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Lot Essay
Cheong's foray into abstraction was greatly inspired by his time spent in Europe from 1961 to 1963. Sponsored by his patron, cinema magnate Dato Loke Wan Tho, Cheong Soo Pieng was able to focus completely on his art and artistic experimentation, no longer inhibited by his responsibilities as a teacher, and with no worry for his day-to-day subsistence. This context of artistic liberation and exposure to modern styles of abstraction engendered a turning point in Cheong Soo Pieng's career where he began to embrace abstraction as a means to more directly convey thought and expression.
The works from the mid-60s to 70s are characterised by a radical re-imagination of some of the artist's favourite themes and subjects of representation. Abstract Landscape (1974) demonstrates Cheong's versatility and confidence in working with different mediums. With a delicate layering of gold leaf, Cheong's landscape is a literal collage and intricate layering of geometric forms and colour that come together in teeming vitality and complexity. The predominant hues of warm red and orange add to the pulsating energy that appears to emanate from the scene.
Presenting a completely different mood and atmosphere, Inspiration (1968) creates space for contemplation and reflection with smooth amorphous forms and simple black lines that appear to be suspended within an infinite space. Coming from a more cerebral style of abstraction, the works from the late 60s utilize organic and overlapping forms to convey the elemental flux of the environment.
Abstract (1963) comes from Cheong's distinctive assimilation of the technique and mastery of Chinese ink painting with the expressiveness of Western abstraction expressionism. A style that he developed during his years in Europe, Cheong's explorations in abstraction place him in dialogue with Chinese artists such as Zao Wou-Ki and Chu Teh-Chun who had also come to Europe and had been pioneering a new style of Sino-Western abstract painting.
Across his varied styles of expression, Cheong maintained certain key philosophies in his art such as the maintenance of a central focus around which the rest of the composition was ordered. Tying in to Chinese philosophies of harmony and oneness, the depth of Cheong's compositions invite mediation and immersion within the scene. The passion and sophistication of Cheong's abstracts suggests a cathartic rejuvenation of the artist's canvas beginning from the mid-60s, and represent a period of fervent experimentation and innovation in search of the truest form of artistic expression.
The works from the mid-60s to 70s are characterised by a radical re-imagination of some of the artist's favourite themes and subjects of representation. Abstract Landscape (1974) demonstrates Cheong's versatility and confidence in working with different mediums. With a delicate layering of gold leaf, Cheong's landscape is a literal collage and intricate layering of geometric forms and colour that come together in teeming vitality and complexity. The predominant hues of warm red and orange add to the pulsating energy that appears to emanate from the scene.
Presenting a completely different mood and atmosphere, Inspiration (1968) creates space for contemplation and reflection with smooth amorphous forms and simple black lines that appear to be suspended within an infinite space. Coming from a more cerebral style of abstraction, the works from the late 60s utilize organic and overlapping forms to convey the elemental flux of the environment.
Abstract (1963) comes from Cheong's distinctive assimilation of the technique and mastery of Chinese ink painting with the expressiveness of Western abstraction expressionism. A style that he developed during his years in Europe, Cheong's explorations in abstraction place him in dialogue with Chinese artists such as Zao Wou-Ki and Chu Teh-Chun who had also come to Europe and had been pioneering a new style of Sino-Western abstract painting.
Across his varied styles of expression, Cheong maintained certain key philosophies in his art such as the maintenance of a central focus around which the rest of the composition was ordered. Tying in to Chinese philosophies of harmony and oneness, the depth of Cheong's compositions invite mediation and immersion within the scene. The passion and sophistication of Cheong's abstracts suggests a cathartic rejuvenation of the artist's canvas beginning from the mid-60s, and represent a period of fervent experimentation and innovation in search of the truest form of artistic expression.