Rene Magritte also uses texture to bring out the different objects, making the cupboard bed and floor different wooden textures, and putting a smooth shiny blue glass in the middle of the wooden textured objects.

The wallpaper acts as an optical illusion to the viewer.

This makes the viewers question the definition of the painting as it is familiar yet strange at the same time. The exaggeration of the size of certain objects, which one will find familiar becomes unfamiliar and the normal becomes strange.

Rene Magritte is known for Surrealism; creating works that depicts illogical and dream-like scenes.

This painting in a painting means to convey the perception of the human eye, in which where we assume that the painting on the easel relays the image behind the canvas, even though we have no concrete evidence that the picture is even accurate to the view behind. It reflects the way that humans may tend to assume opinions the same way we assume the view behind the easel, and how we do so in order to make our reality more comfortable for us to comprehend.

Context 

• surrealism 

• bizarre dream like quality 

Background 

The background of the painting is that we see the world as a third entity and not including of us. Similarity we get deja vu by remembering a past event and having the misconception that its happening now. Time and space lose its significance and our experience without daily life becomes dull and irrelevant. 

Optical illusion. Questioning what is real and what is not. Seeing is not believing. The painting on the canvas does not mean that it is the real scene behind the canvas.

• discuss, analyse and interpret how artists express their intentions in their artworks.

• forge links between different artists and artworks.

• demonstrate critical thinking and reflection.

• to convey the dire period that France was in at that time 
• and the irony of a child trying to get food ( the title was named “ the greedy child “ but how can a child be greedy if they have nothing to eat? )

• blue period where there was a lot of famine and depression among people 

• monochromatic
• thick wavy brush strokes 
• emphasises curve lines 
• simplified shapes 
• flat background 

-lines (words)

- the words are connected together using lines

POD:

-harmony (words are not separated)

• commissioned to make a logo for professor Wallace for his puppet theatre commissioned 

• puppet theatre to mimic the string of the puppet 

• known for his Swiss style ( clean, minimalist style ) 

19 × 26 × 12.5 cm, 11 × 28.5 × 14 cm.

1. Form

2. Colour

3. Texture

Principles of Design:

1. Balance

2. Contrast

3. Variety

undated, Batik,

58.8 × 44.1 cm.

73 × 88 cm

1. Color: Vibrant and bold colors dominate the painting, including the red, green, and white of the Mexican flag, as well as the various hues in the dress.
2. Line: Sharp lines define the shapes of the objects in the room and create a sense of structure.
3. Shape: Various shapes, both geometric and organic, are present throughout the composition, from the flag to the statue to the mirror.
4. Form: The three-dimensional forms of objects, such as the dress, the statue, and the gas mask, add depth to the composition.
5. Texture: The painting appears to have a textured surface, with visible brushstrokes and areas of impasto.

1. Balance: The composition achieves balance through the distribution of visual weight among the different elements in the room.
2. Emphasis: The dress hanging prominently in the center of the composition serves as a focal point, drawing the viewer's attention.
3. Movement: There is a sense of movement in the painting, created by the diagonal lines of the clothesline and the flag, as well as the implied movement of the viewer's gaze around the room.
4. Unity: Despite the diverse elements in the painting, there is a sense of unity achieved through the cohesive color palette and the overall composition.
5. Contrast: There is a strong contrast between light and dark areas, as well as between the vibrant colors of the Mexican flag and the more subdued tones of the rest of the room.

Oil on canvas, 72 x 54 cm Singapore Art Museum

Georgette Chen constantly drew from her environment.

Synthetic polymer paint on

canvas, each 50 × 40 cm.

canvas, 89 × 126 cm.

126 × 97 cm.

Oil on canvas.

84 × 124 cm.

126 × 203 cm.

Expo 2010, Made of 60 000 fibre optic rods

and encased seeds, 20 metres in height.

Stainless steel, 8.5 metres in height

line - the steel stems create verticals lines that guides the viewer’s eyes upwards.

texture - the smooth, reflective surface of the copper petals contrasts with the look of steel stems

POA:

rhythm: the repetition of copper petals and the rise of the stems give the sense of movement and flow

movement: the kinetic movement of the petals creates a visual movement, guiding the viewer’s eyes toward the top of the cauldron

Thomas Heatherwick’s focus on this meaningful design to tell the story of unity and togetherness through the merging flames.

Context:

He designed this to reflect Britain’s role in welcoming nations and celebrating global unity through the olympics. The olympic cauldron is dismantled after the games with each copper petals returned to each country.

Background:

He is known for blending architecture, sculpture, and design in his work.

Urinal, unconfirmed: 36 × 48 × 61 cm.

mounted on painted wood stool,

129.5 × 63.5 × 41.9 cm.

MP: The painting depicts a relatively large cluster of lotus plants on the surface of a water body. The leaves are covering majority of the water around them, and some are blooming with light pink flowers.

P1: The lotus plants are painted with large paint strokes, similar to that of Chinese ink painting techniques, taking on organic shapes. There are no apparent geometric shapes that define the anatomy of the lotus plants.

P2: The colours are vibrant and use a complementary colour palette, the flowers and highlights of the leaves telling on warm hues of pink to red to lime green or yellow, whereas the water and leaves take on cool hues ranging from deep green to teal.

Ink and colour on paper,

68 × 137 cm.

Ng Eng Teng’s distinctive style comes through in the simplified yet evocative form of the figure. The girl’s head is slightly oversized compared to the rest of her body, a technique Ng often used to emphasize emotion and personality. Her facial features are soft but expressive, with large, downcast eyes that seem to carry a quiet sadness or contemplation. Her hair is styled simply, typical of a young village girl, and her attire is minimal, capturing her modest background.

The surface of the bronze has a textured, almost rough quality, which adds depth to the figure and emphasizes the organic, raw feeling of the sculpture. This texture also reflects Ng’s focus on creating works that feel “lived-in,” with the imperfections of the human condition.

The overall mood of “Batak Girl” is one of melancholic beauty. It reflects Ng’s sensitivity to the human experience, especially in portraying marginalized or underrepresented communities, such as the Batak people. By capturing the essence of a young girl from a distant, traditional culture, Ng Eng Teng invites viewers to connect emotionally with the figure, prompting thoughts about cultural identity, poverty, and the universality of human emotions.

Texture: The surface of the bronze is rough and textured, giving the sculpture a sense of rawness and emphasising the organic, unpolished nature of the subject.

Shape: The overall shapes of the head and body are simplified and somewhat abstracted. The large, round head contrasts with the smaller, more slender neck.

Color: The bronze material naturally gives the sculpture a monochromatic color palette. The deep, warm tones of bronze emphasise the earthy, grounded quality of the figure.

Value: The bronze material allows for subtle shifts in light and shadow, creating a range of values across the figure’s surface, enhancing the sense of depth.

POD

Proportion: The head is deliberately exaggerated in size compared to the body, a hallmark of Ng Eng Teng’s style. This draws attention to the girl’s facial expression and emotions, giving it a sense of prominence in the overall composition.

Emphasis: The emphasis is on the girl’s head and facial expression. The oversized head directs the viewer’s attention to the emotions conveyed through her downcast eyes and contemplative expression.

Unity: There is a strong sense of unity within the sculpture, as all elements—form, texture, line, and proportion—work harmoniously to create a cohesive emotional tone.

Contrast: The contrast between the smooth, rounded shapes of her body and the rough, textured surface of the bronze enhances the tactile quality of the sculpture. There is also a conceptual contrast between her vulnerability and the strength implied by the solid bronze material.

While Ng Eng Teng was not overtly political in his statements, his focus on marginalized individuals often carried a subtle critique of social inequalities. By highlighting the inner world of the Batak girl, Ng was making a statement about the dignity and resilience of those who are often overlooked by society.

In a broader sense, “Batak Girl” could be seen as a commentary on the effects of poverty, cultural marginalization, and the universality of human suffering. Ng’s ability to convey empathy through his simplified forms, particularly in his depictions of women and children, speaks to his commitment to addressing these social themes in a subtle, emotional way.

Context

In “Batak Girl”, Ng Eng Teng draws on his humanistic vision, global influences, and empathy for marginalized communities to create a sculpture that is both personal and universal. By focusing on a young girl from the Batak tribe, Ng highlights the challenges faced by indigenous and impoverished communities in Southeast Asia while also inviting the viewer to connect with the girl’s emotional depth and inner world. The sculpture is a testament to Ng’s ability to blend cultural specificity with universal themes of vulnerability, dignity, and resilience.

Background

Ng’s sculptures often revolve around universal human themes—vulnerability, suffering, resilience, and emotion. He had a profound empathy for the marginalized and the disenfranchised, which is reflected in many of his works, including “Batak Girl”.

His focus on the common, everyday person, particularly women and children from impoverished or underrepresented communities, aligns with his broader humanistic vision. By emphasizing the emotional states of his subjects, Ng invites viewers to reflect on their shared humanity, regardless of cultural or economic differences.

Blue), 1994, Takashi Murakami, acrylic on wood

Transparency in lightbox, 167x244 cm

television monitors and aluminium armature; number nine of nine, 133 × 96 × 20 cm

The Baby is fabricated from later model televisions

• 3 dimensional animals are moulded and can be seen to take up space and volume

• texture is applied as we are able to see the in even moulding of each animal in creature comforts. the artist further elaborates on this by ensuring and leaving the fingerprints on each character.

• organic shapes that resembles the actual animal itself. however, the animals are anthropomorphic as they have features of humans such as the human teeth, hand gestures and are able to speak english

• colour resembles very closely to animals itself in real life as well

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POD:

• the occurring pattern resembles all animals with human features such as human teeth, hand gestures sgc

• the microphone placed in front of/held by a character brings forth attention to the main subject when each animal are talking

• the background is also about more dull than the characters to bring forth attention to the animals

The Tiger’s Whip was performed at Keong Saik Road, a place notorious for prostitution. Additionally, the Tiger’s penis enlarges the men’s penis when consumed, according to Chinese beliefs.

Background

Tang Da Wu raised awareness on the concerns of the environment within the specific social and ethnic contexts. He highlighted the near-extinct of tigers due to them being hunted for their penis. He made a quick sketch of a penis on pieces of paper and chewed the sketches one by one.

artists influence

Showed how traditional beliefs can clash with the reality of the ultimate extinction of the species. His role playing of him eating the pieces of drawn penises is to represent how old Chinese men eat the tigers’ penis to boost their sexual activity. He also bounced basketballs and rowing a boat to represent making love.

• red wig (short bobcut, fringe not touching eyebrows)

• Dress : pink base with repeated uniform red dots, flat Appears to be made of rectangular.

• White shoes, white socks

Second to left:

• Dark yellow wig ( also short bob without fringe touching eyebrow)

• Dress: pink base, blue layering (looks a bit like a flower), contrasting colours, flat. Appears to be made of circular shapes.

• White socks, black shoes

Second to right:

• Orange wig (short bob without fringe touching eyebrows)

• Dress: Yellow and red colours, appears to be a red dress with a yellow outline of a smaller dress.

• White socks, red shoes

Furthest right:

• yellow wig(short bob without fringe touching eyebrows)

• Dress: white and black checkered pattern, repeated pink flower pattern

• White socks,black shoes

Overall: All models have uniform haircuts, each wearing the same style of flat dress (2D) with different designs, all being baggy which does not show the body figure of each model

• Space. It is dynamic as the viewer has different angles and distances they can view the artwork as well as the changing sunlight through out the day, stretching the shadows in the morning and afternoon.

• Lines (Gate of Kiss). Used in the repeated kiss symbols at the top of the gate

• Texture. Implied to be rough for the Table of Silence and the Gate of Kiss as they are made of limestone, the Endless Column is implied to have a smooth surface as it is made of casted iron modules.

• Form. The geometric form of the Table of Silence and the Endless Column, and the mixture of geometric and organic form of the Gate of Kiss.

• Shape. The geometric shape of the Column and the Table, the mix of geometric and organic form of the Gate of Kiss.

PoD:

• Scale. The Table of Silence is life size, the Gate of Kiss is a broad looking gate and the Endless Column is a tall structure

• Unity (Table of Silence, Gate of Kiss)

• Pattern (Gate of Kiss)

• Harmony (Table of Silence, Gate of Kiss)

Colours:

• Bright, vibrant. Uses triadic colour palette of reds, blues and yellows, as well as white and black tones

Shapes: