If there’s one thing I’m sure of, art doesn’t change; it evolves! And that’s precisely what the National Gallery Singapore’s new exhibition, Becoming Lim Tze Peng, proved. Wandering through this new exhibition was like flipping the pages of a history book, and this one was written with brushstrokes and ink washes.
At 103, you could call Lim a national treasure, as Singapore’s oldest living and active artist. With the Cultural Medallion 2003 – Singapore’s highest arts accolade – under his belt, he’s no joke! And it was a privilege for me to experience his work up close, especially his distinct style of calligraphy, hu tu zi (糊涂字).
I got a glimpse of the world from Lim’s eyes, through his works shaped by his travels and pursuit of artistic freedom. Follow me as I give you a taste of Lim’s story!
The Exhibition
This bilingual exhibition presents over 50 curated works, archival materials and two never-before-seen videos of the artist Lim Tze Peng at work. It’s an interesting look into the life of this centenarian’s non-linear journey spanning sketches, calligraphy, and paintings in ink and oil genres, and features works stretching back to 1946 and leading up to a piece completed just last year!
From Dàpō to Xiǎopō
The first section, From Dàpō to Xiǎopō (‘Big Quay’ to ‘Little Quay’), was pretty much a time capsule of Singapore! This colloquial term was popular amongst the older Chinese-speaking communities, referring to areas from present-day Outram Park to Kampong Glam. Everyday scenes were Lim’s favourite subjects – and they came alive in this section, with his paintings capturing the charm in the ordinary.
What caught my eye were these two paintings next to each other, both scenes inspired by Chinatown. The one on the left appeared tinted with fuzzy, indistinct strokes – a subdued version of its friend on the right – Hawker (2013-2014), a revisit of the scene. Hawker (2013-2014) innovatively blended different visual languages (epigraphy, calligraphy, painting) to create a more modern, stylised iteration. It was textural yet harmonious, and I don’t know if it’s just me, but the painting looked like I was viewing the scene zoomed in through a fisheye lens!
Another pairing I can’t go without highlighting is two scenes of the iconic Singapore River that were frozen in time side by side. The first – Singapore River II (1976) – was an oil painting. Its companion, Singapore River (Coleman Bridge) (1979), came from the Istana Art Collection and was a fresh take on the river three years later, this time through the delicate strokes of ink.
Singapore River II (1976), with prominent monochromatic elements and pine trees standing slender and sharp against the backdrop, had heavier brushstrokes that brought a certain weight to the painting. The ink version on the left, to me, felt lighter, and I couldn’t get enough of the intricate details! The closer I looked, the more elaborate it seemed; it was like Lim had breathed new life into the familiar landscape.
There was also something more fluid about it; like the river itself was flowing with each stroke. But of course, as someone who’s tried oil painting, I understand its reputation for being super tricky to work with all too well! So I was pretty impressed at how beautifully Lim depicted the essence of the Singapore River with his piece.
I often find myself drawn to themes of reiteration in exhibitions. It shows us that art is never static! It can bloom in new ways, nourished with time and experience. And I don’t know if it was just me, but the contrast in the oil painting – the darker left side compared to the vibrancy on the right – felt almost symbolic of this.
I admire these works’ philosophy – the art of revisiting, rethinking, and refining to find renewed beauty! Isn’t it lovely?
And what’s cool is that the neighbourhoods located in Dàpō and Xiǎopō weren’t just backdrops on Lim’s canvases; they were his playground! He held outdoor drawing sessions with his peers and even helped co-organise some of the earliest public exhibitions in the area. You’ll be able to find a bunch of news clippings and photographs from the ’70s and ’80s, some of which came straight from Lim’s library and mirror the scenes in his artwork. We’re being spoiled, really!
The World Outside
Then I stepped into the second thematic section of the exhibition, The World Outside. Lim Tze Peng’s creative journey extends beyond the familiar streets of Singapore! His artistry flourished through expeditions with fellow artists from various groups. And when you take a look at the paintings, it’s clear that these experiences enriched Lim’s work!
Two noteworthy pieces from this section are Venice (1996) and Ponte Vecchio, Florence (1996), both painted after Lim’s twenty-day art tour across Europe with over twenty other artists. Venice (1996) is a lively portrayal of the city, its jagged strokes evoked a sense of movement and instability – some might call it delightful chaos! This piece also seemed to make use of the classic Western technique of a fading perspective, with objects becoming increasingly blurry as they recede into the background.
Now, Ponte Vecchio, Florence (1996) on the left may look similar – but here are the nuances between the two. Ponte Vecchio, Florence (1996) is louder, with bold lines and contours in vertical arrangements hinting at depth and distance. This technique can be found in traditional ink paintings that date back to the Tang and Pre-Tang dynasties! I also noticed his vertical signature and a Chinese seal – homage to his roots – in this painting. I found it intriguing how Ponte Vecchio, Florence (1996) carried Eastern influence while Venice (1996) was more Western!
Lim was known to admire Western artists – their freshness, imagination and use of vibrant colours. And during a trip to Paris, he ventured beyond the city and into the idyllic countryside near The Alps. Why? Because this region has long been a muse for Western artists! So this was like an art pilgrimage for Lim – a chance to experience what had inspired so many before him.
Lake Toba (1970) brings us closer to home, a piece that has a place in my heart. As a result of Lim’s travels around the Southeast Asian region, it features the lush Indonesian landscape. I couldn’t help but be reminded of Vincent Van Gogh’s signature style – think The Starry Night! You see it too, don’t you? I always love a piece of work with pointillism influence; it’s just so fun!
And as someone whose favourite colour is green, Lake Toba (1970) scored bonus points from me, with its green palette screaming in my face! Up close, the painting also had a childlike quality that I found so endearing. In fact, Lim’s 1970 expedition to Indonesia was pivotal! It was when he started exploring Chinese ink painting – just as with Lake Toba (1970).
With each painting in this section, Lim took an experience and turned it into a thing of art in a shot! It was a gentle nudge to appreciate what stands around us. And you can explore more of these moments through the photos and artefacts displayed in the vitrines!
On My Own Grounds
I veered into the exhibition’s third section, transitioning into Lim’s more abstract works. On My Own Grounds was about Lim Tze Peng’s pursuit of artistic freedom, and how he broke away from convention and created his own rules. This freedom of exploration and expression eventually birthed his signature hu tu zi (糊涂字) – also known as ‘muddled calligraphy’ or ‘muddled characters’.
Lim’s calligraphy works often feature Chinese poems, but I felt the focus here was how he played with space. It wasn’t just about the strokes, but about what wasn’t there – the sense of void. Negative space is a staple in Chinese painting, and there was a balance between presence and absence. This interplay was such a contrast to the rest of the exhibition and Western art I see in general!
What’s more, this section houses the sketchbook where Lim documented six principles of what he deems “a good painting”. Some things he emphasised include aesthetics, locality and rhythm.
Pro tip! Find and snap a pic of the six principles in this section and revisit the works, keeping the doctrines in mind as you meander. It’ll add another layer of understanding of Lim’s autonomic expression and recurring motifs – like the multiple trees I noticed in this section! His sketchbooks on display were a memorable treat, because how often do you see the thought process of a pioneering artist?
But what I found particularly interesting was the comparison of his calligraphy to the tempo of a musical composition. Lim composed symphonies on paper, with how the empty spaces engaged with the lines to create tension and rhythm in the visual melodies. I was listening with my eyes!
Now, we have to talk about Inroads No. 1 (2006). At almost five metres wide, it was hard to miss! This ink and colour painting was full of energy – the brushstrokes almost danced across the canvas. They were alive and kept my eyes moving with flowing transitions and sudden starts and stops. I couldn’t help but feel like it was a nod to the concept of Yin and Yang in Chinese art! The subtle colours in the background complemented the protagonist – expressive brushwork and lines – and added flair without stealing the show. Every stroke was purposeful!
Exhibition Details
All in all, I saw a wisdom in Lim’s work beyond his technical prowess – perhaps a suggestion that art is less about perfection and more about persistence. This exhibition was more than just a retrospective; it was a reminder that legacy is never forgotten and spoke volumes about how Lim pushed himself as an artist.
So swing by the National Gallery Singapore for Becoming Lim Tze Peng; I’m sure it’ll paint your day! Please note that a General Admissions pass is required to enter the exhibition.
🗓️Date: 25 October 2024 to 23 March 2025
📍Location: Level 4 Gallery, City Hall Wing, National Gallery Singapore
💲Price: Free for Singaporeans and PRs
⏰Opening Hours: 10am to 7pm
For more information and updates on programmes and tours, keep tabs on this exhibition’s page on National Gallery Singapore’s official website, and follow the gallery’s socials on Instagram, Facebook, and TikTok! The world of art welcomes you with open arms.
Photos by Russell Loh of the DANAMIC Team.
