Intersections proudly presents a selection of artworks by
Jason Lim, Gilles Massot, Nann Nann and Andy Yang at
AFFORDABLE ART FAIR
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About Jason Lim
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Photo courtesy of the artist
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Jason Lim ( b. 1966) is a ceramist and performance artist from Singapore.
Fascinated with the language of clay, he often uses the medium beyond its traditional applications, favouring a minimalist sensibility and the involvement of the viewer. Lim's artworks focus on the interaction between body, matter and spirit. Jason Lim studied at Central Saint Martins, London, and acquired his MFA from the Royal Melbourne Institute of Technology. Lim has performed in over 20 countries including Germany, Switzerland, Japan, Poland, Singapore, Thailand and Indonesia. In 2007, Lim presented Just Dharma and Light Weight at the Singapore Pavilion of the 52nd Venice Biennale. In the same year, he presented Walking Sticks at the 4th World Ceramics Biennale in Korea. His ceramic work has been acquired by public museums, art institutions, companies and private collectors, both in Singapore and globally. |
Growth series, Lustre dots, stoneware, nlue crystalline, stoneware glaze, lustre, D36 X H16 cm, 2022
Price: SGD 3,800 photo courtesy of the artist |
Growth series, Raku Blue Crystal, stoneware, blue crystalline, stoneware glaze, lustre, D30 X H12 cm, 2022
Price: SGD 3,800 photo courtesy of the artist |
About the artworks
The artworks presented at Affordable Art Fair are a selection from Growth series.Growth series consists of ceramic plates on which the artist created assemblages of flowers and shapes suggesting marine creatures, possibly anemones and worms. By bringing unexpected forms together, the artist creates artworks which exquisitely delicate and beautiful but intriguing.
Jason Lim enjoys experimenting with no fear of failure and, in his own words, “trying to get some results in something which is not advisable to make”. In his Growth series, Jason Lim has decided to push the boundaries of his technique by trying to grow crystals in raku clay. The result is a series of amazing ceramic works composed of opposite elements, delicate surfaces of blue crystals, and golden dots being juxtaposed with raw texture forms.
The artworks presented at Affordable Art Fair are a selection from Growth series.Growth series consists of ceramic plates on which the artist created assemblages of flowers and shapes suggesting marine creatures, possibly anemones and worms. By bringing unexpected forms together, the artist creates artworks which exquisitely delicate and beautiful but intriguing.
Jason Lim enjoys experimenting with no fear of failure and, in his own words, “trying to get some results in something which is not advisable to make”. In his Growth series, Jason Lim has decided to push the boundaries of his technique by trying to grow crystals in raku clay. The result is a series of amazing ceramic works composed of opposite elements, delicate surfaces of blue crystals, and golden dots being juxtaposed with raw texture forms.
About Gilles Massot
photo courtesy of the artist
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Gilles Massot is a multidisciplinary artist and academic whose work based on the idea of “the space between things” aims to establish links and decipher the narratives existing between disciplines, people, occurrences and parts of the world. His visual art practice more specifically deals with the theory of photography and its relation to time and space.
After studying architecture and photography in Marseille, he came to live in Singapore in 1981. His early participation to the local art scene saw him involved in a string of seminal art events, including the first editions of the Festival of Arts Fringe and the 1987 Yin Yang Festival. In the 1990s he travelled extensively across Asia and Europe, a way of living that resulted in over fifty exhibitions, and an extensive body of editorial work published in diverse magazines in Asia and Europe. With the new century his focus shifted onto academia and research. His book Bintan, Phoenix of the Malay Archipelago (2003) had a profound influence on his artistic process, since then often dealing with history and ethnology in the form of mix-media works. This was followed in 2006 by an MA-FA dealing with the apparition of the photographic idea in the 18th century in relation to the notion of “image” as found in the English garden. He recently completed a research on Jules Itier who did the first daguerreotypes of China, Philippines, Sri Lanka, Singapore and Viet Nam in 1844-45. Under the name of his alter ego Professor Ma, he is also pursuing a research on the parallels and crossovers between the respective histories of Photography and Quantum Mechanics. After fourty years in Singapore Gilles has moved back to France but continues working between France and Singapore. His work is part of the LTA Integrated Art Program (Buona Vista Station), the Singapore Art Museum, the National Gallery Singapore and the Maison Européenne de la Photographie in Paris among other collections. He is a recipient of the French cultural award Chevalier des Arts et des Lettres. |
Shou, laser copies, plywood, teakwood, 1991
Price: SGD 1,950 Photo courtesy of the artist |
Downtown, laser copies, plywood, teakwood, 1991/2021
Price: SGD 3,500 Photo courtesy of the artist |
HDB, laser copies, plywood, 1991
Price: SGD 1,800 Photo courtesy of the artist |
About the artworks
The Photo Objects series was conceived in 1991 part of the research of Gilles Massot on painting, photography, time, space. The artist wanted to create something new, in between painted photography and prints and decided to use laser prints to create photo objects.
Two of the photo objects presented at AAF 2023 were created for the 1991 exhibition “Singapore Boy Time Flies With You” using photo collage technique to create 3D objects with a sculptural quality. A third artwork was created in 2021, using photo prints from 1991. This series is today recognized as a significant contribution to the development of the contemporary photo practice in Singapore and southeast Asia.
Gilles Massot lived and worked in Singapore for fourty years as an artist and an academic. He is now back to France and considers expanding the photo objects series in his new environment.
The Photo Objects series was conceived in 1991 part of the research of Gilles Massot on painting, photography, time, space. The artist wanted to create something new, in between painted photography and prints and decided to use laser prints to create photo objects.
Two of the photo objects presented at AAF 2023 were created for the 1991 exhibition “Singapore Boy Time Flies With You” using photo collage technique to create 3D objects with a sculptural quality. A third artwork was created in 2021, using photo prints from 1991. This series is today recognized as a significant contribution to the development of the contemporary photo practice in Singapore and southeast Asia.
Gilles Massot lived and worked in Singapore for fourty years as an artist and an academic. He is now back to France and considers expanding the photo objects series in his new environment.
About Nann Nann
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Nann Nann was born in Yangon, Myanmar in 1974. She still lives and works in her hometown.
Daughter of two traditional artists and art teachers, she broke out of her parent’s conservative styles and went on to an innovative use of traditional components. She daringly creates abstract designs both in marble sculptures and large canvases in acrylic. She is one of the few female sculptors of Myanmar and certainly one of its strongest artists. She has extensively exhibited in Myanmar and abroad. Nann Nann holds a Diploma in Fine Art from the State School of Fine Art, Yangon, Myanmar and a Bachelor in Art, Sculpture from the University of Culture, Yangon, Myanmar. |
Two Pao Women, Acrylic on canvas, 121 x 91 cm, 2022
Price: SGD 6,000 |
Three Pao Women, Acrylic on canvas, 126.5 x 75 cm, 2022
Price: SGD 5,550 |
About the artworks
When visiting Shan State in 2022, Nann Nann was amazed by the colourful head dresses of the Pa O women and decided to create a series celebrating the beauty and elegance of these women.
The Pa O are the second largest ethnic group in Shan State, in eastern Burma. With this series the artist pays tribute to the traditions and customs of the Pa O people. Pa O people believe that they are descendants of a supernatural being father and a mother who was a dragon. Their trademark turban is a manifestation of this creation myth. The women drape their turbans to to resemble a dragon head.
Faithful to her artistic practice, Nann Nann has created a series which, although abstract at first glance, is inspired by the colourful turbans of the Pa O women.
When visiting Shan State in 2022, Nann Nann was amazed by the colourful head dresses of the Pa O women and decided to create a series celebrating the beauty and elegance of these women.
The Pa O are the second largest ethnic group in Shan State, in eastern Burma. With this series the artist pays tribute to the traditions and customs of the Pa O people. Pa O people believe that they are descendants of a supernatural being father and a mother who was a dragon. Their trademark turban is a manifestation of this creation myth. The women drape their turbans to to resemble a dragon head.
Faithful to her artistic practice, Nann Nann has created a series which, although abstract at first glance, is inspired by the colourful turbans of the Pa O women.
About Andy Yang
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Andy Yang ( b. 1973) is a multi-disciplinary artist known for his abstract visual and sound experimentations.
His explorations between visual art and music led him to the creation of works under musical stimuli with The Observatory. In Anitya 1 (2011) at the Earl Lu Gallery of the Institute of Contemporary Art Singapore, the process of his art-making cycle was exposed in full, from the point of creation to destruction. In his latest ArtScience Late feature at the ArtScience Museum, the work Ceremony (2019) produced together with SAtheCollective, saw the artist celebrate the experiences of human childbirth through an energetic sound performance set against an elaborate visual art installation. Andy was also one of the key artists (in a select group of 8) who presented DE:VOTED (2020) a critically acclaimed immersive art experience at Helutrans for Singapore Art Week 2020—one which featured an intense communion with light, sound, and performance art. |
The Existence, acrylic on wood, 42 x 59 cm, 2023
Price: SGD 4,000 |
Grounding, acrylic on wood, 42 x 59 cm, 2023
Price: SGD 4,000 |
Residence, acrylic on wood, 42 x 59 cm, 2023
Price: SGD 4,000 |
Resonance, acrylic on wood, , 42 x 59 cm, 2023
Price: SGD 4,000 |
About the artworks
Andy Yang passionately explores the intersection between different artistic mediums, the blend of fine art and craft, and the interplay of abstraction and figuration. He embraces 'impure forms' of expression, defying traditional classifications in his creative pursuits.
During his three-month residency at the Figment Clubhouse, Yang's artistic journey blossomed. He keenly observed the space's unique character and translated these impressions into simple artworks. His interactions with fellow residents left a profound mark, shaping the essence of his creations.
Time became an essential element in Yang's process of creation. He imbued his paintings with clarity, much like a diligent diarist jotting down daily experiences for posterity. Through thought and technique, intangible concepts found tangible expression on his artworks, inviting viewers into a world where artistic boundaries blurred. Yang's brush danced with eloquence, revealing narratives that encouraged contemplation.
In the realm of 'impure forms,' he encourages viewers to embrace artistic liberation and explore liminal spaces where diverse artistic paradigms converge.
As his Figment Clubhouse residency draws to a close, Yang's visual chronicle not only reflects his personal reflections but also embodies shared experiences that transcend time and space. These artworks stand as testaments to the camaraderie of art and illuminate infinite possibilities that arise from audacious innovation.
During his three-month residency at the Figment Clubhouse, Yang's artistic journey blossomed. He keenly observed the space's unique character and translated these impressions into simple artworks. His interactions with fellow residents left a profound mark, shaping the essence of his creations.
Time became an essential element in Yang's process of creation. He imbued his paintings with clarity, much like a diligent diarist jotting down daily experiences for posterity. Through thought and technique, intangible concepts found tangible expression on his artworks, inviting viewers into a world where artistic boundaries blurred. Yang's brush danced with eloquence, revealing narratives that encouraged contemplation.
In the realm of 'impure forms,' he encourages viewers to embrace artistic liberation and explore liminal spaces where diverse artistic paradigms converge.
As his Figment Clubhouse residency draws to a close, Yang's visual chronicle not only reflects his personal reflections but also embodies shared experiences that transcend time and space. These artworks stand as testaments to the camaraderie of art and illuminate infinite possibilities that arise from audacious innovation.