| | on paper
Various dimension and media on paper
17 – 28 Jan, 5 – 9 Feb 2025 as part of Singapore Art Week 2025
A creative exercise using 4 pieces of paper and a series of correspondence.
Click on the header tab for text and images.
Paper stock from Shu & Kirti
| | on paper is an experimental ‘residency’ that begins with a letter and
four sheets of A4 paper.
Instead of a studio with four walls, the project provides four sheets of A4 paper as the artists’ material and/or “studio space.” These simple materials serve as the site for artistic exploration and creation—the papers can function both as workspace and medium.
Once the four sheets of A4 paper have reached the artists, they are free to work with them in any way imaginable. They could draw or paint, poke or fold, sculpt or scan, cut or tear, and make with/on the paper in any way they wish.
The final showcase will act as a ‘library’ and ‘archive’. Each piece of paper
exhibited offers a glimpse into an artist's world and unique point-of-view, and offers some insight into their artistic practice and journey. These works will be accompanied by letters written by the co-initiators and the artists.
This project is initiated by Hong Shu-ying and Kirti Upadhyaya, and commissioned by the National Arts Council as part of Singapore Art Week 2025.
Exercise book paper in my studio
I received the paper stock from Shu & Kirti on October 21st without any instructions. The paper is not quite pristine but feels precious nonetheless. I think that's because blank papers have so much potential. So, I decided to play with the idea of creating something from blankness. Using blank exercise book papers. More pieces will come before the hand-in date in late December 2024. Four of these will eventually be glued onto the paper stock, making it function like a literal wall. I'm still undecided on which pieces to show.
Letter #1 from Shu & Kirti
Shu & Kirti's letter #1
23 Nov 2024
Hello Siong King!!!
It’s so surreal to invite you for this project! I think a small part of the courage to initiate this also came from your project Meeting People is Easy - is it really? Haha.
There is something about artist-initiated projects and artists who initiate projects. For me, as I slowly learn more about the things out there, I'm in awe of the pride and generosity people have in community building and knowledge-sharing. How to start? Where to start? And why start? And, and how to "balance" this with your own art practice? As an artist, I'm also curious how you document and archive all these conversations and fragments in your life + practice. How do you find time to hold space and how does everything fit into all the different facets of your life?
I really like the love "Actually, I make meaning that you leave in your bio." This idea of each thing you do becoming points that link together forms in my head - making connections. Meaning that we only make context, much like the Chinese 语境. The language that we speak, connect and make with has an environment that leads & summons it.
“| | On Paper” is an invitation to make but also to re-imagine. What makes the 3 hours you spent with the visitors/audiences at MPIE different from hanging out with someone in your studio? What makes the 4 pieces of papers we share with you different from the ones sitting in your studio or the stationery store? I hope that it's the invitation and the conversations we will have amongst the big and small things happening in life that makes this project meaningful and fun.
And on that note, the phrase "room-temperature art" that you mentioned really comes through//time. (I've been borrowing this phrase with other artists when chatting, haha). It's quite curious how something as simple and pure as art - to make tangible/translate how one thinks/feels, has become such an elaborate affair. There seems to be this odd tension between making (fine) art and how it sits in our everyday lives. And then comes the perpetual debate of whether everyone can make (good) art? What is (good) art? What do you think?
For me, any earnest desire to share is commendable, sometimes it has the wrong intentions/unsuitable methods. But this desire is human. Whether it crosses to become art depends on whether it makes people feel (though I fail to articulate the nuances of feel what & how).
So yes, let's see what comes out of these thoughts and your journey with our very make-shift + walls in the residency! :)
Shu (and Kirti)
Studio View
I found the following questions in the file "Shu Letter" in your Google Drive. Here's the information I provided, formatted for easy copying:
1. "How to start? Where to start? And why start?"
* Context: Shu is asking about the challenges of initiating a community art project. She seems interested in your experience and advice on beginning such an endeavor.
Working With What I have
I start with available resources and limitations. Each project builds on flaws and interests from previous projects. These can be stylistic, conceptual, technical or what have you. All my works are linked that way. So, "starting" feels inaccurate. It's more a continuation of a process.
I was curious about AI, but didn't explore it when making Pelacur Musik. My recent video essay with Taka from The Venopian Solitude. Because I think AI is likely at the forefront of creating new video formats. But I don't know where to start. When I'm unsure I usually begin with the obvious.
Screencap from Pelacur Muzik, 2023
For Who?, For What?
Since art school, I knew art is more than whatever that's in a white cube. And I refuse to make art only for the rich to buy and for the intellectual to appraise. In my youthful idealism I thought of art by, of and for the people. Wah… I think most artists have a secret suspicion that their art is useless. Sharing my practice helps me find other uses for it.
Projek Seni Taman Medan, 2002 -2005
Five Arts Centre & British Council Kuala Lumpur
Who's The Community?
In my 20s I joined a community engagement project called Projek Seni Taman Medan. We ran weekly art and filmmaking workshops for children aged 10-16 from an inner-city area. The children made short videos from their stories, which were shown to their community. The project was award winning and media friendly. We were praised as conscientious youth, but something felt off. My role as a facilitator wasn’t a good fit. I wanted to find other ways to define and create inclusive work.
Stills from Malaysian Artists At Work (MAW)
Room Temperature
My ongoing video essays on Malaysian artists (MAW) and open studio project Meeting People Is Easy (MPIE) were developed from these ideas. I want inclusion to be more transparent and sustainable. More room temperature, so to speak. And not something that always comes with a press kit. Not that I’m against those types of projects. For me, there isn’t a need to always signal that. A community-focused project can be as simple as showing up and helping an artist friend with a task without expectation. The key is consistency.
Promotional still from Meeting People Is Easy, 2017
Roles
Also, I don’t need to express all my ideas through my art. I’m a citizen, and not just an artist. I can hold doors, give way, be polite, be punctual, don’t cheat, steal, harm and other sensible things. In fact these are things we can all do. Starting today, with little cost, for the rest of our lives. But no likes, shares, awards or media appearances-lah.
Reference
My feeling is, making the best art I can in a sustainable and responsible way will probably have the most impact on my community. Because my work is likely only useful as a reference. But that’ll do.
2. "And, and how to "balance" this with your own art practice?"
* Context: This question relates to the difficulties of balancing personal artistic work with the demands of managing a community-focused project.
Spectrum, Not Binary
My way, if it can be called that, is to integrate aspects from my previous community engagement projects into my personal work to create balance. Because both give the other a sense of purpose. On their own, things seem lopsided. My need to play is tempered by my wish to include others. People can choose their level of engagement, but I’ve made efforts to meet them halfway. I don't do community focused projects per se, but my projects are somewhat community minded.
3. "As an artist, I'm also curious how you document and archive all these conversations and fragments in your life + practice."
* Context: Shu is curious about your methods for documenting and archiving the interactions and experiences generated through your community projects.
Play, Play, Play
I am not very good at documenting. Which is why I built my website only in 2019. My sense is I’m not fully utilising its potential. @yarimoriya and Dear Bev, are examples of playing with online documentation. Recently I created a personal Instagram account for casual, weekly studio updates. I hope it will be a useful archive over time, revealing things not immediately obvious.
@_gansiongking
4. "How do you find time to hold space and how does everything fit into all the different facets of your life?"
* Context: This question pertains to time management and the challenges of dedicating time and energy to facilitating community engagement alongside other commitments.
Less socialising and longer hours at the studio. Not sure if everything fits, but my superpower is to be by myself, working on one thing, for a long time. A friend said it’s a lifestyle choice.
I think there are overlaps. See 1#, #2 & #3.
5. "What makes the 3 hours you spent with the visitors/audiences at MPIE different from hanging out with someone in your studio?"
* Context: Shu is drawing a comparison between your interactions with people during your project "Meeting People is Easy" and the interactions you have in your personal studio space. She's trying to understand the distinctions between engaging with an audience in a public setting versus a more private one.
Same Same
There isn't a big difference. Except during the open studio, I met more strangers. But the conversations are similarly candid. I suppose this is because I didn’t have a checklist of objectives to tick. Other than making my studio and myself available to the public for a month.
My Video Making Practice at Five Arts Centre, 2024
Clarity
But engaging an audience in public is different. I believe a certain truth or clarity about what I do only comes when I put myself in those situations. During the Q&A for My Video Making Practice (MVMP) at Five Arts Centre someone asked about the message, if any, of MVMP? It felt odd, because that’s not how I framed MVMP. It was meant to provide multiple entry points into a creative practice. But when asked, it became clear to me that I was in some way encouraging people to make or do things despite whatever. Don’t wait, because purpose and meaning comes from doing.
6. "What makes the 4 pieces of papers we share with you different from the ones sitting in your studio or the stationery store?"
* Context: This question highlights the significance of the materials used in the project and how the context of the project might imbue them with meaning beyond their ordinary function.
Scarcity
There are only 4, which is mildly annoying. I would have preferred to be given more, but handing in only 4 instead. But I suppose this is part of this project’s creative exercise. Jadi, saya redha 🙂. But things might change in the next few weeks.
7. "What do you think?"
* Context: This is a general invitation for you to respond to her thoughts on art, its purpose, and its place in everyday life. She is seeking your perspective on the nature of art and its role in society.
8. "Whether it crosses to become art depends on whether it makes people feel (though I fail to articulate the nuances of feel what & how)."
* Context: Shu is pondering the definition of art and its ability to evoke emotions and connect with people on a deeper level. She is grappling with the subjective nature of art appreciation and the difficulty of articulating the nuances of artistic experiences.
Using and Meaning
There are a gazillion interpretations of art. “Good” or “bad” art are noises from these definitions clashing. I have little interest in a definitive definition. A working definition will do. Our opinions are tied to how we use art. Which will have differences and overlaps. And these intersections likely play a part in giving each other meaning. I think one of the strengths of art is its ability to be different things to different people at different times. A singular definition is not useful. I choose to focus only on things that are useful for me to continue making. Everything else are potential references.
A Prompt
So for me, good art is useful. Because I think purpose and meaning usually comes when something is of some use. Even if it only makes us feel, for a fleeting moment, better. Art, good or bad, is no different. I think good art functions like a prompt. Providing a space for meaningful self reflection. Where we can find our place in it. I remember seeing some very bad early paintings by Jackson Pollock, but felt touched and comforted as a young artist unsure about my own work. In a way, those paintings worked because pictorially they failed.
A Peculiar Thing
Emotion is peculiar and powerful. I don't think there's a feeling that only comes from encountering art. I believe those emotions can come from other things. In Malaysia, I think more people have that ‘feeling’ when in places of worship. This feeling that they are not alone, in this inexplicable experience we call life.
My keyboard
Hello gais.
I received your letter a few days ago—thank you for your kind words about my work. It took nearly a week to arrive. Considering the timeline and my slow writing speed, I have a feeling our correspondence will be limited. But that’s alright; I tend to ramble and meander anyway.
Housekeeping
This is why I’ve decided to separate answering and asking you questions. Otherwise, it might become incomprehensible - I hope that’s okay. Also, I’m making a webpage to document the process. It’s a work in progress, so feedback is welcome and appreciated:
gansiongking.com/papers
I’m a "banana" and cannot read Chinese, so I cannot appreciate the nuances of the 2 characters you shared. But I like your take on the connection between our work, language, and meaning. I think art can be a hall of mirrors, with representations reflecting other representations. The influx of money in the arts has also shifted how we make and perceive it - not that I’m complaining.
I was discussing the 90s KL art scene with a friend. Back when there was a lack of infrastructure, market, expertise, and clear career paths. Almost every artist I know had a day job. Yet, artists, both young and old, kept making things. Sometimes, I wonder if I could return to that way of working. But I doubt it lah. I couldn’t have done even half of what I did if I had been making art only part-time. It wasn’t groundbreaking, but I’m grateful for that body of work.
To me, making art is one thing, but being an artist is something else.
What was your experience like being based in Singapore? How has Singapore’s ever-evolving art scene impacted your practice? I’m also curious why you’re interested in community building, sharing, and documentation.
Anyway, I need to get back to making things for this project. After the initial burst of effort, I haven’t worked much on it. Happy making!
Cheers,
Gan