Beginning 2016, I began cycling to work. On my way home, I would stop and paint the landscapes at sunset. Sunlight is most gentle during these hours and structures lit cast their most dramatic shadows; accentuating the mood of the environment. I am currently looking for local gallery to represent this series of small-sized work.
Rode the bicycle to Sembawang.
Here's my set up. I am still trying to figure a way to haul my oil setup out. A lot more challenging for sure. A ton of Jury-Jigging involved and I know there must be ways to improve my set up.
My usual set up. I ride my brompton with an S Bag . As you can see, Its an S Type Bar
Stuff in my bag. Repair kit, Extra tee shirt. Sketchbooks and all the rest of my art materials.
I simply place a Camera mount on my S Bar.
I got my friend Daniel to make me this wood block that would house a TNUT and plastered it with Velcro.
The board that I attach to my Adapter. Of course, this isn't perfect. I think there's recently a stronger 3M velcro that I will change to next.
Yea those back pocket on the S bags are great for housing my brushes when I paint.
My first version was a lot more ghetto . I just stuff the board into the Gopro groves . #GHETTO
My main body of work comprises watercolor paintings completed on-site, painted directly on the medium, without drafting lines. This straight forward approach forces me to rapidly internalize the essence of my subject and facilitated capturing the mood and atmosphere of a fleeting moment.
The interplay between light and form is what draws my attention and inspires me to render an impression of what is in front of me. Painting on-site also requires mastery over the design of shapes, colors, and values that go into a painting; extracting the essence, while at the same time discarding anything unnecessary. Challenged by changing light and weather conditions, I am further spurred to be decisive by the rapidly drying watercolor washes. Paradoxically, the challenges of painting on-site detach me from the stress and anxieties of my urban life. - I am thus at peace whenever I paint.
I primarily paint alone and my subjects are principally landscapes that are free from human figures. This isolation liberates me from the mental state needed for collective decisions and allows me to make very personal decisions about mark-making. My paintings are deeply influenced by the Impressionists, as I integrate their understanding of color theory; into my designs in order to project a sense of vibrancy. Through my work, I hope that audiences can be transported to the state of peace that I experience when I am painting .
