Gagosian’s decision to display Moore’s enormous outdoor sculpture inside their white-walled London space emphasised the contemporary relevance of the mid-century works. Similarly, the exhibition catalogue’s large soft-back format and loose bookcloth jacket combine a period warmth with a contemporary structure. The catalogue text is set in Jan Tschichold’s Gill Sans-influenced Uhertype Grotesk – a decision informed by the knowledge that the sculptures were cast in Germany.
Today we speak to Holycrap, an art collective by Claire, Renn, Aira and Pann from Singapore.
Yanda: Tell us about yourself and what you all do.
Claire: I was a designer before I became a full time homemaker after Renn was born.
Renn: I am going to be 10 at the end of this year and I am studying in Primary 4. I hope to be an archaeologist in the future.
Aira: I love going to school and I am in Primary 1 this year. I love playing hide and seek with my friends and I dream of being a vet in the future.
Pann: I am a visual, audio and ideas junkie. I love what I do as a Creative Director at Kinetic Singapore. I love taking pictures from time to time, you can see them at pannlim.com
How did it get started?
Pann: I have been active giving talks and lectures in school and I meet young designers and art directors who will show me their work and I always take a lot of heart to share with them my thoughts and insights. Same for the team I have at Kinetic, I will try my best to impart my ‘tricks’ of the trade to them. One night, it suddenly dawn upon me that I have been imparting my knowledge to designers and students that I have only met once but I have not officially shared these things with my kids. So together with Claire, we came up with the idea of starting Holycrap (CRAP stands for our names, C for Claire, R for Renn, A for Aira and P for Pann) as an art collective and this name also suggests that our work will make people exclaim ‘HOLYCRAP!’, when they see it. Hopefully in the positive way.
Which work (so far) has been your favourite?
Claire: It is truly rather hard for me to pick a favorite from the kids work because I’ve been seeing them draw and doodle from the very beginning and most of the drawings tell a story or hold much meaning to us. I’ve seen their progress from casual sketches to them working on canvas with acrylic and ink. If I really had to pick, I’ll choose their sketch books from their early years, Renn’s painting ‘Stealing Mom’s Coke 2011′ and Aira’s ‘Vincent 2012′
Renn: I love all my old sketches exhibited during my solo exhibition in 2011 and my Amorphis skull painting. For Aira’s, my favorite would be ‘Vincent’
Aira: My April Calendar Girl is one of my favorite and I love my brother’s ‘Mama I don’t wanna be a soldier. I don’t wanna die’ by John Lennon because it is nice and cool.
Pann: For Renn’s work will be the Three Walking Guitars in 2011. I saw it happen in front of my eyes. Renn completed it in 15mins. He was giggling to himself when he drew it, that sense of fun and mischief made my heart melt. As for Aira, my personal favourite will be the Yellow Submarine Series. Somehow the illustrations spoke to me in a profound way. And the patience and effort for a 6 year old girl to go through the hair line by line was something commendable.
How does everyone juggle between their day job/school and play and leisure?
Claire: Yes, we all can be pretty busy trying to get everything in order all the time or trying to get things done. For me its mainly with some home affairs and settling the kids in with their homework and studies. But getting play, relaxation and art into the mix is pretty much part of all that we do too because we view these areas with as much importance as anything else.
Pann: It is indeed a juggle at times because I can be very busy with work at Kinetic and we can only focus on this at night and over the weekend. But we love this family bonding and time spent together. It is like no other project that I have done to date, to see the kids have a sense of discipline and duty to finish what they have started and having fun while doing it is just great!
How do you set the benchmark?
Claire: The good thing is that Pann and I have very similar taste in terms of design aesthetics and appreciation. And we admire and look up to most of the same design heroes so when we share and educate Renn and Aira in this aspect there is little or no conflict. However on top of just learning about all these, I do set very high benchmarks in terms of attitude and discipline and in their approach to their work.
Pann: My benchmark is simple. The idea/art must be interesting, beautiful and heartfelt. And out of X amount of work done, maybe less than half are good enough for exhibition.
What is the best advice ever received?
Renn: Stand up for your work.
Aira: Stand up for yourself and don’t be afraid of rude girls.
What do you think about the education here in Singapore as compared to the best?
Claire: I am not so sure who is or what is considered the best but I do know that the education system here in Singapore is in dire straits. Simply because so much emphasis is put on academic excellence and chasing those perfect scores that everything else is thrown down the gutters. I do want my kids to study and do well in school and be proud of their studies, but I also want them to be happy and excel in what they love. But here in Singapore, the system and many parents are creating this vicious cycle of only wanting the best results, turning tuition centers into money making machines not intent of helping the weaker students do better but to make the already bright students even smarter because they can afford it.
The Dangerous Book for Boys. Holycrap for Browswing Copy. 2013
An entrance pavilion for Design Miami/ 2012, Drift creates an unexpected moment within the context of the familiar white vinyl tent, reformulating the material to create a floating environment. Inflated tubes are bundled together to create a topographical landscape in suspension: an ascending mountain above and an excavated cavern below. These long cylinders are arranged vertically to infill the area of the entrance courtyard, and then lifted to create areas of circulation and rest for the visitors entering and exiting the structure.
Filtered light passes between the tubes of the inverted landscape creating a space both interactive and contemplative. Apertures in the canopy above frame views of the Miami sky and allow natural light and fresh air into the interior. The lightness of the floating tubes underscores the mass of the enormous installation, visible from a distance of several blocks. Drift identifies the entrance courtyard as a site of activity and design. The rising landscape becomes a beacon for visitors approaching Design Miami/ while the excavated cavern presents a moment of exploration before entering the fair.
Photos by Markus Haugg.
“A more conceptual incarnation of the first fragrance, Stella In Two employed the use of graduated opaque glass to simulate traditional ceramic bottles combined with more contemporary geometric forms.”
A pop-up shop for Odin New York’s fragrance collection, this temporary retail installation created an unexpected moment embedded within an East Village storefront. The entire shop was formed by a landscape of 1,500 matte white gypsum cement replicas of Odin’s distinctive glass fragrance bottle. Suspended within a white shell, the matte white ghost bottles cascaded in a wave from the ceiling at the front window toward the floor at the mirrored back wall. A smaller landscape of bottles rose from the floor, as a display for the only dark objects in the space – Odin’s fragrances and their black packaging. The dark brown glass fragrance bottles were backlit and indented into the smooth white displays that spilled out from the Odin boxes. Appearing as soft amorphous forms, the displays revealed themselves as the same hard white gypsum cement as the ghost bottle replicas.
OBI is the screen made of the bamboo, which designed for the exhibition of AODJ which sends Japanese creativity worldwide. By using traditional skill “Shinshibari” which was used when we dry cloths, it gets flat smooth surface. This large size screen is supported only by their tension which is made by the sticked bamboo round bar attached the needle to both ends into cloth while bending. This stracture is easy to set up and enable to replace to other places by knocking down.
Engram Magazine is an editorial publication that focuses on contemporary art and culture, curated through the lens of skateboarders and like minds. Skateboarders inherently tend to funnel their creativity later in life to interests like photography, fashion, design, art, etc… This natural progression leaves a unique place for a publication that interests skateboarders, without being solely about skateboarding.
Uu brings the phenomenon of creating your very own 3D figurines here to our shores in Singapore. These custom figurines mere centimetres tall are brought to life by the latest in 3D scanning and printing technology in this collaborative project by Kinetic Singapore, Mikanbako of Japan and venue sponsor, Scotts Square. The Uu 3D studio will only be open for a limited time, from 21 September to 6 October 2013.
Be among trendsetters and trailblazers such as celebrity hair stylist David Gan, renowned doctor Dr Georgia Lee and fashion director Daniel Boey, to have your very own 3D figurine brought to life by Mikanbako, a specialty 3D imaging studio with the latest 3D printing technology from Japan.
Carolyn Teo, co-founder of Kinetic Singapore says: “Kinetic is a local home grown creative agency that is internationally awarded and recognised in our industry. In order to remain at the forefront, we have to always be on the lookout for new and interesting technological advancements to integrate into our designs and ideas. The 3D printing phenomenon has already spread across Japan, Europe and many parts of the world, and we are excited that we are working with Mikanbako to allow people in Singapore to discover the lifelike figurines and experience the amazing technology at the Uu 3D studio.”
In just under 30 minutes, customers will be scanned with cutting-edge equipment by professionals from Mikanbako. This collated data will then be sent to Mikanbako’s lab in Japan to be processed and printed. Due to the complexity of the technical processes, customers will receive their figurine three months from their scan. Customers can choose from 3 sizes – small (15cm), medium (20cm) or large (25cm).
Wataru Hida, CEO of Mikanbako says: “3D printing is a whole new culture and its potential is truly endless and exciting. The future of 3D printing is definitely in capturing and recording memories – imagine taking yearly 3D family portraits instead of photographs!”
Pann Lim, co-founder and creative director of Kinetic Singapore agrees: “There’s nothing quite surreal as looking at a ‘life-like’ figurine of yourself or someone you love. For me, every fold on a shirt or dress on a figurine immortalises the person in that particular space and time.”
Scotts Square 6 Scotts Road
From 21 Sep – 6 Oct 2013 Daily: 10am – 10pm
(Top to Bottom) David Gan, Dr Georgia Lee and Daniel Boey.
Today we speak to Royston Tan, one of Singapore’s prized film director.
Yanda: Tell us what have you been busy with?
Royston: This month has been the craziest month ever in my career as I’ve had 6 overlapping filming projects back to back. I’m currently working on “The Ghost of Capitol Theatre” – a film installation for the Singapore biennale in October. I’m also preparing for the world premiere of my new work, ‘South of South” in the Busan film festival.
Say, does photography play a major influence on you?
Yes it does. Film is actually 25 running photographs in a second. I’m constantly capturing images in my brain everywhere I go. I’m intrigued by both colors and compositions.
Which project are you most proud of and why?
This is a tough question but I guess I’m still learning every day. Hopefully the next one!
Do you believe in education?
Yes I do. That said, I do not believe in conformity. Everyone is unique and it is important to celebrate differences.
It’s sometimes said that after graduating, the hard part is actually still ahead. How were yours when you first started out?
It has been the case – you are suddenly in the real world where you have to start all over again to prove yourself to society. It takes sheer determination and passion. Most of the time, I find it’s the inner struggle much more than the external factors that’s really tough.
I started at 19. I wanted to be a director but in reality you need to be mentor for a few years before becoming one. There was no one to mentor me, so I took on the job as a coffee boy to serve the big-time directors on shoots. I was paid $50 for 14 hour shoots a day, but it offered me the opportunity to get close to the director and observe how they work and visualise.
Can taste be taught or nurtured?
Taste can be nurtured with an open mind and exposure.
And what about hunger?
In terms of hungry, you can’t flog a dead horse to run.
Old Romances, a film directed by Eva Tang, Victric Thng and Royston Tan. Designed by &Larry.
4:30. Poster designed by &Larry.