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Lot Essay
Cheong was prolific in developing his style over his career as an artist, always pushing himself to learn and forge ahead. He was experimental in his study, exploring various media and hence sharpening his versatility. This diligence in attitude was a conscientious commitment to his art.
His depictions of the charms of native life has always been inviting to the viewer. Cheong had travelled to countries in the region like Bali and Sarawak, of which he was enamoured by what he saw especially in Bali, and spent a large amount of time creating works with Bali as his muse. However, it was his trip to London in the early 60s that was to be acknowledged as his most enriching experience. 'There, he came into close contact with many masterpieces he had read about, discovered the thrills of contemporary sculptures' (Choy Weng Yang, Cheong Soo Pieng Retrospective 1983, Ministry of Culture and the National Museum, Singapore, 1983, p. 3.) This pivotal encounter brought about a newfound energy which Cheong pursued enthusiastically. For the next two decades, he improved on his interpretations of life in the countries he had visited. In this Kampong scene, completed in 1974, he was immersed with this very vigor. The strokes are more decisive but also calmer, effecting with great sensitivity the tranquil scene. The scene is elaborate in its details in reverence to the unspoilt landscape and simplicity of life, both of which were scenes he liked to explore. His early training from China in terms of medium and technique are clearly well infused with a Southeast Asian influence and subject.
His depictions of the charms of native life has always been inviting to the viewer. Cheong had travelled to countries in the region like Bali and Sarawak, of which he was enamoured by what he saw especially in Bali, and spent a large amount of time creating works with Bali as his muse. However, it was his trip to London in the early 60s that was to be acknowledged as his most enriching experience. 'There, he came into close contact with many masterpieces he had read about, discovered the thrills of contemporary sculptures' (Choy Weng Yang, Cheong Soo Pieng Retrospective 1983, Ministry of Culture and the National Museum, Singapore, 1983, p. 3.) This pivotal encounter brought about a newfound energy which Cheong pursued enthusiastically. For the next two decades, he improved on his interpretations of life in the countries he had visited. In this Kampong scene, completed in 1974, he was immersed with this very vigor. The strokes are more decisive but also calmer, effecting with great sensitivity the tranquil scene. The scene is elaborate in its details in reverence to the unspoilt landscape and simplicity of life, both of which were scenes he liked to explore. His early training from China in terms of medium and technique are clearly well infused with a Southeast Asian influence and subject.