Artist: Koeh Sia Yong (b. 1938)
As part of the pioneering clan of the second generation artists in Singapore, Mr Koeh Sia Yong continues to play an influential role in the shaping of Singapore art. Mr Koeh graduated from Nanyang Academy of Fine Arts in 1958, majoring in Western Painting and his artistic career has spanned over 50 years. Apart from being an independent artist, Mr Koeh also assumed other roles as an art editor working for children’s Art Magazine in the 70s, and as a graphic designer and political cartoonist for Nanyang Business Newspaper in the 80s. Mr Koeh has also successfully held many solo exhibitions and his works are sought after by many collectors, including MNCs, banks, Singapore Art Museum, National Museum of Singapore, Gakkai Malaysia Art Museum, Fukuoka Art Museum Japan, universities and art connoisseurs in the region.
Inspired by the rich culture scenes of Southeast Asia and its people, notably in Bali and Singapore, Mr Koeh’s rosy portrayal of the local sights and human figures exhibits his affection for the places he visits and the people he meets. Mr Koeh’s unique and excellent painting techniques create an intimate blend of light and colour, and he excels at capturing the ambiance of his subjects with his realistic and expressive approaches.
Coconut Tree
As one of the most iconic tropical fruits, the coconut’s creamy flesh and its refreshing water is enjoyed by many beyond Southeast Asia. Coconut trees may be found growing along the shorelines of the sparkling ocean waters or in plantations, and their flexibility to a variety of soil conditions proves the resilience of the tree.
The coconut fruit itself is highly versatile and found used as food, fuel, and cosmetics, among other industries. The subject choice of Coconut Tree conveys the inspirational message of adaptability and multifaceted development, while not necessarily being intentional by the artist.
Mr Koeh illustrates the blooming coconut tree when it is borne with dozens of the heavy fruit, ripe for eating as seen in its golden brown appearance. Mr Koeh’s Coconut Tree is matured, and he only depicts the crown of the tree as it seems to tower above us. The abundance and majesty of the coconut tree energises the viewer and brings about feelings of strength and vitality. What may have attracted Mr Koeh to the coconut tree may have been its familiarity among locals and its popularity internationally, yet art appreciators are captivated by the painting’s vibrancy and its underlying values.
Fragrance of Durian
As the king of fruits, the durian is rightfully featured in the works of artists, like Mr Koeh Sia Yong, who are appreciators of Southeast Asian culture. The green, thorned fruit produces a strong smell when opened and its flesh has a distinctive taste. A controversial fruit, the durian is adored by many while repelling others.
By naming his piece Fragrance of Durian, Mr Koeh points to the aroma of the fruit, but he may also be describing it in a tongue in cheek manner. The apolitical durian is occasionally jokingly referred to as a divisive body, segmenting the population into durian lovers and haters. Nonetheless, the fruit is still lauded as being the most representative fruit of Southeast Asia and audiences may cherish this (in)famous fruit for uniting the region in passionate contestation.
Like the thick, prickly husk of the durian that can only be cracked open using a sharp blade to reveal a yellowish custard-like texture, the fruit may also be an apt metaphor for describing the tough exterior that conceals the soft interior of Singaporeans. Restricted our hectic schedules, Singaporeans may be mistakenly perceived as hardened by a drive for extreme efficiency. In reality, the private side of the average local man or woman is filled with heart and soul that shines through during difficult times. At our core, like the hardy durian seed, many Singaporeans are resilient and determined in matters they care about. Mr Koeh’s Sia Yong split durian in Fragrance of Durian demonstrates that appearances may be deceiving and that continuous efforts to reach the heart of the subject may prove fruitful.
Kois
In Kois, Mr Koeh’s employs both impressionism and expressionism to produce an expressive yet realistic painting of koi fish in water. His bold, unrestrained brush strokes enlivens the illustrated creature complemented by the red colours that further energises the painting. Mr Koeh’s skillful painting techniques and impressive brush control accentuates the fluidity of swimming fish as their iridescent scales reflect the gleam from the overhead sun. This impressionist style emphasizes the changing properties of light and how movement impacts perception and experience, which Mr Koeh expertly captures in a single piece.
Instead of clear blue water, the fish swim in dark, shadowy waters that evoke a weighted sense of mindfulness and spirituality. The use of brown and black add depth to the murky water, and the green sheen that outlines the fish’s bodies as they swim near the surface reinforce the emotional effect of the expressionist painting. Mr Koeh’s contrast of the dazzling aquatic animals to their gloomy surroundings in Kois may be an inspiration for its appreciators. In Japanese and Chinese cultures, kois symbolizes good fortune, prosperity and longevity, and are associated with traits like perseverance, courage, and ambition. Opaque waters are unable to blanket the intense beauty of the fishes and in fact amplify their crimson-pearl outside.
Old Clarke Quay
As a key member of the presently disbanded Equator Art Society that promoted social realism in Singapore, Mr Koeh Sia Yong depicted landscapes of Singapore scenes with a rare honesty that highlighted the plights of the poor and the conditions of the working class.
Old Clarke Quay presents empty rickety-looking jetties at the docks, a juxtaposing sight to the sturdy boats that cruise the rubbish-free waters of the present-day site. While labourers and workers are not present in the painting, viewers can still visualise the realities and hardships faced by the less privileged of that time. Vigilant eyes would spot the high-rise buildings faintly visible in the background but the dusky light in the art piece gives Old Clarke Quay a drowsiness that lulls the audience into a state of calm. Could the piece be a commentary on the state socio-economic inequality in Singapore, and have there been changes with time? Art appreciators can only wonder.
Red Lilies
As Helen Keller once mused, “love is like a beautiful flower which I may not touch, but whose fragrance makes the garden a place of delight just the same.” In Red Lilies, the red petals give the graceful flower a fiery look. Mr Koeh’s flowers are also in full bloom and the scarlet petals that open towards the audience add a touch of sensuality to the painting. Lilies are most commonly associated with purity, devotion, rebirth, and motherhood. In Greek mythology, the flower was dedicated to the goddess Hera whose milk birthed the first pure, white lilies on the Earth. Mr Koeh’s Red Lilies gives a new perspective to the chaste, sombre flower that is now infused with passion and life.
Unlike for Kois where the dark background also calls attention to the striking colours of the fish’s body, the artist chooses to complement the lilies with an amber hue. Viewers are thus not overwhelmed or overly fixated on the crimson petals, but admire the piece as a unified whole. As with Mr Koeh’s other paintings, there is a sense of artistic coherence that demonstrates the artist’s expertise with colours.
Sisters
In Sisters, Mr Koeh Sia Yong skilfully contrasts yellow, pink, and purple tones, creating a refined oil painting of the Southeast Asian cultural scene. The intimacy shared between the women as one reclines on the floor while the other female gently rests a hand on her companion’s knee makes art viewers wonder if the artists meant for the title to be taken literally or figuratively. The pair seem to be engaged in conversation and the relaxed atmosphere may cause art appreciators to feel as if they were encroaching on the privacy of the depicted girls. In a digitally advanced time where smart technologies have infiltrated our lives, the conveniences and entertainment our devices have brought about are at the heavy cost of our privacy. People both enjoy learning about the personal and private side of others, while fearing the exposure of their own. An unspoken agreement, perhaps, is that we will both watch and be watched. Similarly, art goers looking upon Sisters with curiosity are faced with the dilemma of whether they should continue to admire it or whether they should look away from this personal piece.
An interesting fact about Mr Koeh is that he met his Balinese wife on the Indonesian island who was then working as a waitress. In this context, the artist’s captivation with Balinese female figures, customs, and indigenous life may be his (unconscious) way of paying tribute to his wife’s home culture. The sinuous figures of the two Bali women clothed in traditional costumes and hair decorations are tastefully illustrated with Mr Koeh’s brush. We too feel his admiration for the beauty of Balinese women, known for their vivaciousness and feminine allure.
Sun Flowers
For many artists who paint sunflowers, it is difficult for critics or viewers to resist comparing it to Van Gogh’s art series of the same flower. While Van Gogh’s beloved pieces elicit a sense of unintended sadness and loss (possibly because of our knowledge of the famous painter’s suicide, depression, and poverty), Mr Koeh’s painting conveys hope, steadfastness, and empowerment. The yellow-and-lime colours in Sun Flowers are more cheerful than the mustard-and-blue series by Van Gogh. In addition, Van Gogh’s flowers are depicted to be in vases in an indoor setting, and this double confinement creates a stifling feeling of restriction, like the tragic life of its brilliant artist. In contrast, the sunlit background and the grey rock-like illustrations in Sun Flowers suggest that the plants may be ground in the soil where their roots may develop freely and there is an abundance of natural light. As the flowers face the Sun, they absorb its warmth and flourish with an intensity lacking in Van Gogh’s potted plants.
“If you look the right way, you can see that the whole world is a garden.” (The Secret Garden, 1911) Still an active painter, Mr Koeh Sia Yong’s optimistic outlook on life that colours his paintings with a quiet blissfulness is enviable to all. To be able to sustain a livelihood of one’s interest, and to be inspired by and inspire others, Mr Koeh is like his sunflowers. Looking into the sky, he holds the unwavering belief that the Sun will rise and when it sets, the Moon will emerge to illuminate the Earth.
