|Thu Sep 15 2016, 6:30pm–8:30pm|
|Fri Sep 16 2016, 10:00am–7:00pm|
|Sat Sep 17 2016, 11:00am–6:00pm|
|Mon Sep 19 2016, 10:00am–7:00pm|
|Tue Sep 20 2016, 10:00am–7:00pm|
|Wed Sep 21 2016, 10:00am–7:00pm|
|Thu Sep 22 2016, 10:00am–7:00pm|
|Fri Sep 23 2016, 10:00am–7:00pm|
|Sat Sep 24 2016, 11:00am–6:00pm|
|Mon Sep 26 2016, 10:00am–7:00pm|
|Tue Sep 27 2016, 10:00am–7:00pm|
|Wed Sep 28 2016, 10:00am–7:00pm|
|Thu Sep 29 2016, 10:00am–7:00pm|
|Fri Sep 30 2016, 10:00am–7:00pm|
|Sat Oct 1 2016, 11:00am–6:00pm|
iPreciation is proud to present “Turn Loose The Mermaids”, a group exhibition co-created by Luke Heng, Jeremy Sharma and Warren Khong. This exhibition highlights the practices of three Singapore painters that are divergent of painting. Exploring and intertwining medium, space, materiality, acoustics and objects, new readings emerge beyond the formal into one that are conceptual, relational and experiential.
Taking its cue from the title of a song, “Turn Loose the Mermaids” references not so much fantastical and mythical creatures that come from the sea, but rather, evokes the imaginary and the unconscious that emerge from the unknown to take hold and form.
With the above in mind, this project asks "how can form and material speak of ideas and thus engage with the viewer?", "how can artists trained in the formal aspects of painting extend these ideas and sensibilities to structures, image, space and media?" "How does one contribute or liberate new knowledge and discourse to the contemporary in a field burdened by its own history, can aesthetics here be as critically valued as socially engaged narratives?"
The three painters, in various stages of their practice, have all partaken in this journey to allow thoughts and ideas to take shape through various different approaches, allowing each work to slip and flow into otherwise unknown tangents. The works are rooted in experimentation and are extensions of what they have worked on before. Jeremy Sharma employs multiple mediums like sound, photography and sculptural modules. Luke Heng further develops his interest in the structure of painting through the investigation of the wooden stretcher. Warren Khong centers his practice around ideas in materiality like using the color white for both its material properties and as an act of art making. Individually, each of them pushes the boundaries of what defines a painting through a painter’s eye and ideas.
Although diverse in their research, the project is unified through a pared down and monochrome aesthetic that leaves almost no trace of the artist hand as well as a determination to challenge common pre-conceived notions of what being a painter is.
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