STPI is pleased to present the first solo exhibition of homegrown artist Suzann Victor, the only female artist to represent Singapore at the national pavilion since its inaugural participation in the Venice Biennale (2001). Known for her conceptual prowess and ability to articulate complex ideas in technically challenging forms, Victor is one of Singapore’s most pronounced artists to date; her calibre and long-standing commitment positions her as an exemplary and important figure in our arts landscape - one to highlight as Singapore reflects on its contributions and developments in the art world with Art Week 2015.
As the title suggests,
Imprint: New Works by Suzann Victor not only refers to the residual trace of the artist’s hand and the characteristics of this body of work but it also references her residency experience and the impression she hopes to leave on viewers. Responding to the nature of the project and space at STPI, Victor skillfully weaved in aspects of herself as an abstract painter, performance and installation artist into print and paper explorations, combining favourite visual devices like the use of light and transparency in works such as
We Cloud and the Immaculate Conception of a Cloud series, whereas circular Fresnel lenses were included in works such as the 8m- long
I was like that myself... we all held each other’s hands, echoing a recurring motif of concentric circles and arcs.
Collectively, they demonstrate sheer critical thought and her proficiency in utilising materiality to draw out metaphorical and literal opacities - leaving much room for varied interpretation. She explores relations between spaces, objects and ideas while engaging the viewer as an active participant. “The acrylic paper pulp pieces, like
We Cloud and
Water Symphony in Blue Droplets for example, are assembled in the most architectural, sculptural way, offering viewers multiple viewing experiences from afar and up close, as if one were amongst the clouds in a way, due to the varying height levels of the assemblage. Most of my works in this exhibition have no fixed orientation. The acrylic paper pulp works are to me quite memorable as they are unique in its references and asks questions about the process or definition of painting - what it is or how it can be made,” says Victor.
Sydney-based Victor has garnered much attention in recent years particularly amongst local art institutions and identifies herself as a Singapore artist who sees her time away as a boon, giving her “the ability to choose and be discerning about the values one embraces to form one’s identity”, a notion she believes to be “less about purity and more about complexity and diversity”, for “we learn so much from the ‘other’”. And she does not forget her roots. In the series
I was like that myself... we all held each other’s hands, Victor reflects on the ever-changing cultural landscape of Singapore, pondering the loss of what was once familiar and coherent to her such as the local vernacular. The work holds much nostalgia for the artist and induces viewers to ponder our own experience of the transforming nation, where primary markers of “Singaporeanness” are dissipating. Fresnel lenses affixed on top of black and white photographic images from coolie days at once display a sense of dislocation in its fragmented composition.
“Though there were many challenges in the way she’s pushed us technically, the process with Suzann has brought much growth to the STPI team. She has a painter’s mind through and through, and she applied that approach in printing processes here, no matter how different the medium is from painting. That posed challenges initially because the process has its restrictions and protocol, but that just gave us opportunities to overcome obstacles by changing our approaches and ways of thinking. And when we change our way of thinking, we are more likely to arrive at new places or stages where we’ve never been before. The works you see are the result of innovative steps we’ve taken. It’s actually a nice surprise to see how it all comes together at the end of the day.” – Eitaro Ogawa, Chief Printer & Project Leader, STPI
Victor acknowledges that it would be virtually impossible to duplicate the experience, yet alone the works—although “if it manifests, if the series from here develops, which I’m sure it will... this series (of square aquatints) will be developed on a very large scale, and this assemblage of circles, of different shapes, of very architectural forms at STPI will definitely be developed in the future.”
Press release courtesy STPI - Creative Workshop & Gallery.