Footnotes

Provenance
Acquired by the present owner from the exhibition Chua Ek Kay: Being and Becoming - The Lotus Pond Series held in Singapore in 2003.

Exhibited & Published
Chua Ek Kay: Being and Becoming - The Lotus Pond Series, 14 February - 23 March, 2003, Singapore Tyler Print Institute, illustrated, n.p. [Exhibition catalogue].

蔡逸溪
夏日覺醒
設色壓縮紙漿
2002年作

簽名：Chua Ek Kay 2002 (左下)

來源
現藏家於2013年得自《Chua Ek Kay: Being and Becoming - The Lotus Pond Series》展覽會

展覽及出版
《Chua Ek Kay: Being and Becoming - The Lotus Pond Series》，2003年2月14日至3月23日，新加坡泰勒版畫研究所，插圖，無頁碼。[展覽圖錄]


Chu Ek Kay was a prominent Singaporean artist known for his innovative fusion of traditional Chinese ink painting with Western art theories and techniques. Born in Guangdong, China, Chu moved to Singapore in the 1950s. His early artistic foundation was shaped by formative calligraphy lessons from his father. The artist was immersed and exposed to Chinese literature and poetry, and training in seal carving, calligraphy, and painting. He subsequently studied under Singapore's pioneer ink painter Fan Chang Tien (1907-1987), who had a profound influence on his artistic development.

The artistic journey of Chu Ek Kay was all about learning and experimenting. He furthered his education at institutions such as the Lasalle-SIA College of the Arts and the University of Western Sydney. His exposure to American and Continental artists, as well as Post-modern theories, enriched his artistic perspective, allowing him to blend Eastern and Western art forms seamlessly.

Chu Ek Kay's early works were deeply rooted in traditional Chinese ink painting. He often depicted themes such as Chinatown street scenes, lotus flowers, and abstract pieces inspired by Australian Aboriginal cave paintings. His paintings from this period are known and characterised by their delicate brushwork, intricate details, and a strong sense of cultural heritage. Chu's profound sense of his cultural roots inspired him to push the boundaries within the traditional ink painting style. His experiences of the Chinese diaspora in Southeast Asia drove him to explore new meanings, techniques and spaces, while honouring the artistic framework.

In 2002, Chu Ek Kay became the first Singaporean artist to participate in the Singapore Tyler Print Institute (STPI) Visiting Artist Programme. This experience marked a significant turning point in his artistic career. At STPI, Chu explored new techniques and materials, such as hand-coloured pressed paper pulp. This period saw a shift towards a more contemporary approach in his work, blending/integrating traditional Chinese ink techniques with modern/Western artistic expressions.

The pioneering works of Chu from this time often featured bold brushstrokes and a more dynamic use of space. He began to experiment more with the interplay of light and shadow, and his representations became more abstract, focusing on the essence and spirit of the subjects rather than their literal forms. For these paintings, Chu created his images with a brush directly on sheets of wet, translucent paper pulp. While still damp, another layer of paper pulp was spread over the surface of the work. With Chu's application of colour and form, the work was created progressively, layer by layer. It was then placed under a hydraulic press to "press" water out of paper.

Chu Ek Kay's contributions to the art world were recognised with several prestigious awards, including the Cultural Medallion for Visual Arts in 1999. His groundbreaking use of Chinese ink, with its vibrant colours and local themes, has made a lasting impression on the art community. Chu's ability to bridge the gap between Asian and Western art continues to inspire artists and art enthusiasts around the world.