visual arts unit - visual and performing arts - national institute of education - 1 nanyang walk - singapore 637616 - tel: 6790-3888
The visual arts unit is led by a team of experienced educators
and multi-disciplinary professionals covering diverse
fields of painting, drawing, ceramics, sculpture, printmaking,
new media art, art history and art theory
From painting and drawing rooms to dedicated spaces for ceramics,
printmaking and ceramics and an Apple Macintosh Lab, the visual
arts unit is a flexible learning space funded by
the Ministry of Education
Chia Wei Khuan began his vocal studies in Singapore . Having gained his LRSM in 1979, he continued his studies on scholarship at Ohio University and the College-Conservatory of Music, University of Cincinnati . He obtained his Bachelor, Master of Music and Doctor of Musical Arts degrees in vocal performance in 1983, 1985 and 1993 respectively and was a recipient of Pi Kappa Lambda award for excellent musical and academic achievement. In 2000 he did additional work at Central Conservatory of Music in Beijing and Oberlin Conservatory of Music in the USA . Recently he has been attending The McClosky Institute of Voice to be a certified Singing Voice Specialist for voice disorders.
PhD MPhil Dip Art and Design London, Cert. Early Childhood Education Froebel College, London
He is an artist and teacher who
has had teaching experience from pre-school through to art school
education. His main research field is the origin and development
of visual representation and expression in early childhood. His
published works on this subject include: "Drawing: Developmental
Trends", in Pergamon International Encyclopedia of Education
(London 1988), "The young child's early representation and
drawing", in Blenkin, G. M. and Kelly, A. V. (eds.) "Early
Childhood Education: A Developmental Curriculum" (1988), "Helping
Children to Draw and Paint in Early Childhood: Children and Visual
Representation" (London, 1994) and "The Art of Childhood
and Adolescence: The Construction of Meaning" (London, 1999)
this book has now been translated into spanish. His latest book
is Drawing and Painting : Children and Visual Representation,
London 2003. He has also contributed a chapter "The art of infancy"
in Kindler, A., Eisner, E. and Day, M. (eds.)(2003) "Learning
in the Visual Arts : Handbook of research and Policy in Art Education,
(USA 2003). He is currently working on an NTU-funded Research
Project entitled "The
Origin of Visual Literacy: How Very Young Children Produce and
'Read' 2D Visual Structure, A Cross-Cultural Study". In
addition to this theoretical work, he teaches studio-based work,
including painting and drawing in both traditional and electronic
Jane Leong's main teaching areas
cover Art History and Art Education. She studies various aspects
of Asian art with specialisation in the history of Chinese Painting.
She received a fellowship from the Arizona State University and
the Phoenix Art Museum in the US to write her MA thesis and participated
in various museum projects, including "Heritage of the Brush" (1989)
and "Transcending Turmoil: Painting at the Close of China's
Empire 1796-1911" (1992). Leong is the editor of Young Contemporary
Artists in Singapore (Art and Artists Speak, 2000) and has published
articles on the subjects of art appreciation and museum education.
She has contributed a chapter “Art Museum Education in
Singapore” in Tickle, L., Sekules V. and Xanthoudaki, M.
(Eds.) Researching Visual Arts Education in Museums and Galleries:
An International Reader (Kluwer Academic Publishers, 2003). She
is currently doing her doctoral research with University of Durham
in the UK, which focuses on art educational practices in museums
A potter by training, he graduated from the University of Ulster in 1989 and pursued postgraduate studies at the Kilkenny Design Centre in Ireland. He was the first non-EC person to be awarded a grant by the Irish Education Board to study postgraduate Design and Management. On his return to Singapore in 1991, he set up his own studio, Purple Bench Pottery, where he continues to practice his craft. His works are mainly wheel-based although he also expresses himself in sculptural forms. His philosophy of using materials which can be found locally is evident in his use of glazes which frequently incorporate local clays, granite dust, wood and charcoal ash from trees indigenous to Southeast Asia. Hasan has exhibited in Singapore, Ireland and the United Kingdom. His works have been acquired by local and overseas organisations. He has conducted talks, demonstrations, workshops for the public both locally and abroad. He is currently investigatinf materials, firing techniques, and forms used in the production of Shino wares. In addition, Hasan is experimenting with vegetation as a primary glass former and surface and texture production in high temperature sagger firing.
MA (Hons), University of Western Sydney (Nepean), BFA, University of Tasmania (Launceston), Dip Fine Arts, LASALLE-SIA (Singapore)
He is an artist and educator whose research interests include issues of post-colonial identity in visual representation and the aspect of "bridging" or "transfer" of knowledge through thinking and learning process using art. He previously taught at LASALLE-SIA college of the arts and a local secondary school. Juneo has regularly exhibited his artworks and has three solo exhibitions in both Singapore and Australia. He is presently doing a PhD programme in the visual arts at the Nanyang Technological University.
Cecily Cheo (Cecily Briggs)
MA in Communication & Cultural Studies, University of Western Sydney; Graduate Diploma in Visual Arts, Sydney College of the Arts; BA Visual Arts, Sydney College of the Arts; Graduate Diploma in Language Teaching (TESOL), University of Technology, Sydney.
Cecily Cheo is a painter, writer and independent curator. She has extensive teaching experience at tertiary level in studio practice as well as Art history and Theory. As a painter she has exhibited her work in Australia, China and Singapore. Her special interest in Drawing and Intercultural Studies prompted her to curate the exhibition “Drawings: Propositions & Possibilities”, an exploration of different approaches taken to drawings by artists from Australia, China and Singapore. She also curated “Wendy Paramor: Lost & Found”, a retrospective exhibition, held in 2000, of 160 paintings, drawings, prints and sculptures by the late Australian artist Wendy Paramor. In conjunction with this exhibition, she produced a two-part radio programme for the ABC Australia. In 2000, with Singapore writer T. K. Sabapathy, she co-wrote Cheo Chai-Hiang: Thoughts & Processes (Rethinking the Singapore River). She has also written two course readers, Women in Art and Environments, Happenings & Contemporary Trends, for the External Studies College of TAFE, NSW, Australia.
Masters of Fine Art - Royal Melbourne Institute of Technology
Art maker, educator and Georgette Chen scholarship recipient, Paul Lincoln received a BFA (Painting) from Royal Melbourne Institute of Technology, Australia in 1999 and is currently lecturing digital media in NIE. Formerly from the School of Multimedia Art, LASALLE-SIA College of the Arts, Singapore, he is a founding member of the web art group www.codedpixels.org and a sat as committee member of the ACM, SIGGRAPH Singapore Chapter. Primarily interested in social themes in contemporary Singapore, developments in art and technology, mixed reality technologies and human - computer interaction, Paul implements formalistic and comparative language in his work. Notable exhibitions include video based screenings at Future Cinema , ZKM, Germany (2002) and Fringe Screenings at ICA, England, (2000) Shot in the Face at Earl Lu Gallery, Singapore (2002) and interactive based works for MY Millennium Centre, Canada (2001) and Nokia Singapore Art - Cyberarts exhibition , Singapore Art Museum, Singapore (2001). His most recent endeavors have been in the artistic direction of Mixed Reality Technology with Dr. Adrian D. Cheok of Mixed Reality Lab, National University of Singapore and they recently exhibited at the Festival Ars Electronica 2002, Futurelab - Ars Electronica Centre, Austria (2002) and at GRAPHITE 2003, Australia (2003)
Masters in Art Education - Columbia University, Teachers College
Bachelor of Arts and Social Sciences, National University of Singapore
Bee Lian has taught Art in local secondary schools for 4 years before being invited to join the Art Unit at the Curriculum Planning and Development Division. As a Curriculum Planning Officer, she contributed to the development of the ‘N', ‘O' and ‘A' Level Art syllabuses which will be officially launched in 2006. She was also the Assistant Chief Examiner for the 2003 “N' Level Coursework Assessment. In addition, she was the editor for one issue of “ARTiculate”, an Art Unit magazine that is distributed to all schools and higher institutions in Singapore .
Bee Lian has also participated in group exhibitions when in NIE and in Teachers College, Columbia University . Her research interest is in the teaching and learning of art in local classroom. She teaches pedagogy modules in the department.
Tang Da Wu
Tang Da Wu is one of Singapore 's leading contemporary visual artists. He has received visual arts awards from the UK Arts Council and the Greater London Arts Council. In 1999, he was awarded the Fukuoka Arts and Culture Prize; the only other Singapore recipient has been Professor Wang Gangwu of the National University of Singapore, who won the Fukuoka International Academic Prize in 1994. Tang is, in the city-state and in the region, a major innovator in contemporary art practices such as installation sculpture, socially and environmentally responsive public art and performance art, along with more traditional art forms such as painting and drawing.
Tang was educated at the Birmingham Polytechnic School of Fine Art, the St Martin 's School of Art and Goldsmiths College , London . An early work he did in Singapore in 1979 – a sign of what was to come – was an environmentally conscious exhibition at the then-National Museum Art Gallery of linens he had hung in gullies at Ang Mo Kio, then only a public-housing development site. ‘The Product of the Sun and Me' and ‘The Product of the Rain and Me', as the works were called, generated much curiosity among art audiences – perhaps unsurprisingly for 1970's Singapore .
Tang lived in England for some 20 years, and returned to Singapore in 1988. He was the major figure in an artists' community he started in the year of his return called the Artists' Village, in what was then a still-rural part of the island called Sembawang. The Village became a centre of genuine cultural and artistic alterity. Many artists connected with the Village are now among the city-state's leading visual arts practitioners.
Tang's work significantly helped disrupt established abstract-modernist art practices in Singapore . Under his influence, there was a return to figuration, and the figures he depicted (and enabled younger artists to depict) oftentimes had a relation to nature – but both nature and the figures depicted were transformed, as art historian T. K. Sabapathy has put it, into ‘images which express[ed] highly-charged emotional and psychic states'.
In recent years, a number of Tang's art projects have functioned to allow people to meet across boundaries, and have entailed an excavation of stories relating to various raw materials. Such projects have included the ‘Tapioca Friendship Workshop' (1995), which involved school students in Singapore and Japan ; ‘Rubber Road No U-Turn' (1996); and ‘Life in a Tin' (1995-99). Such raw materials relate to historic political and economic realities. The ‘Tapioca' workshop dealt with the particularly sensitive history of the Japanese occupation of Malaya and Singapore during the Second World War. Such projects are true to Tang's long-standing commitment to art as a process and not simply as a product.
Tang has said of his art: ‘My works deal with things happening around me. I question them so that I can learn more about them.' This is an apt description of the adventurous work he has undertaken in the region. He has also said: ‘Asian and Third World arts[,] especially dance, music and theatre[,] have increasingly found appreciative audience[s] everywhere[,] especially in the West. This, however, is not true of the visual arts. Hopefully the visual arts will in the near future have a greater presence in the international art arena.' As that desire is realised, Tang's role in that history and development will become more apparent than it is even now.
in the breezy central courtyard of the Institute, The Art
Gallery is a generous triple volume dedicated art space
that has showcased several contemporary art exhibitions.
Check out the gallery exhibits.