巫思遠 Boo Sze Yang  新加坡　b.1965

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1991年畢業自新加坡南洋藝術學院，1995年時完成英國瑞丁大學美術研究所文憑課程，並於2004年取得倫敦藝術大學切爾西藝術設計學院的碩士學位。

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他曾舉辦過15次個展，並多次代表新加坡在澳洲、日本、韓國、菲律賓、馬來西亞、英國及美國等地參加聯展。也曾獲美國佛里曼基金會「2010/2011年亞洲藝術家獎助」，前往維蒙特藝術中心駐村創作。2003年獲得菲利浦．墨利斯所創立的ASEAN藝術大賽－新加坡的評審委員獎，2009年時獲得大華銀行全國繪畫比賽白金獎。他的作品被新加坡美術館、新加坡總統府、新加坡外交部、大華銀行、南洋藝術學院和北京銀谷藝術館等機構所收藏。他于2014入選由泰晤士和哈德森出版的藝術目錄 “100 Painters of Tomorrow” 。

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巫思遠的畫作探索的題材非常廣泛：從平凡的家居物品、車禍和空難的影像、到天主教堂富麗堂皇的內部裝飾和購物商場頹圮的空間。對他而言，那些平淡無奇的物件、靜寂的建築物內部或毁滅性的場景象徵人類生存的環境。他作品的獨特性在於其瀟灑的筆觸以及單一而帶憂鬱色彩的主色調，其所創造出光和空間的氣氛，引人神遊與玄思。他近期一系列近乎單色的油畫創作，體現出一個逐漸被城市發展解剖和換置的自然世界。作者在畫布表面上然濕漆的原料隨性鋪成，不斷移動濕漆的原料，把過程中留下的痕跡逐漸構建出夢幻般的圖像。畫面處於抽象和具象的邊緣，展現出環境生態在現代建設下產生的矛盾及不可預測性。

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Boo Sze Yang graduated from the Nanyang Academy of Fine Arts, Singapore in 1991; completed his Postgraduate Diploma in Fine Art at the University of Reading, UK in 1995 and received his Master in Arts Degree from Chelsea College of Art & Design, the University of the Arts London in 2004.

 

Boo has held 15 solo exhibitions and exhibited internationally since 1991. He is a recipient for the Asian Artist Fellowship Award 2010/2011 sponsored by Freeman Foundation for residency at the Vermont Studio Center in USA. In 2003, he was awarded the Juror’s Choice for the Philip Morris Singapore-ASEAN Art Award and in 2009, the Platinum Award, UOB Painting of the Year Competition. His works are in the collections of the Singapore Art Museum, the Singapore Istana Art Collection, the Ministry of Foreign Affairs Singapore, United Overseas Bank, Nanyang Academy of Fine Arts, Simmons & Simmons Contemporary Art Collection and Yingu Art Mansion in Beijing. He is featured in the publication 100 Painters of Tomorrow published by Thames & Hudson in 2014. 

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Boo’s paintings deal with a broad range of subject matters, from mundane domestic objects to images of car and airplane crash-scenes, derelict interiors of cathedrals and unpeopled chambers of shopping malls. Boo treats banal objects, modern architectural interiors and destructive scenes as metaphors for the human condition, transforming these into a symbol of contemporary life through his loose, gestural technique and use of a restrained palette to emphasize the materiality of paint. In his portraiture series, Boo integrate his personal experiences with everyday’s social and political events to generate uncanny and idiosyncratic expressionistic portraitures serving as comic observations in our everyday life. His recent series of near-monochromatic visions conjures a natural world gradually dissected and displaced by urban development, putting it in danger of destruction by the desire of the modern men in the quest of a better life.

 

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