Ho Ho Ying Art, Besides Being New, Has to Possess an Intrinsic Quality in Order to Strike a Sympathetic Chord in the Hearts of the Viewers or /{e. eMe-.W f?Yr TI< -?A-(;A- PAmy -i CHEo Hf,ij rl tJ:, A rt Criticism 24 1972 Ho, Ho Ying, Critical Essays on Art. Singapore Art Museum, 1999, pp . 83- 86 [Hereafter Critic al Essays] Dear Chai-Hiang, The course I was teaching this term ended last Saturday. I now have mo re time to have a longer discussion with you . I have received your letter as well as the plan and artist's statement for your proposed 5' X 5'work. This is what I think of your proposal: 1. It is a new attempt to utilise both the wall and the floor. Some 'Environmental artists ' use the entire space in a room to work with and their work is therefore even more impressive in scale. To me, the question is not how many planes you use, but that the planes are used appropriately. If the content of the work requires it, and the artist has an impulse to expand the work, there is no harm in utilizing mult iple planes . Even the corners of the room can be used when there is a need for it. Artists do not need a perm it to use them . 2. Your design may suggest to the viewer the usability of multiple planes but it is not persuasive in justifying its suitability. In terms of the work's intention, the way the two rectangular frames are connected is unconvincing. Viewers will not get any satisfaction even if they look at it for a whole day. Works that derive from 'The School of Metaphysics' in modern art leave the viewer empty and bored. The artist may be able to explain and justify the need for dealing with 'emptiness' and 'boredom', but 'emptiness' and 'boredom' will not enrich our thoughts and souls . Up till now,I have been critically recept ive 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 intentionality and part icularity in order to strike a sympathetic chord in the viewer 's heart . Imagine an artist installing noth ing other than a bare cube in a big public square, and declaring , "This is real art ." The viewer can also place a dead tree in the middle of a park and say this is art too . This is definitely confusing art with non-art. I personally believe in the importance of the created form in art, but I can't accept those found objects that are neither well thought out nor carefully fabricated. 3. When an artist is able to work freely, the viewer can also exercise his freedom to 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 take the response of the viewer into account . The other alternative would be for the artist to work only to please himself, regardless of what others might think . I have nothing against artists who work this way. If they are financially independent, good luck to them . Most artists are reasonable members of society and we are keen to contribute to the so ciety that nurtures us. Through brushes and colours, we provide members of society, no matter how small in number, with a little pleasure and some inspirational thoughts . When I say this ,I don't mean those artists 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 to work simply to please the viewer. An artist values viewers' response; he does not paint just for himself. He welcomes constructive criticism. In order to avoid self- gratification, the communication between the artist and the viewer should go both ways. It should not be a one-way traffic . 4. After reading the statement you wrote about your work, I began to wonder if this new type of art requires a statement in order to communicate efficiently. Th is would be particularly necessary if the artist himself is attempting to explain his own work . I do not know whether this is normal pract ice to include such an artist's statement .I feel that at the moment in Singapore th is would be a useful thing to do . This is because here the general public is not exposed to theories of art and it therefore still finds it hard to accept new and explorative types of art work . It is as if the public is used to only certain tastes in food and has grown reluctant to try anything new. If an artist were to have the opportunity to explain his work to the viewer, it would help to disperse the viewer 's doubts . The viewer could also refer to what is written when looking at the work . Unfortunately, there are only a few local artists who are articulate enough to communicate to the viewer. That is why I often advise you to write essays about art. Please forg ive me if I have erred in what I have sa id . I write what I th ink . I believe we should try to create a frank and open atmosphere for discussion about art. I would also like to thank you for offer ing some constructive criticism about my work. I'll give your suggestions further thought. I am fascinated by the flowing movement of paint. I splash it onto the canvas impulsively, because it gives me a sense of freedom. Living in this politically, economically and socially repressive and heavily regimented space and time, one often is stagnant. Splashing colours and creating free flowing, spontaneous and unrestrained lines releases me from feelings of oppression. I hope that the viewer is able to enjoy the free, spirited feeling in my painting. The colours are simply there to make the work visually pleasing. 25