twofold, my work has always been about materiality while exploring the concept of home and belongingness.

Porcelain was one of the primary material that I work with.  The material allows me to explore meanings of fragility and perpetuity. The property of Porcelain, with its sacred whiteness, vulnerable to break, yet the material would not decay through ages.

Wool was another material that I have a strong affinity towards. The tightly interwoven entanglement of wool fibers embodied meanings of warmth, softness, comfort and protection.

Composition III, divert from the other two series. It revisit amalgamation of the materials to take shape in ubiquitous tools such as hammer, scissors, keys, etc. The tools are represented with roots and plants like forms growing out of them or with some parts altered and replaced.

The domestic items express the thoughts of home, while the roots and plants like forms growing from it explore the idea of belongingness.

The work tries to discover deeper meanings of belongingness in home through domestic items beyond the materials and forms.

Composition II - ceramics and felt detail view


Composition II - ceramics and felt detail view

Press mould and needle felting detail view