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Inauguration of Muse House with
Solo Exhibition of Art Works by Teo Eng Seng
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19 to 27 July 2008 (11 a.m. - 7 p.m.)
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Teo is undoubtedly a potent concoction — creative, contentious, sharp, incredibly generous as an educator and an idealist who oftentimes camouflages this idealism behind a provocative temperament and disposition. His reputation is as an artist who won't “play nice”, doesn't care for establishment approval and doesn't back down from critiquing situations or the status quo.
The defiance shows up in his work from as far back as the 1960s and 1970s. Teo produced monumental war elegies on the Vietnam War (e.g. Massacre in Mylai). These huge canvases are rare instances of paintings in Singapore modern art history that referenced politics, war and conflict, during a time when many artists were exploring Lyrical Abstraction or veering away from overt political commentary in their works.
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The same kind of social consciousness and unreserved spirit has been sustained over the years. Teo's “critically engaged” art spans an extraordinary breadth of topical and social issues over four decades. He has addressed the problems of urban working class migrations, the controversial topic of eugenics, the personal and ethical conflicts in euthanasia, the complexities of Asian identities, and the hypocrisies and absurdities of bureaucratic structures.
Distinctively, many of Teo's pieces carry his particular brand of humour and an unexpected sense of fun -- often invoking popular culture icons and references. His works allude to or involve references to the Beatles, Michael Jackson and his famed glove, political figures (e.g. NetanYahoo!) or familiar cultural markers (e.g. Buddha's hands). Engaging the somewhat grim topic of the working class crossing territorial borders, Teo's sprawling installation of hundreds of motorbike figures captures an upbeat spirit and energy in his salute to this working-class community.
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One of Teo's signature series emerged from his creation of a unique material that he christened paperdyesculp (a paper recipe of varying viscosity and texture) that has been used in a number of his relief and sculptural works. Whilst the paperdyesculp has been associated with Teo, he has also been open to other material and processes including fibreglass, concrete, recycled plastics, fabrics and readymades in installations and assemblages.
By Lindy Poh, Curator/Founder of art consultancy Silver Rue.
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