Ho Ho Ying

Art, Besides Being New, Has to Possess an IntrinsicQuality in Order to Strike a Sympathetic Chord in theHearts of the Viewers

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1972

Ho, Ho Ying, Critical Essays on Art. Singapore Art Museum, 1999, pp . 83- 86 [HereafterCritical Essays]

Dear Chai-Hiang,

The course I was teaching this term ended last Saturday. I now have more timeto have a longer discussion with you . I have received your letter as well as theplan and artist's statement for your proposed 5' X 5'work. This is what I think ofyour proposal:

1. It is a new attempt to utilise both the wall and the floor. Some 'Environmentalartists' use the entire space in a room to work with and their work is thereforeeven more impressive in scale. To me, the question is not how many planes youuse, but that the planes are used appropriately. If the content of the work requiresit, and the artist has an impulse to expand the work, there is no harm in utilizingmultiple planes. Even the corners of the room can be used when there is a needfor it . Artists do not need a permit to use them.

2. Your design may suggest to the viewer the usability of multiple planes but it isnot persuasive in justifying its suitability. In terms of the work's intention, the waythe two rectangular frames are connected is unconvincing. Viewers will not getany satisfaction even if they look at it for a whole day. Works that derive from 'TheSchool of Metaphysics' in modern art leave the viewer empty and bored. Theartist may be able to explain and justify the need for dealing with 'em pt iness' and'boredom ', but 'em pt iness' and 'boredom' will not enrich our thoughts and souls .Up till now, I have been critically receptive about certain kinds of modern art.Perhaps I am ill-informed and backward, or I may be obstinately conservative. Art,bes ides being new, also has to possess intent ionalit y and particularity in order tostrike a sympathetic chord in the viewer's heart. Imagine an artist installingnoth ing other than a bare cube in a big public square, and declaring, "This is realart." The viewer can also place a dead tree in the middle of a park and say this isart too. This is definitely confusing art with non-art. I personally believe in theimportance of the created form in art, but I can't accept those found objects thatare neither well thought out nor carefully fabricated.

3. When an artist is able to work freely, the viewer can also exercise his freedomto select what he wishes to look at . The work is meant to be looked at in public

and scrutinised by the viewer. Ifthe artist shows his work in public, he has to takethe response of the viewer into account. The other alternative would be for theartist to work only to please himself, regardless of what others might think. I havenothing against artists who work this way. If they are financially independent,good luck to them . Most artists are reasonable members of society and we arekeen to contribute to the society that nurtures us . Through brushes and colours,we provide members of society, no matter how small in number, with a littlepleasure and some inspirat ional thoughts . When I say this, I don't mean thoseartists who create work to please the viewer so as to become rich and famous .It is one thing to take the viewer's response into account, and quite another towork simply to please the viewer. An artist values viewers' response; he does notpaint just for himself. He welcomes constructive criticism. In order to avoid self-gratification, the communication between the artist and the viewer should goboth ways. It should not be a one-way traffic .

4. After reading the statement you wrote about your work, I began to wonder ifthis new type of art requires a statement in order to communicate efficiently. Th iswould be particularly necessary if the artist himself is attempting to explain hisown work. I do not know whether this is normal practice to include such an artist'sstatement. I feel that at the moment in Singapore th is would be a useful thing todo . This is because here the general public is not exposed to theories of art and ittherefore still finds it hard to accept new and explorat ive types of art work . It is asif the public is used to only certain tastes in food and has grown reluctant to tryanything new. If an artist were to have the opportunity to explain his work to theviewer, it would help to disperse the viewer 's doubts. The viewer could also referto what is written when looking at the work. Unfortunately, there are only a fewlocal artists who are articulate enough to communicate to the viewer. That is whyI often advise you to write essays about art.

Please forg ive me if I have erred in what I have said . I write what I th ink.I believe we should t ry to create a frank and open atmosphere for discussionabout art. I would also like to thank you for offer ing some constructive criticismabout my work. I'll give your suggestions further thought. I am fascinated by theflowing movement of paint. I splash it onto the canvas impulsively, because itgives me a sense of freedom. Living in this politically, economically and sociallyrepressive and heavily regimented space and time, one often is stagnant.Splashing colours and creating free flowing, spontaneous and unrestrained linesreleases me from feelings of oppression. I hope that the viewer is able to enjoythe free, spirited feeling in my painting. The colours are simply there to make thework visually pleasing.

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Art, Besides Being New, Has to Possessan IntrinsicQuality in Order to Strike a Sympathetic Chord inthe Hearts of the Viewers

Often, while working in my studio, the air impregnated with oil paint, I enter afantasy world . In solitude, I muse out loud " W hat is freer in this world than beingable to paint the way I want to paint?" Even if my painting contributes nothing tosociety or to the country, it will not cause anyone any real harm. I, on the otherhand, will get immense satisfaction when I create a great work of art. I have to becourageous and move forward.

I have always felt that viewers, bes ides feel ing free and uplifted by an art work,should also feel free to speculate about it . They should use their mind as well astheir eyes. In my opinion, a work of art communicates not only through itstangible appearance but also through the active participation of its thinkingaudience. It is more thought provoking to be subtle than to be blatant.

An artist chooses a particular material to work with, not only because it is easy toobtain but also because the artist is used to working with it . Once he is used to it,he feels he is in full control. It is better than working with unfamiliar material andnot being fully in command of it. An Israeli artist in the desert, whose name I havemomentarily forgotten, uses sand, earth, tin cans and wooden boxes which hecollects from nearby where he lives. He does this instead of taking the trouble tobuy oil paints and canvas. In his case , oil paints and steel rods are not necessary. Idon't agree with you when you suggest that there is something wrong with aperson using a particular material that he can afford, that 's easy to get and that heis used to using. But I do agree with your objection that only canvas and steel rodsare suitable for producing great works of art.

We are going through a period of experimentation and development. We treadcarefully in order not to repeat the steps taken by the great masters. We areheading down an unfamiliar and exciting path . We will not worry about feelingisolated and/or being discriminated against. I feel confident that I will keepmoving forward, no matter how slowly. Unfortunately, the burden of having tomake a living takes away most of my t ime. I am unable to spend mo re time tototally immerse myself in art.

It is now approaching the New Year and the markets are busy. There aren't any bigshows around town as all the art organ isations avoid holding exhibitions at thistime of the year. In the last few years there has been a big surge of interest inchildren 's art. Many big organisations promote and organise on-the-spot artcompetitions for children. Large-scale exhibitions of children's work are heldalmost once a month. Consequently, there has been a marked improvement in thequality of children's art. I have been invited to serve on judging panels for such

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Art Criticism

competitions and often take my children along with me . I find some of the workvery imaginative, with wonderfully rich colours and interesting compositions. It isan enriching experience to see these works. One of these days I hope a publisherwill produce a catalogue of selected works from these exhibitions. Children areinnocent and able to connect with their fantasy world. They should be encouragedto further pursue their interest in art. When adults look at the art of children, ittakes them back to their own ch ildhood days.

If these little artists are carefully nurtured and continue to be engaged in art forthe next 20 years, we will have a very vibrant art scene. On the other hand, if theyenter a traditional art academy, and are strictly and rigidly confined to studies ofperspective, proportion and balance, they might just lose forever their innocence,imagination and creative impulses. I do have my doubts about the capacity of artacademies to produce artists. Maybe artists are born, not made. I am not familiarwith overseas art school education. I hope you are able to let me know youropinion on this particular topic.

We have discussed many issues today. I shall stop here. Happy New Year!

Yours Sincerely,Ho Ying

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