Featured Field Session II

Featured Field Session II

The second session involved the contribution from the participant’s brush strokes as a challenge for Choon Jin, The participant, a Chinese ink art student, emphasised on gestural strokes for his contribution – this emotive sense of his strokes conveyed a creative influence for Choon Jin to further develop and refine.

I am interested in how Mr Lim could interpret my gestures to something else. So the interaction between his experience and cultivation of his skill-set… how would he be able to utilise them to realise a piece of art… the results would be very interesting.
– J Liow

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Participant applying his brushstrokes.

Choon Jin shares his thoughts about winter as a concept.

“The winter scene to me is not so plain like just snow or coolness of the environment. It is a mixture of everything being stagnant.”
– Choon Jin

Perhaps, Choon Jin sees winter as a state in which nature comes to a stand still or even a state of mind for the artist or audience. Based on the finished artwork for this session, the resulting sense of desolation is a curious one and definitely something to look out for when this artwork is presented during the exhibition.

Featured Field Session I

Featured Field Session I

As this was the first session to be held with the assistance of a participant, a great sense of anticipation and tension was felt by Choon Jin. In the few days before the session, Choon Jin was curious to know what kind of input the first participant will provide.

The first session began with a minor hiccup when the participant provided too much input for Choon Jin. After a brief consultation and some encouragement, the participant tried again to fulfil the conditions of the experiment.

“When I find someone intruding into my painting by drawing lines and adding subjects… It was a bit difficult for me to start. As everybody will face difficulties in their lives, I have to overcome this initial difficulty and compose the painting as I envisioned it.”
– Choon Jin

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Based on the contributed lines from the participant, Choon Jin applies his vision and Chinese Ink techniques to effect.

Nevertheless, the participant enjoyed herself and shared her opinions with us.

“In terms of the process, I guess, different people do it differently. So it’s very hard to say whether it is a different perception from mine. At the end of the day, it is how different people handle their thoughts differently.”
– F Koh

The participant, using a mobile application to cross-process the unfinished artwork, came up with this version which Choon Jin and the researcher found extremely amusing and interesting.

Courtesy of F Koh 2016
Courtesy of F Koh 2016
Field Study – Interventions and Contemporary Ink

Field Study – Interventions and Contemporary Ink

Often is the time when the audience feels deeply connected to a particular artwork that is on display – the conveyance of the artist’s emotions and feelings, reinterpreted into a visual form, creates this thought-provoking and emotive connection with the audience.

I want you to feel this, to hear what I have to say, and to share with you my thoughts.

These notions are what the artist is conveying to the audience – a valid way to communicate stories and reactions of what the artist perceives in his or her life, or perhaps to raise awareness within the audience for a myriad of social issues that are ever-present in our global society today.

However for the audience to engage critically as part of the creative process (not as a collaboration but as an influence), it may be perceived negatively as an intrusion into the artist’s personal and distinct style of creativity – or is it?

From the months of June through September 2016, Choon Jin will be participating in an academic field study that will look into the nuances of the creative process through physical and social influences.

Choon Jin working on a control set of artworks.
Choon Jin working on a control set of artworks.

The Visual Arts Centre (Singapore) will host the results of this field study, as an learning-oriented exhibition, in early 2017.

Title of Research Study
Interventions: A Field Study in Reconstructivism and Contemporary Chinese Ink
Principal Investigator
Vincent Lin, Independent Curator (Artist Practise and Visual Art Theory)
Contact
vince.chlin@gmail.com
Participants Involved
12 individuals

2015 Exhibition – Illusions in Mist : 雾源幻境

2015 Exhibition – Illusions in Mist : 雾源幻境

Choon Jin will be holding his eighth solo exhibition, Illusions in Mist, at Cape of Good Hope Gallery.

Exhibition period is from the 20th to 29th of November 2015. Viewing times are from 11.00am to 7.00pm.

The online gallery is available for viewing.

Cape of Good Hope Gallery is located at 140 Hill Street #01-06 Singapore 179369. Visitors who are travelling by MRT, please alight at City Hall or Clarke Quay station.

We plan our holidays around his lessons!

We plan our holidays around his lessons!

The warm smiles and excitement in sharing their class experiences with Choon Jin truly struck a chord on, perhaps, how art lessons should be conducted – friendly, stress-free environments with a knowledgeable and sharing teacher.

We love it here! We make it a point to plan our holidays, and even our lives, around Mr Lim’s classes.

Studio Miu provides this exact pleasant and open atmosphere for young and adult students to indulge and develop their interest and skills for the arts. The Chinese-Ink painting lessons are conducted with the concept of allowing flexibility in learning as students often cannot commit to the regular lessons.

The lessons conducted are such that we have students coming now and then. It is flexible and Mr Lim is willing to teach us whatever we wanted to learn.

Choon Jin centres his typical lesson based on a theme or topic for the students. Before each lesson begins in earnest, Choon Jin conducts a short lecture on the topic itself and explains the concepts and techniques required to achieve the expectations.

Students are encouraged to pose questions to further their understanding of his lecture and expectations. After which, Choon Jin will proceed to demonstrate the process of painting. At every step, he reiterates previously covered concepts and techniques as he paints each stroke or dabs each dot on the rice paper.

For students who have covered earlier topics, he would encourage them to practise those themes again by adding in what they have learnt earlier. This reinforcement of what was learnt earlier helps to develop the students’ abilities to visualise and conceptualise the integration of such elements. For example, when painting for a rock, he reminds the students to include previously learnt grass and insect elements to be included as a means to give better meaning within the composition.

Once the demonstration is finished, students will proceed to try their hand at painting it themselves – all under the watchful eyes of Choon Jin. When students complete their painting, a short discussion is made and constructive feedback is given in order to highlight areas of improvement.

Choon Jin encourages students to continue to practise at home, and reminds them to bring back their completed work for feedback on the next lesson.

I will really miss Mr Lim’s teaching when I go back to my country. I really wish there is a way for me to continue learning from Mr Lim.

E-learning perhaps?

Many thanks to Studio Miu and its students for their permission and participation for the class observation.

Studio Miu can be located at Centrepoint, Singapore (176 Orchard Road, #03-35). Enquiries can be made via telephone 6733 0917 or email info@studiomiu.com.sg.