| Cover photo: Rose Romance and Medieval England |

I get very snap-happy taking photos every time I visit the Flower Dome, so I wanted to share pictures of the beautiful flowers and exhibits I saw last year! Apart from the first two shows of the year (Chinese New Year dahlias and Japanese sakura / cherry blossoms), I visited the other seven floral displays, which you can check out below!

Tülipmania and Türkiye

I started with Tülipmania (April to May), which I always love to see, because tulips are one of my favourite flowers! Gardens by the Bay also has Türkiye-mania, as there is always a floral display involving Türkiye every year at the Flower Dome. It’s impressive how they manage to feature new cultural attractions and historical elements from Türkiye every time though! Gardens by the Bay even brought in an entire replica of a Trojan horse this time…

My favourite tulip was the Tulipa ‘Spryng Break’ with its red and white striped look! I also spotted a luminous yellow tulip that had an unexpected red stripe on its side, which I think makes it extra special and charming.

Tulipmania returns April to May 2026 with a return to a Dutch landscape, featuring masterpieces from the Rijksmuseum! I am very much looking forward to this.

Lilytopia and Venice

I think this may be the first time lilies were featured in a floral display at Gardens by the Bay! Lilytopia (May to June) was a summery show featuring the bright colours of Venice. A river doesn’t run through the Gardens, but the set sure looked believable with a gondola nestled among the flowers. I also loved the decorations of the puffy fishes and the waves / tails!

Lilytopia returns August to September 2026 (note the change in months!), where we get to travel to ancient Egypt. Also super looking forward to this!

Rose Romance and Medieval England

The pairing of roses and medieval England is, I think, one of the best combinations for Rose Romance (June to July). England’s national flower is the rose (specifically the red and white Tudor rose), and the medieval setting complete with a castle and armour adds the perfect touch of romance and fantasy…

The references to the legend of King Arthur were also great — especially the display of the sword Excalibur lodged in the stone!

Orchid Extravaganza and Singapore

The orchid is Singapore’s national flower (specifically the orchid hybrid Papilionanthe Miss Joaquim), so it’s fitting that this iteration of Orchid Extravaganza (August) featured Singapore. The display also highlighted Peranakan culture in Singapore.

The floral display included these mini renditions of the Supertrees in Gardens by the Bay, bedecked in orchids. You could enter one of these mini-Supertrees to find a very beautiful display of orchids extending upwards in layers of varying colours.

Orchid Extravaganza returns July to August 2026 (note the change in months!), with a Balinese theme.

Alpine Adventure and Begonias

Alpine Adventure (September to October) whisked us away to the Swiss Alps! The displays were very charming, although I thought the begonias were not very prominent here.

Among the various sets, there were even a few working clocks, including the replica of the clock tower of the Fraumünster located in Zurich!

Sunflower Surprise and Jaipur

Along with tulips, the sunflower is one of my favourites too! I started growing my little pot of sunflowers last year, and I plan to continue my plant-growing habit this year! It’s the best feeling watching the tiny buds blossom into cheery sunflowers.

For the first time, Gardens by the Bay took us to the Pink City of Jaipur in Sunflower Surprise (October to November)! I loved this recreation of the Hawa Mahal, down to the stained glass windows in the centre. The sea of sunflowers in front of it also made it such a great photo-taking spot!

Sunflower Surprise returns September to October 2026, with a trip to Portugal.

Christmas Train Show, Denmark & USA

The Christmas Train Show (November to early January) returned for the second time to the Flower Dome at Gardens by the Bay. It’s really fun watching the model trains chugging along the tracks, and seeing how visitors get so excited filming them. The featured flower of the Christmas Train Show is, of course, the classic poinsettias.

I was especially excited to enter a Danish train set and to spot among these Christmas treasures, a sequinned white owl with a Venetian mask?! I love owls (the real birds and any owl-related decor) and I love this toy so much, whether or not it’s actually Danish!

Christmas Train Show returns November to December 2026, with a trip to Santa’s village in Finland!

I thoroughly enjoyed all of these shows at Flower Dome in 2025! What was your favourite? If I had to choose one among these, my favourite was possibly Sunflower Surprise in Jaipur, because I loved both the flowers and the displays!

Many of these floral displays are returning in 2026 with new destinations, including Tulipmania, Orchid Extravaganza, Lilytopia, Sunflower Surprise, and the Christmas Train Show. I’m also looking forward to the new show Blue Beauties in May to June 2026, featuring the all-time favourite destination of Türkiye at Gardens by the Bay. To check out the Gardens’ calendar of events, go here.

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Developed in collaboration between MFA Boston and NGS, Into the Modern presents a selection of over 100 Impressionist works from MFA Boston’s (clearly impressive) permanent collection. In NGS’ ten-year history, this is the second time we have the privilege to view French Impressionist works on such a large scale in Singapore. This blog Wording Art has also turned 10 (!!!), and I have loved sharing about Impressionism throughout the years, and so it’s super timely to end the year with nineteenth-century French Impressionism.

Nature and the Impressionists

Into the Modern begins — perhaps a little surprisingly — with the Barbizon School of painters, before Impressionism was fully formed. Located about 60km outside Paris, artists gathered in the village of Barbizon and painted in the nearby Forest of Fontainebleau. Artists like Théodore Rousseau embraced these scenic landscapes untouched by modern developments. I have a soft spot for Rousseau’s paintings of nature, so it was wonderful to see Pool in the Forest. The Barbizon artists painted nature in a Realist style, and influenced the next generation of painters to radically approach nature through Impressionism.

1874: The First Impressionist Exhibition

The reproductions of two prints and a photograph (most right) on this gallery wall offer a look into the annual Salons held in the Palais de l’Industrie from 1855 onwards (where it was previously held in the Louvre). Artists could submit whatever artworks they wanted to the prestigious Salon, but only those that met the academic criteria of the time would be accepted.

It’s probably not surprising that the Impressionist style of loose, rapid painting especially en plein air (in the outdoors) did not fit what the Salon wanted. A group of Impressionist painters gathered together to form the Société anonyme des artistes peintres, sculpteurs, graveurs, etc (Anonymous Society of Painters, Sculptors, Engravers, etc.). They staged their first Impressionist exhibition in 1874, independent of the Salon, which later came to be a landmark moment for the Impressionists.

Very interestingly, Renoir and Monet painted the same ‘models’ in the portraits above: Monet’s first wife Camille, and their son Jean. Monet made many paintings with Camille and Jean set within lush gardens or fields. In Renoir’s take, Camille looks directly to the viewer (although I find her face not well-portrayed), while the toddler happily wanders off.

I just realised that a reproduced version of Meadow with Poplars was shown at Impressions of Monet at Gardens by the Bay last year! Now we get to see the real thing!

I particularly loved this stretch of four paintings by Renoir, Monet and Cézanne, showing how they depicted people within landscapes.

Waterscapes and Landscapes

This landscape painting looks very much like a Renoir, but reminded me of Cézanne somehow… Turns out Renoir visited Cézanne in the village of L’Estaque in 1882, which Cézanne regularly visited and painted since the 1860s. Together, the two artists painted the same view of the mountainous terrain.

I really like Renoir’s painting of The Seine at Chatou, which was known as a boating spot in the Parisian suburbs. Particularly, I love the details of the girl’s red hat and flowers, and the small boats in the distance.

A Little Post-Impressionism

It’s also a treat to see more of Cézanne’s works. While he shared the Impressionists’ penchant for painting nature, his compositions look quite different as Cézanne began exploring his own painterly style (flatter and with a kind of slanted perspective). Retrospectively then, he’s better known as a Post-Impressionist.

Camille Pissarro’s career was probably the most varied among the Impressionists. His early influences came from the Barbizon School of painters, later becoming the ‘father of Impressionism’. He helped to establish the Société anonyme des artistes peintres, sculpteurs, graveurs, etc, and acted as a mentor and father figure to key Impressionist figures.

The two paintings pictured here marks Pissarro’s late period when he explored Pointillism. After meeting the Neo-Impressionist artists Georges Seurat (not included in this exhibition) and Paul Signac (included in this exhibition but not pictured in this post), Pissarro experimented with the technique of placing dots of complementary colours next to each other. Seurat is best known for the Pointillist technique, which is actually so painstaking! Pissarro brought his own take on Pointillism in these scenes of ideal rural life and labour.

City Life and Paris

At this point, we reach the final Gallery 3 of Into the Modern at National Gallery Singapore. Out of the countryside and into the city! This is my favourite section of the exhibition, as we shall see…

Perhaps the ultimate ‘painter of modern life’, to borrow Charles Baudelaire’s words, was Édouard Manet. Although he did not exhibit in the Impressionist Exhibitions, he did his fair share of challenging the artistic status quo. In 1865, he exhibited his scandalous painting Olympia (which somehow managed to get accepted!) at the Salon. The stark image of a nude figure who confronts the viewer in Olympia was modelled by Manet’s favourite model, Victorine Meurent. The exhibition includes a print etching of Olympia. Meurent also appears in Street Singer below.

It’s so interesting to compare a self-portrait with a portrait of the same person… Manet’s portrait of Victorine Meurent and Meurent’s Self-Portrait were painted over a decade apart, and they certainly present different views of the model and artist. In Meurent’s Self-Portrait I find it intriguing how she is almost fully turned to the side, and she appears quite fierce or confrontational here.

Renoir’s Highlight Piece

A highlight of Into the Modern is definitely Renoir’s Dance at Bougival! I can’t believe we get the chance to see this in Singapore, as it supposedly rarely leaves Boston on loan. This is probably the best work by Renoir in my opinion. A couple dances in a café in Bougival, a popular recreation town along the Seine outside Paris. Dancing outdoors in a public setting — isn’t that so modern?

Degas and Cassatt

I was drawn to Degas’ painting because it depicts the ‘simple’ experience of a Visit to a Museum. It’s also the perfect sisterly activity to do, as Degas paints fellow Impressionist artist Mary Cassatt and her sister, Lydia, in the Louvre. Degas and Cassatt were close colleagues and friends, and it’s nice to see artists painting each other in this manner.

Hailing from America, it is a shame though that Cassatt’s works in the MFA Boston collection don’t feature in this exhibition. Mary Cassatt played a huge part not only in contributing to the Impressionists’ output, but she also advised American patrons to buy Impressionist works, especially the Havemeyer family. The original Havemeyer art collection now largely resides in the Metropolitan Museum of Art, as well as in the Shelburne Museum, which you can read more about here.

In the lecture hosted in conjunction with this exhibition, the eminent art historian Griselda Pollock spoke about Mary Cassatt and how she was a key player among the Impressionists. As Pollock puts it, the Impressionists were the first egalitarian artist group where women could play equal roles as men. I also got to ask Prof. Pollock a question about Degas and Cassatt in relation to Visit to a Museum — which will remain as one of the best moments of my life! As anyone who works on women artists would know, Pollock’s work is highly influential in the field, so I couldn’t pass up the opportunity to ask her a question about Cassatt and her appearance in Degas’ painting. :)

Still Life

I really liked seeing this section of the gallery focusing on the Impressionists’ work on still life (paintings of still, inanimate objects). I feel that the individuality and uniqueness of each of the Impressionists’ painting styles come through really well in these still lifes. Also, can you spot Renoir’s signature in the lower right of Mixed Flowers in an Earthenware Pot?

Cézanne’s paintings of fruit in his still life paintings would be the most well-known among them all. Even now, he still astonishes us with an apple…

Immersed in Monet

The exhibition ends with a roomful of Monet’s paintings. How amazing is that! I also love the look of the curved walls in this room (as you can see in the cover picture), as it reminds me of the display of Monet’s Water Lilies at Musée de l’Orangerie (my dream to visit one day!)…

Poppy Field in a Hollow near Giverny is one of my favourites in this selection. Many of these works were created after Monet settled in Giverny in 1883 for the rest of his life.

Of course, don’t miss The Water Lily Pond! This is one in a series where Monet painted a view of the water lily pond in his Giverny gardens, featuring his Japanese-style green bridge — perhaps coloured a little differently in the sunlight in this painting.

I love the delicate pinks and blues that Monet captures in his paintings of Antibes. Antibes Seen from the Plateau Notre-Dame is displayed earlier in the exhibition, as you can see above in this post. I also especially love the detail of the tiny sailboats in Cap d’Antibes, Mistral. I need to see it again — it’s another of my favourites.

When travelling in Antibes, Monet wrote to Alice Hoschedé (who later became Monet’s second wife) in January 1888: ‘I am painting the town of Antibes, a little fortified town all golden in the sun that stands out against beautiful blue and pink mountains and the eternally snow-capped range of the Alps.’ I think Monet perfectly captured the pastel beauty of Antibes as he described.

Be sure to visit Into the Modern at National Gallery Singapore to see all of these beautiful Impressionist works and more! The exhibition is ongoing until 1 March 2026.

A special promotion is also ongoing, where you can get 25% off the exhibition ticket until 1 February 2026. Additionally, present your exhibition tickets to get 10% off Pierre Hermé macarons at the pop-up at Padang Atrium, Level 1, until 31 December 2025. My sister bought those Pierre Hermé macarons, and they’re sooo good!

Overall, I thought Into the Modern was an excellent exhibition. It’s wonderful to see so many people queuing (!) to see it. If you have seen the show, let me know what you think by rating it below!

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HKPM is the Hong Kong ‘branch’ of the Palace Museum located in the Forbidden Palace in Beijing, China. So it already boasts a stunning display of artworks and artefacts in the galleries. This exhibition is, to me, extra special as HKPM collaborated with Château de Versailles to bring almost 150 artefacts together from both collections to explore how China and France mutually inspired and influence each other during the 17th and 18th centuries. Cross-cultural interactions between China and Europe, especially during the eighteenth century, is exactly the line of research that I’m getting more and more interested in these days!

Setting the Scene: The Forbidden City and the Palace of Versailles

The opening video piece, titled Symphony of Time and Space: The Forbidden City and the Palace of Versailles, immerses you in the architectural spaces of the Forbidden City and the Palace of Versailles. I loved the shots where details from both palaces are juxtaposed against each other.

In the centre of the gallery is the display of the elaborate key used to open the main door of the Royal Chapel of Versailles. It’s shown alongside the Qing emperor’s seal and a jade book recording Qianlong Emperor’s Ten Great Campaigns.

Louis in Versailles

The first artwork we encounter in the exhibition is the famous portrait of Louis XIV — an excellent choice! The original Portrait of Louis XIV by Hyacinthe Rigaud was made in 1701, which now resides in the Musée du Louvre. The image of the Sun King was so popular that Rigaud made numerous copies, like this one shown here. I still remember my professor in my first-year art history class enthusiastically telling us that Louis XIV wanted to show off his regal legs… because he was known to be a great dancer! I was so excited to see this painting and I struck my best dancing pose, hahaha!

I was very taken by the fine rendering of Louis XV’s clothing and regalia in Drouais’ portrait. Another example of a beautiful portrait of a Louis.

The Qing Emperors

As the exhibition covers the seventeenth and eighteenth centuries, the artefacts on show cover a few generations of Louis’s and Qing emperors. In France, we begin with the Sun King Louis XIV (r. 1643–1715), his great-grandson Louis XV (r. 1715–1774), and finally Louis XV’s grandson Louis XVI (r. 1774–1792). Louis XVI and his wife, Marie Antoinette, were guillotined in 1793, but this exhibition doesn’t touch on the grisly revolution in France at the end of the eighteenth century.

In contrast, this period saw the ‘golden age’ of the Qing dynasty. The three most powerful emperors of their time: Kangxi Emperor 康熙帝 (r. 1662–1722), his son Yongzheng Emperor 雍正帝 (r. 1723–1735), and the Yongzheng Emperor’s son Qianlong Emperor 乾隆帝 (r. 1735–1796).

My favourite Chinese portrait was of the Yongzheng Emperor. In this hanging scroll Yongzheng Emperor holds a ruyi (如意). The ceremonial sceptre is so named to symbolise good fortune, but also acts as a means to display sovereignty. I also couldn’t help but notice his sharp, pointy nails…? Qianlong Emperor also grew long nails — as you can see below, alongside the exquisite details of his court attire. The dragon motifs, of course, represent the emperor.

Everyday Life

The next section of the exhibition focused on the everyday objects that populated both of the royal residences. Some objects were made in France and given to the Chinese court, and vice versa. Most of these objects in this section were scientific instruments, reflecting the scientific exchanges between China and France (particularly in Europe’s Age of Enlightenment) during this period.

The interest in science also meant the proliferation of these wonderful and strange-looking clocks in the Chinese courts! These are ‘musical automation clocks’ as elements of the clock, such as the green palm trees in the clock pictured above, would turn and rotate while music played. It’s like how wind-up music toys work, but in fancy, ornately decorated gold clocks that also tell the time.

Porcelain Trianon and Madame de Montespan

I loved learning about Françoise-Athénaïs de Rochechouart, more commonly known as Madame de Montespan. A formidable woman known for her beauty and wit, she officially became Louis XIV’s mistress in 1674. Madame de Montespan ousted the preceding woman for the role before she was eventually ousted herself… This portrait depicts Madame de Montespan when she was around 23 years old, a few years before she worked her way into Louis XIV’s affections.

Louis XIV had the Porcelain Trianon (Trianon de Porcelaine) built near Versailles in 1670 for Madame de Montespan. What was special about the site was how it was decorated to resemble the blue-and-white porcelain that originated from China. The blue and white tiles used to decorate the pavilions of the residence were however made of faience (earthenware), as Europeans had yet to discover the ‘secret’ step in the process of creating porcelain. By 1687, the Trianon de Porcelaine was demolished. The building was simply too costly to maintain. At the same time, Madame de Montespan had fallen out of favour with Louis XIV.

Porcelain in France

In the 1760s, the good people of Sèvres Manufactory in France finally cracked the code in making porcelain: the incorporation of kaolin clay in the recipe. The French could now make porcelain vases of their own (instead of relying on Chinese imports). Although inspired by Chinese designs, the pair of vases pictured above still look very European to me with the style of the cartouche and the lion head handles.

It was common for gold mounts to be added to Chinese porcelain vases in French collections. The Ge porcelain is distinctive for its crackled glaze — so unique and beautiful. This perfume fountain belonged to Louis XV and was kept in his wardrobe!

Madame de Pompadour

From 1745 to 1751, Madame de Pompadour was the official mistress of Louis XV. After stepping down from her role, she became Louis XV’s confidante and political advisor, and continued to be highly influential in the French court. I remember learning so much about her portraits in French art history classes. She commissioned various portraits by leading French artists of the day, as a means to secure power in her public position.

Drouais’ Portrait of Madame Pompadour appears to be related to the larger-scale Madame de Pompadour at her Tambour Frame, 1763–4, in the collection of the National Gallery, London. Madame de Pompadour is depicted in the same bonnet and dress with the striped ribbons and flower pattern. In Madame de Pompadour at her Tambour Frame, Drouais expands the image to show Madame de Pompadour working at a tapestry in her salon at her apartment in Versailles.

Made in France

This exquisite Chrysanthemum pot was commissioned by imperial order in Beijing. Previously thought to have made in Guangdong, the pot was in actuality made in France and later shipped to Beijing. The enameller Joseph Coteau had convincingly painted flowers on the pot’s body in a ‘Chinese style’. On the bottom of the pot is Qianlong Emperor’s collection mark「乾隆年制」and — as recently discovered by the Palace Museum — Joseph Coteau’s signature ‘Couteau’ on the edge.

Similarly, this ewer with stylised lotus scroll was made in France and then sent to Beijing. It was a part of Qianlong Emperor’s collection, with his collection mark「乾隆年制」indicated on the bottom.

French and Chinese Aesthetics

This case of the lobed flower basket with peonies is a very interesting one! In 1775, Qianlong Emperor ordered replicas to be made of ten pieces of enamelware from the Kangxi and Yongzheng periods. Craftsmen in Guangdong and France were tasked to re-create the same flower basket, but there are slight differences. I prefer the more saturated blue colour of the French basket (pictured right), and the painting style of the flowers and leafs. On the other hand, I like the paler yellow on the exterior of the Guangdong basket. The Guangdong basket also appears more functional with the rectangular handle and the slight inward curve of the rim of the basket.

Portraits of Marie and Marie

Queen Marie Leszczyńska, wife of Louis XV, was a fan of Chinese culture and decor. She contributed to the making of the painting The Nanjing Market (below), reproduced from a Dutch illustration. The painting hung in the Chinese Chamber in Queen Marie’s private suite in the Palace of Versailles. Such scenes made by European travellers depicted everyday Chinese landscapes, but usually were error-prone or conjured imaginary pictures of China. The Nanjing Market pictures a row of shops with curved roofs and tall poles between them… It’s a strange and lively picture!

Marie Adélaïde was the daughter of Louis XV and Queen Marie. She is depicted in another gorgeous portrait by Nattier, where she holds a closed fan. The folding fan was a male accessory in China during this period. Interestingly, inspired by Chinese culture, the fan became a part of women’s fashion in the French court instead.

Crossing Cultures: China and France

A painted porcelain portrait! This portrait was based on the Jesuit Giuseppe Panzi’s original painting, who had served at the Qing imperial court. It’s a rare and fascinating depiction of a Chinese emperor through a European’s eyes and artistic style.

I enjoyed this interactive panel, which offered a contrasting view of Chinese and French portrait styles by comparing individual facial features between the Portrait of the Qianlong Emperor on porcelain plaque and other Chinese portraits.

During the Qianlong period of the Qing dynasty, it was popular to incorporate images of European figures on decorative objects (as seen above). In parallel, eighteenth-century French art and aesthetics also included various scenes of Chinese figures — in the craze for chinoiserie. Clearly, both cultures were fascinated by the other. I still find these images of Europeans by Chinese craftsmen and those of the Chinese by European craftsmen mutually strange, though!

Final Work: Voltaire

The exhibition concludes with a Portrait of Voltaire. A key figure of the French Enlightenment, the writer and philosopher held a high regard for China.

I’m not very familiar with Voltaire’s work, but I shall leave you reader with two of my favourite quotes from him:

Let us read, and let us dance—two amusements that will never do any harm to the world.

Dictionnaire philosophique (1764) ‘Liberty of the Press’

Doubt is not a pleasant condition. But certainty is an absurd one.

Letter to Frederick the Great, 28 November 1770

The Forbidden City and the Palace of Versailles: China-France Cultural Encounters in the Seventeenth and Eighteenth Centuries ultimately focuses on the positive interactions between China and France during these years. Indeed, not everyone agreed with Voltaire in his admiration of China. That being said, I found it very refreshing to learn more about the sincere exchanges largely made between the two royal courts. The exhibition featured so many beautiful artworks, porcelain, and other decorative objects which was such a treat to see. I really hope to see more exhibitions featuring cross-cultural exchanges in the future!

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2024 was so topsy-turvy I honestly haven’t really put my mind to reflecting on what I have achieved or experienced this year. To celebrate the end of 2024, new beginnings, and 10 years of Wording Art, I should acknowledge my major milestone of 2024, which was completing my PhD in art history!

I have shared at different points about my experience pursuing a PhD at NTU Singapore. It’s funny how time flies and I graduated in July 2024. Yet with all of the strange feels of post-submission, post-defence, and post-graduation, and moving on to a new chapter in life, it felt like I needed more time to finally share about being PhDone.

| Cover picture: Me staring at the wonderful shelves of books on British Art in Hatchards, Piccadilly, London |

My PhD Research on Angelica Kauffman: The Last Stages

Over the last 5 years, I have spent many hours thinking, researching, and writing about the Swiss-Austrian artist Angelica Kauffman. My PhD research focused on Kauffman’s self-portraits from her London period (1766–1781), considering how these images tell us about the ways she viewed herself as a professional female artist in late eighteenth-century London. That’s the one-line summary!

Writing up my dissertation in 2022-23 was both enlightening and frustrating. But that, to me, is really what writing is all about. Figuring out how to structure my chapters, subheadings, flow, which images should go where, titles… There was a lot to learn and experiment with, and I’m so glad I had an entire year all to myself just to focus on writing. It’s a rare experience to have dedicated time for writing, and to be given feedback on my dissertation by supervisors and a panel of examiners alike.

2024 started with me working on revisions on my dissertation, before prepping for an oral defence. I had to condense years of research and hundreds of pages into a 30-minute presentation, before fielding questions by the examiners. I think the word ‘defence’ is especially apt here, because at points it did feel like I had to ‘defend’ my arguments and ideas. My defence was held online, which I did not expect! It’s funny how so many events can now be held online in a post-covid world…

Two weeks after my defence, I flew to London to see the Angelica Kauffman exhibition at the Royal Academy of Arts, which you can also read more about in my blog post. It felt like the most fitting way to bring my PhD chapter to a close! Other than at the Royal Academy, I saw more of Kauffman’s works at the Now You See Us: Women Artists in Britain, 1520–1920 exhibition at Tate Britain. I also visited the gorgeous, revamped National Portrait Gallery to view what is probably Kauffman’s most famous self-portrait from her London period.

Graduation and Moving On…

Luckily things went well, and I made it for graduation! It really was the best day~~

I think with the completion of the PhD, there’s a strange feeling of finding my footing again. After months of tracking my hours of writing every day, it felt like I needed to reset and find a new routine again. I’ve seen only a few people online acknowledge this post-PhD limbo — and it’s so real! At this point of writing, I’m so glad to have moved through this stage, and I have now started a new job. Perhaps a bit shockingly, it’s bittersweet to me that I might miss a bit of PhD life in some ways.

Guest Post & Podcast Episode

With that, I’m happy to bring my PhD chapter to a proper close in 2024. While I haven’t shared much of my actual research on this blog, I have had the opportunity to share about it on other platforms!

In June 2024, I wrote a guest post on Art Herstory about Angelica Kauffman and her works centred on art, music and poetry. In this post, I explore some of my new, personal favourites among Kauffman’s artworks. I didn’t discuss most of these images in my dissertation, so it was nice to have another platform to write about a different aspect of Kauffman’s oeuvre. I would love it if you go here to read my guest post Angelica Kauffman: Art, Music and Poetry.

In November 2024, I spoke on a podcast episode with High Impact Thesis, a platform that hosts a diverse selection of researchers from NTU Singapore. In this one-hour long episode, I talk about my research on Angelica Kauffman’s London self-portraits, as well as:
🏛 What led me into art history and my research topic on Kauffman
🎨 Kauffman’s motivations in moving to London in her twenties
👩‍🎨 Women artists in eighteenth-century London and how they were perceived then and now
🗽 Allegory, Muses, and the art of imitation
🖼 Kauffman’s practice of imitation in her self-portraits (like the one at the National Portrait Gallery pictured below), and the particular influence of Raphael

I would love it if you would like to listen to my podcast episode on Spotify at this link!

Certainly though, it’s not yet the end of the road for me and my research on Kauffman! After spending years reading, thinking, writing, and discussing her artworks, my interest and passion about Kauffman is still as strong as ever. Maybe this is the true sign of having completed a PhD — that you don’t really get tired of talking about a specialised subject again and again… And the best part is that I can now officially say that I’m a bona fide art historian! 😉

The post PhDone | My Research on Angelica Kauffman appeared first on Wording Art.

The exhibition of Impressions of Monet is such a treat, transporting us to Monet’s Giverny right within the grounds of Gardens by the Bay! When I first learnt about Claude Monet (only in uni), I instantly loved his impressionistic artworks. He remains one of my favourite artists, and I count myself very lucky to have viewed his works across Hong Kong, Singapore and London! Visiting Giverny one day remains on my travel list, but it’s so cool that I get to see a replica of Monet’s house and gardens in Giverny right here in Singapore! I also think this might be my favourite exhibition in Singapore in 2024 so far.

Impressions of Monet: The Garden (Part I)

Around the age of 43, Monet and his family moved to Giverny, settling in a house and accompanying gardens from 1883 till his death in 1926. Over the years, Monet transformed his property into what we know and love today. The paint colours of his home (a gorgeous baby pink and dark green combination) were meant to emulate houses on the French Riviera, and his gardens became known for the water lily ponds which inspired his painting series of the subject made in his later years.

Gardens by the Bay in Singapore has rotating flower displays every year (sakura or cherry blossoms, tulips, and roses are the key highlights). I loved that they did something new this time around by centring the floral display on Monet’s gardens in Giverny.

The exhibition Impressions of Monet consists of two parts: Impressions of Monet: The Garden and Impressions of Monet: The Experience. There is much to see here!

I loved seeing the flowers in this show, which are different from the usual lineup at Gardens by the Bay. Closely aligned to the theme, the flowers included here were also the ones that Monet planted in his original gardens.

Painting En Plein Air

Monet was one of the French painters who made up the art movement of Impressionism. Monet was especially known for his obsession in chasing after light effects in nature. This involved taking his easel, canvas, paintbrushes, palette, and painting toolbox out and about to paint outdoors. Or in French, to paint en plein air. This also meant to paint quickly, resulting in the kind of short, rapid brushstrokes that define Impressionist paintings.

Here, a bronze sculpture of Monet shows him painting within the gardens! I also loved that he’s seen in the act of painting Monet’s Garden at Giverny (1895). Fitting choice!

Inside Monet’s House

There are other interactive elements among the garden, like stepping inside Monet’s house and seeing the interiors!

Monet took inspiration from Japanese ukiyo-e woodblock prints from the Edo period, and some reproductions are included within the house too. To see more, check out my post on Life in Edo!

A spectacular setup of Monet’s Giverny maison et jardins is the highlight of Impressions of Monet: The Garden!

Flowers and Paintings

You may have noticed that most of the ‘artworks’ included within Impressions of Monet: The Garden were actually repainted copies. (Possibly due to copyright restrictions?) Monet has such a wide oeurve, and I loved having the chance to learn about some of his works that I didn’t know of before! The exhibition didn’t provide any ‘captions’, so I had to find out what these artworks are for myself!

Woman with a Parasol is one of my absolute favourites by Monet, and it’s nicely included here!

I especially loved seeing these sunflower-looking flowers — they remind me of my convocation earlier in July! Plus, they look a lot like the flowers in The Artist’s Garden at Vétheuil above! The last ‘artwork’ nestled among these yellow flowers is a repainted copy of Meadow with Poplars, about 1875, in the collection of MFA Boston. A repainted copy of a very similar composition, Poppy Fields near Argenteuil (1875) at The Metropolitan Museum of Art, also appears among an earlier section of these yellow flowers (see photo at the beginning of this post).

Water Lilies in Monet’s Giverny

It took me time to understand my water lilies. I had planted them for the pleasure of it; I grew them without ever thinking of painting them. – Claude Monet

It was wonderful to see a few water lily ponds (bassin aux nymphéas) throughout the exhibition. It was also the water lilies’ debut at Gardens by the Bay, appearing in a floral display for the first time! We also got to see Monet’s Japanese-inspired green bridges (usually painted in red in Japanese culture), like the ones that he built in Giverny.

Impressions of Monet: The Experience (Part II)

I thought Impressions of Monet: The Garden was wonderful on its own, but there’s even more to see with Impressions of Monet: The Experience! The second part is like what you might expect from an immersive experience: it begins with various information panels on the artists of the Impressionist movement, includes a few reproductions of Monet’s paintings, and has many photo spots and digital elements!

I thought this rather abstract version of Monet’s Nymphéas was fascinating! I’ve never seen anything like it before — it’s in a private collection.

Monet: The Immersive Experience

The major highlight is the immersive experience itself! Produced by Grande Experiences (Australia), the digital experience shows the progression of the Impressionist movement, set to a classical music soundtrack. There was also a fragrance element, with a specially developed scent diffused through the gallery — but to be honest, I didn’t catch it!

My favourite part might be the opening section where the dramatic music shows some of the artistic styles and artworks that preceded the Impressionism movement. For example, I spy Jacques-Louis David (neoclassicism), Eugène Delacroix (romanticism), and Gustave Courbet (realism). Then bam! The music rises to indicate the Impressionists arriving on the scene.

One of my other absolute favourites of Monet’s is his Houses of Parliament series (1899–1904) made in London. I was so happy to see a 1904 version in Hong Kong back in 2016! Monet’s Houses of Parliament painting series is also going to be a subject of the exhibition Monet and London. Views of the Thames at The Courtauld Gallery in London opening soon this month — really wished I could be there!

I liked that the immersive experience also included artworks by the other Impressionist artists! I just wished that the artwork titles were included within the immersive experience too. Above is an expanded view of Paul Cézanne’s The Montagne Sainte-Victoire with a Large Pine (around 1887) at The Courtauld.

An expanded view of Monet’s La Pie (The Magpie) (1868-69) which was last in Singapore at National Gallery Singapore in 2017!

Gift Shop

The final touch of Impressions of Monet: The Experience is, of course, the gift shop! I ended up going home with a high-quality mug with a design of Woman with a Parasol – Madame Monet and Her Son (1875) and Woman with a Parasol, Facing Left (1886) photoshopped together.

Overall, I thought Impressions of Monet was excellently done, and I had the best time exploring Monet’s iconic house in Giverny — but in Gardens by the Bay in Singapore! I really think Gardens by the Bay has outdone themselves. Impressions of Monet: The Garden at Gardens by the Bay, with a touch of Giverny, is showing until 17th September 2024. Impressions of Monet: The Experience is showing until 18th February 2025.

Next up in Singapore, I’m looking forward to the immersive experience of Monet Inside (from Seoul, Korea) opening in October. Would the immersive experience be even more epic? Well, I’ll take any reason to see more Monet — whether physically or digitally!

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I think it goes without saying that I loved the show, and to me it’s worth 5 stars ⭐⭐⭐⭐⭐. While I had seen a couple of Kauffman’s artworks before, it was amazing to see so much more in person (where I had only viewed them in books or online).

| Cover picture: Detail of Self-portrait at the Crossroads between the Arts of Music and Painting |

Note: Artwork titles are provided here according to those stated in the exhibition. Throughout my research, I’ve noticed that the titles of Kauffman’s artworks are regularly updated.

Before getting into the rest of this post, I also wanted to share about my guest post on the Art Herstory blog. If interested to read more about Kauffman from another perspective, have a read of my guest post titled ‘Angelica Kauffman: Art, Music and Poetry’ here!

Opening: Self-Portraits

The exhibition opens with three of Kauffman’s self-portraits, all dating to the 1780s. The highlight is her magisterial Self-Portrait in all’antica Dress, loaned from the Uffizi Galleries in Florence, Italy. The word ‘all’antica’ means ‘in the style of the antique’ to evoke the fashions of classical antiquity.

Kauffman’s Portraits: 1760s-1770s

The exhibition follows a roughly chronological order, tracing Kauffman’s life and artworks produced throughout her long career. A few key details to know about her: Kauffman (1741–1807) was Swiss-Austrian; she spent her early years training as an artist in Italy, and moved to London in 1766.

One of Kauffman’s early portraits is the Portrait of Johann Joachim Winckelmann, whose writings on classical Greek art and sculpture makes him one of history’s earliest art historians. As a young artist in her twenties, Kauffman began to make a name for herself with this portrait.

I loved seeing Kauffman’s portraits close up, so I include these photos of details of the paintings! Some of the details that stood out to me were Kauffman’s use of colours, and the varying textures of the fashions is just spectacular. My favourite among these is Portrait of Martha Cocks in Turkish Dress with Embroidery Frame!

Kauffman’s History Paintings: 1760s-1770s

Other than working in portraits, Kauffman was especially ambitious in pursuing the art of history painting. History painting is a genre where the subjects of painting are taken from classical texts, mythology, and biblical stories. Penelope, Cleopatra, and Rinaldo and Armida are examples of characters that feature in Kauffman’s choice of history paintings.

I loved seeing this pair of paintings that feature the same story of Armida and Rinaldo shown side by side. They belong to the collection of Kenwood House in London, but are usually displayed in different sections of the House. Seeing these two paintings together, it was so interesting to see the two main characters but also the two soldiers-onlookers appearing in the background once again…

Kauffman as a Royal Academician

The Royal Academy of Arts was founded in 1768, and Kauffman was included among the 36 founding members. We also know that Kauffman and Mary Moser were the only two female Royal Academicians among the 36. Based on this fact, it’s also so important that Angelica Kauffman is finally the subject of a solo exhibition at the Royal Academy in its long history!

Zoffany’s painting of The Academicians of the Royal Academy is now almost legendary, depicting the male Academicians in the setting of a life class (which never happened in real life), while the two women are shown in portraits hanging on the wall. Zoffany’s group portrait is one of a few works by other artists included in this Kauffman retrospective. I loved having the chance to finally see this famous work in person!

Kauffman’s portrait of her friend, and the first President of the Royal Academy of Arts, Sir Joshua Reynolds is stunning. It was only by seeing it in person that I could finally spot Kauffman’s signature along the bottom of the blank canvas situated behind Reynolds — it’s hard to detect in photos!

The Ceiling Paintings

Kauffman’s four ceiling paintings of Invention, Composition, Design, Colouring were commissioned by the RA in time for the opening of their new premises in Somerset House in 1780 (which is now the beautiful Courtauld Gallery). The paintings are now placed on the ceiling of the RA’s entrance foyer in Burlington House. But in this rare instance, the paintings of Design and Composition are exhibited on the wall! Invention and Colouring are currently on show at the (also excellent) exhibition Now You See Us: Women Artists in Britain 1520–1920 at Tate Britain.

Wonderful to see these paintings up close instead of squinting up at the ceiling… Among the artworks pictured here, the ceiling paintings are the only paintings by Angelica Kauffman in the collection of the Royal Academy.

I also thought it was a nice touch to include Kauffman’s grisaille sketches of the ceiling paintings on the side. These sketches show how Kauffman initially worked out the compositions of her paintings.

But placing these grisaille sketches behind the glass frames also made them hard to see clearly… I had viewed these drawings two years ago at the V&A in their Prints and Drawings Study Room, and they are absolutely stunning (which these photos don’t manage to capture!).

This Self-portrait with Bust of Minerva is displayed next to the ceiling paintings too, which is an interesting choice! The self-portrait is dated to circa 1780–84, which means that Kauffman may have started on the painting while she was still in London until 1781, before settling in Rome for the rest of her life.

Kauffman in Rome: From 1782

The last section of the exhibition displays works by Kauffman made later in her career, after she moved to Rome in 1782. Based on the paintings we’ve already seen, it’s no surprise that Kauffman’s reputation as a well-known artist was secured.

This gem of a self-portrait also belongs to the collection of Kenwood House, and it’s so nice to see it included in this exhibition too! Kauffman depicts herself on the left as the ‘character of Design’, while the figure on the right represents the allegory of Poetry.

These are a few more of Kauffman’s history paintings from the 1790s, alongside one biblical picture depicting Christ and the Samaritan Woman. In the same room, the exhibition concludes with several gorgeous portraits!

Kauffman’s Portraits: 1790s

I especially love this portrait in the details of the sitter’s clothes. In this Portrait of Charles Brudenell-Bruce he wears a costume in the style of Van Dyck, evoking seventeenth-century fashions. The lace collar and the undulating lines of his coat are just so refined.

A highlight piece is also this Portrait of Emma, Lady Hamilton, as Muse of Comedy. Emma Hamilton can be likened as a celebrity of the late eighteenth century. Apart from being known for her beauty, she also developed her performances of the ‘Attitudes’, where she struck varied poses inspired by classical sculpture. Here Kauffman depicts her performing as Thalia, the Muse of Comedy.

Emma Hamilton remains a notorious, yet fascinating, figure of her time (due to her history of love affairs), and she is the subject of many portraits. While this portrait belongs to a private collection, elsewhere in London you will be able to see her at the National Portrait Gallery, Kenwood House and Tate Britain.

Self-portrait at the Crossroads between the Arts of Music and Painting

I was so excited to see this beautiful, massive self-portrait in person! Painted late in her life and career, Kauffman (in the centre) reflects on her early decision to pursue the path of painting (figure on the right) instead of music (figure on the left). The painting is exceptional because it combines the genres of history painting, self-portraiture, and allegory all in one complete image.

I think the large size of the painting also matters, as it is a sign of artistic skill. Reserving such a large canvas for Kauffman’s own self-portrait seems to show that this image was significant for her too.

Plus look at all those details! It was also a lovely surprise to finally realise that Kauffman included her signature on the coloured sash of her dress.

My absolute favourite artwork within this exhibition Angelica Kauffman at the Royal Academy of Arts would be the Self-portrait at the Crossroads between the Arts of Music and Painting. I may also be biased, but I especially loved seeing Kauffman’s self-portraits, then my next favourites are her portraits.

I wished I could spend even more time in the exhibition (I was inside for 1.5 hours!), but putting this post together makes me so happy that I viewed so many artworks by Angelica Kauffman all in one place at the Royal Academy, after so many years — it’s a surreal feeling! The exhibition closes today at the end of June, but I also bought the exhibition catalogue and a postcard of Self-portrait with Bust of Minerva as souvenirs! If the RA had printed a Kauffman artwork on a tote bag, I would have totally bought it too!

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| Cover Picture: Robert Indiana, LOVE Blue Faces Red Sides, 1966–1999, polychrome aluminium |

ART SG

We have waited so many years (since 2018 at least?) to finally see the ART SG art fair come to fruition in Singapore! It certainly shares similar vibes to Art Basel in Hong Kong. In its inaugural edition in 2023, ART SG delivered art by the familiar well-loved artists, as well as the strange and kind of wacky!

Why though…?? I don’t know the title of this artwork, but it’s a play on the classical sculpture Laocoön and His Sons in the Vatican Museums…

Enjoyed seeing artworks from Ben Brown Fine Arts again — my usual art fair favourites are Vik Muniz’s collages of famous masterpieces and Gavin Turk’s humorous bronzes! Giraffe refers to the taped banana artwork fiasco that was Maurizio Cattelan’s Comedian (which was originally shown at Art Basel in Miami Beach in 2019).

Around the World in 80 Days

The exhibition ‘Around the World in Eighty Days’ at Alliance Française de Singapour offered something different! Based on the titular novel by Jules Verne, the exhibition was centred around French innovations in transport and travel on land, sea, air, and even in space.

My favourite part of the exhibition was being able to touch and handle these early editions of the novels which are held in private collections. It’s very nerdy of me, but I love having the chance to touch artefacts from centuries past!

Library of Unread Books

The artwork installation The Library of Unread Books by Heman Chong and Renée Staal was so interesting to discover! As what the name suggests, it’s a library and room filled with unread books donated by the public. My sister and I were so fascinated by the concept that we each donated an unread book of our own! It was also great to skim, glance and read all of the different books on display. This artwork was on show in Singapore earlier this year, and travels regularly — currently it’s in Seoul!

Peranakan Museum

The Peranakan Museum finally reopened after a few years of revamp, and it was nice to see the updated gallery displays. This gorgeous table cover is finally on display in the museum, and it sparkles so delicately with actual glass beads inlaid in the cloth.

National Museum of Singapore

NMS – A Voyage of Love and Longing

I enjoyed seeing this small exhibition ‘A Voyage of Love and Longing’ at the National Museum of Singapore. This exhibition weaves stories and poetry about love and longing from the Malay world, alongside drawings of birds, plants, and flowers contained in the museum’s William Farquhar Collection of Natural History Drawings. It provides a new kind of perspective which I thought was very nicely done!

NMS – Now Boarding

I highly recommend checking out ‘Now Boarding: Experiencing Singapore through Travel, 1800s – 2000s’ at the National Museum of Singapore! It’s currently on show till 25 February 2024. I spent so long looking at all the details of the exhibits, and loved seeing an older side of Singapore through the years.

If you can, also take a dance in the NMS Disco with a friend! You can choose from beginner to advanced level difficulty and dance along to some old grooves! A video recording of your dance will be made available to one of the participants (via an app or link or something). It really made me laugh to see my friend and I dancing in somewhat embarrassing fun!

Immersive Disney Animation

2023 was also the year of Disney100, and I embraced that fully!! I watched 3 Disney movies, got a tote, went to Hong Kong Disneyland, watched the Frozen musical… and also visited the ‘Immersive Disney Animation’ exhibition! It is currently showing until 25 February 2024.

The highlight is the one-hour long immersive video experience showing clips from various Disney cartoons and animations. There are only some couches in the middle, so almost everyone sits on the floor out of consideration to allow everyone to watch the screens!

I loved watching my old and new favourite Disney classics in the immersive experience, but I was quite peeved to miss most of the exhibition area before going into the immersive experience. The time slots are tight (and last for 90 minutes only), so the staff were calling everyone to go into the immersive viewing area early. We thought we could return to the exhibition area but weren’t allowed to — so do spend enough time to check out the exhibits before running in!!

Gardens by the Bay

Tulipmania: Origins of the Tulip

I spent more time visiting Gardens by the Bay this year, and I decided to include these pictures specially because I enjoyed seeing these beautiful flowers so much! I finally visited my first-ever Tulipmania, as I thought it was so unique that Gardens by the Bay went for a Türkiye theme this year! Loved seeing the exhibits nestled among the tulips as well.

Orchids of Machu Picchu (and Avatar: The Experience)

I finally revisited Cloud Forest at Gardens by the Bay after many years, and managed to catch both Avatar: The Experience and ‘Orchids of Machu Picchu’!

‘Orchids of Machu Picchu’ is still ongoing. The flower exhibition includes some very beautiful orchids, along with Peruvian artefacts like these replicas of receptacles (shown above). I’m loving the educational bent that Gardens by the Bay is taking with their recent events with Orchids of Machu Picchu and with Tulipmania this year.

Only after revisiting Cloud Forest now did I realise Gardens by the Bay kept one of the best Dale Chihuly glass sculptures in their conservatories! In 2021, Gardens by the Bay held a Dale Chihuly exhibition, see here for the post!

That’s a wrap! In 2023 I also visited Hong Kong’s new and revamped museums, which I’m also looking forward to sharing more about on Wording Art! At this moment, I’m just happy to have seen all these art, exhibitions, and immersive experiences — including the excellent Van Gogh Immersive Experience — right here in Singapore. :)

The post Art of 2023 appeared first on Wording Art.

The Singapore edition of Van Gogh: The Immersive Experience had its run from March to October 2023, while the London edition has been running for over a year! I loved the location in Singapore at The Forum in Resorts World Sentosa, it was big and spacious. The London edition was at an industrial-style building in Spitalfields, and so I took the time to explore the area a bit too!

Get to Know Van Gogh

I love that the experience starts off with a collection of Van Gogh’s self-portraits, enlarged in equal size on these black banners. Van Gogh’s famous self-portraits in public museums were featured alongside some in private collections, which I thought were a nice inclusion!

The next section is all about getting to know more about Van Gogh. There’s a good mix of digital elements, replicas of Van Gogh’s paintings (no real works on site!), and wall panels sharing more information about his life and work. An exhibit of a life-size white vase is part of a digital projection that features the different flower paintings that Van Gogh made, which was pretty fun!

This was a fun real-life set-up of Van Gogh’s painting Bedroom in Arles. As the wall panel explains, Van Gogh made three versions of his bedroom in the famed ‘Yellow House’. Van Gogh had painted the first / original Bedroom in Arles in October 1888, now in the collection of the Van Gogh Museum, Amsterdam. The two latter versions were made the following year in 1889, and are now in the Art Institute of Chicago and the Musée d’Orsay, Paris.

Looking at the set-up in the London immersive experience (pictured above), I think they were imitating the second version of Bedroom in Arles in the Art Institute of Chicago, with the similar colours and portraits on the wall! But this area was barred off, so unfortunately I couldn’t take a photo inside. The Singapore edition made the Bedroom a photo spot though!

The Immersive Experience

The star of the show is really the immersive experience itself, with so many of Van Gogh’s paintings brought to life and animated across the entire room. I liked how each painting was accompanied by its title and year of its making, if you care for the details like I do! There are also some quotes from Van Gogh’s letters, set along to a somewhat dramatic soundtrack.

I loved that the immersive experience included images of Tree Roots, which was the last painting that Van Gogh made. I remember following the art news (during the circuit breaker in May 2020!) that the location of these Tree Roots was newly discovered in Auvers-sur-Oise, France through a postcard photograph! As it was, Van Gogh lived in Auvers-sur-Oise back in 1890, and brought his colourful vision to the tree roots, which still look largely the same even today.

The immersive experience is about twenty minutes long, which is so worth the value! I beelined straight for the deck chairs because I loved lying back and staring up at the art on the screens, and it’s such a novel way of looking at art!! Although on second thought, I should have also tried parking myself on the sofas in the Singapore experience, as all of the furniture was sponsored by Castlery!

Because the immersive experience room in Singapore was so spacious and comfortable, I must say that I enjoyed it much more than the London edition, which had a smaller room. The room was very packed and so it was also difficult to get clear pictures!

Japonisme Room in Singapore

It felt extra special that the Singapore edition also included a japonisme room! This was not available in London, and I wonder if the other stops in Asia also have this. Van Gogh famously drew inspiration from Japanese ukiyo-e woodblock prints, like those by Hiroshige in particular. This japonisme room highlighted works from Chinese and Japanese art, as well as works by Van Gogh’s contemporaries, such as Gustav Klimt. The tea brand Matchaya also provided free samples of green tea, which I thought was such a nice touch!

Paint with Vincent

At the end, you can colour your own version of Van Gogh’s masterpieces, display it on the wall, and even project it digitally!

Sunflower Room

One more photo spot in the Sunflower Room in the Singapore edition before leaving!

Cafe and Merchandise Shop

I loved how the cafe and shop (in Singapore) was so well decked out and on-theme!

Some final thoughts: I really enjoyed seeing Van Gogh’s art in this new, immersive experience! I’ve heard some critique that this might not be a ‘purist’ way of looking at art, and at times the animated artworks in the immersive experience also took on ‘creative license’. But I’m of the view that it’s fun, engaging, and brings awareness to more of Van Gogh’s artworks — whether for old favourites or other less familiar ones.

Another note is the surprising difference in price: In Singapore an adult ticket cost SGD$24, while in London an adult ticket cost £19.90 (not inclusive of booking fees via the Fever app), which is quite a steep difference!

In any case, Van Gogh: The Immersive Experience was fun enough to go twice! It’s exciting to see the experience continue its world tour, check out their website to see if it’s coming to your city!

The post Van Gogh: The Immersive Experience | Singapore & London appeared first on Wording Art.

| Cover picture: Hiromi Tango, Dr Emma Burrows and Dr Tilman Dingler, Wheel, 2021, at ArtScience Museum’s MENTAL: Colours of Wellbeing |

Asian Civilisations Museum – Russel Wong in Kyoto

Russel Wong in Kyoto was first shown alongside Life in Edo in 2021, and then it was extended into 2022! Additional photographs by Wong were added, keeping the focus on an inside look of geikos in Kyoto, but I also really liked the atmosphere of showing Kyoto in flowering season.

National Gallery Singapore – Chua Mia Tee: Directing the Real

I was able to visit this exhibition twice because it went on for about a year — early on in January and one more time on its last day! This is a solo exhibition dedicated to Singaporean artist Chua Mia Tee, and I enjoyed seeing his views of Singapore back in the old days…

Victoria Theatre and Concert Hall (shown on right of painting) is missing its crown at the top of its dome! I found this missing detail so funny, because I only learned a while back too about the building’s crown! Also my favourite work of architecture in Singapore.

Singapore Chinese Cultural Centre – Life is Sweet: Ang Ku Kueh Girl Exhibition

Found this a sweet exhibition and I loved these uplifting messages along with these cute Ang Ku Kueh Girl illustrations!

Han Sai Por’s Microorganisms Landscape

The use of the Jendela art space at the Esplanade for Han Sai Por’s mixed-media Microorganisms Landscape was pretty good! I also liked seeing a different side to Han’s work, who is well-known for her sculptures which are easily found across Singapore.

Hong Kong: Through the Looking Glass miniature exhibition《細看香港》

Take me back to Hong Kong!!! Here’s to me doing that in 2023!!! In the meantime, I loved seeing these miniatures of everyday Hong Kong scenes — and there were so many other people viewing this exhibition too!

200 TRUNKS, 200 VISIONARIES: THE EXHIBITION

In celebration of the 200th anniversary of Louis Vuitton’s birth, LV launched this exhibition that invited 200 artists, creatives, and some celebrities to reinterpret the classic LV trunk. Singapore was the second stop for this travelling exhibition, which is really cool! Loved the ideas and creativity that was abounding here.

National Museum of Singapore – OFF / ON: Everyday Technology that Changed our Lives, 1970s – 2000s

More throwbacks to an older Singapore, I really liked these room set-ups like the barber salon and the photographer’s studio!

i Light Singapore

i Light finally returned after its last showing in 2019! It was really nice walking around the Marina Bay area again at night to see all the lights.

My favourite from i Light this year was Firefly Field! They are electronically controlled but appear to sway naturally in the wind.

Botanic Gardens Gallop Extension

I finally visited the new(-ish) Gallop Extension at Botanic Gardens, and I definitely want to visit again! There are two black and white houses named Inverturret and Atbara, and you can explore their interiors, learn more about the colonial era architecture, and see exhibitions and highlights from the Singapore Botanic Gardens collection.

Asian Civilisations Museum – Batik Kita: Dressing in Port Cities

Popped by ACM again to see the exhibition Batik Kita, that featured batik in textiles in both its traditional and contemporary forms.

Malay Heritage Centre – Cerita

I visited the Malay Heritage Centre before it closed for renovation, and its last exhibition was Cerita (Stories). The highlight piece for me was this stunning painting by Raden Saleh!

Lee Kong Chian Natural History Museum

Finally visited the Lee Kong Chian Natural History Museum for the first time ever — after so long! It’s situated within the campus of National University of Singapore, and the museum exhibits are set across two stories. I thought it was really well done; it’s cool to see Singapore’s very own dinosaur exhibits, and I was also particularly taken by the molluscs section!

National Gallery Singapore – Wu Guanzhong: Travelling with the Master

I still think that the best Wu Guanzhong exhibition at National Gallery Singapore was Wu Guanzhong: Beauty Beyond Form in 2016. The latest showing Wu Guanzhong: Travelling with the Master was a little cobbled together, but it was still nice to see some really great works by Wu.

National Gallery Singapore – Nothing is Forever: Rethinking Sculpture in Singapore

Running from 29 July 2022 to 5 February 2023

Haha, I couldn’t help myself! It doesn’t matter when one doesn’t ‘get’ the art, just pose with it and have fun…!

House of Dreams

I loved this display of Barbie dolls at House of Dreams hosted at the Ion Orchard art gallery space, it was so pink, bright and fabulous! Loved the vintage looks to the contemporary ones, with my favourites below!

Asian Civilisations Museum – ACM and Anima Mundi: Chinese Christian art from the Vatican Museums 

Currently showing

This exhibition of loans from the Anima Mundi (Soul of the World), Vatican Museums at ACM featuring Chinese Christian art seems to be getting little traction, but it’s a really nice display of works incorporated within ACM’s Christian art gallery! The works of Chinese Christian art makes for both a strange and interesting combination that I’ve never really encountered before.

ArtScience Museum – MENTAL: Colours of Wellbeing 

Running from 3 September 2022 – 26 February 2023

I thought that MENTAL was both fun and a little quirky! The exhibition’s take on mental health and wellbeing was not exactly what I was expecting (I thought I should come out of it feeling nice and cosy or something like that??), but there was a good variety of responses and artworks that related to the theme.

Even in Fear by Zhou definitely made me feel a little more anxious than I should have! The white balloon in the bright pink container keeps expanding and filling up the space until it looks like it’s going to explode — and then it deflates, and the cycle repeats again.

I thought this work Hello Human, Hello Machine was really fun because you could pick up the payphone and it connects you to someone and start a conversation! But, spoiler alert, I am convinced that the person on the line is pre-recorded……

In Mirror Ritual, you look into the mirror and the AI machine presents you with a poem based on the emotions on your face. I gave it my best neutral expression and this is what I got, which cracked me up!!

I thought this was the perfect note to end this post with. Thank you 2022, you’ve been a ride — and of course, one of my ultimate highlights of the year was visiting London, and I should do another highlight post of that! I hope the new year 2023 treats you well, and that you be kind on yourself too! Let’s see what it will bring…

The post Art of 2022 appeared first on Wording Art.

Perhaps the one-line summary is this: Doing a PhD is always going to be difficult, and doing anything in a pandemic makes everything more difficult still — but I recognise how incredibly blessed I’ve been with all the people, opportunities and support I’ve been surrounded with, and I truly value all of these.

Now let’s rewind to October 2020: I’d shared that I’d passed my Qualifying Exam for my art history research master’s at Nanyang Technological University (NTU) in early September that year. That was only the beginning of the gruelling process that was converting my master’s to a PhD. I’m not sure if this practice exists in other educational systems, but I’d also think that it’s not usual or easy at all. I didn’t share about any of this earlier, because there were just so many moving pieces hanging in the balance and I didn’t want to jinx anything LOL!

In October 2020, I then sat for my conversion exercise (yet another report and presentation), prepared a PhD research proposal and had an interview in November 2020 (similar to what I did when applying for my masters!), and then waited… The news came through in mid-January 2021 that my conversion was successful, and a week later, the news that I was given a NTU scholarship sent me over the moon! Took a deep breath to take it all in, before finding out that I was going to have to dash for yet another qualifying exam in April 2021. Went into a happy daze (just briefly, the PhD life waits for no one) when I was confirmed as a PhD candidate in late April!

Luckily, the timing worked out well as all of these happened when the Covid situation was doing much better, and it was a lot easier to go into campus to get my writing done. Things got more cautious from May, and flitting around many different things — classes, conference applications, assignments — to the background of restless Covid definitely takes its mental toil. I love that canvas print of Which step have you reached today, which I saw at Chapter 55 (restaurant in Tiong Bahru), up above in the cover picture. Almost every day, I go from ‘I won’t do it’ to ‘I’ll try’…

But! I’m now heading into my final fourth year of my postgraduate studies, and what a time to celebrate the good things and the breakthrough days when I get to the top three steps of that ‘do it’ staircase.

So, I think one thing I wanted to put in words (so I can remember it for posterity) is why I decided to go for a PhD and a conversion. I don’t think anyone has asked me about this in an official capacity, and what I really appreciate about postgrad interviews is that they keep the focus on research. The seed of this conversion idea was planted early on in my first semester (thanks to my professors’ foresight), and it was really in May 2020 that I fully committed to the the plan and went full-out to fulfil the crazy schedule outlined above.

Funnily enough, my main two reasons for doing the PhD conversion remained within the same two ‘categories’ that also made up my decision to take up my master’s at NTU. The first, primary reason is related to my own research: I knew I was — and still am! — in the right place to do the research I want to do (Angelica Kauffman’s self-portraits + eighteenth-century British art) as I seriously do have the best supervisor and advisory committee, and I’m comfortable in this environment and NTU’s fantastic facilities. You could say that the UK would perhaps be more fitting because the art and the archives that I need to see are located there, but the unexpected twist in the story with Covid meant that museums and archival centres had to close, and many things shifted online… And as it became more apparent that the pandemic was going to go on for longer than anyone could have expected, I was feeling uncertain about expecting to finish my MA in mid-2021.

And on my research, it only seemed that I was getting more engrossed in it all the time — and this is probably the most important factor to me in doing a PhD and sticking it out. I’d kept to the same topic throughout the MA and in converting to the PhD, but the research kept growing in many interesting ways and I wanted to keep the momentum and take my topic further by upscaling it into a PhD. I have mentioned before that there is often the initial feel to build a super-broad topic for the research proposal and the feedback you get is always to narrow, narrow it down! And then when you get accepted into the MA/PhD program and work on it further, the topic grows and changes in ways unknown yet again… It doesn’t seem to make sense, but it’s definitely what I’ve experienced!

Another thing I’ve noticed is that my research seems to be getting increasingly personal — the appeal of working on Kauffman and eighteenth-century London in the first place was that there seemed to be no relation to my actual twenty-first-century life in Singapore/Hong Kong and it was refreshing to be working on a clean slate. Yet I realise that my interest in looking at Kauffman’s London self-portraits and my approach in doing so reflects my own thoughts and feelings… I’m not too sure how to explain this, but maybe it will become clear to me when I’m finally done writing the dissertation in mid-2023?

The second main reason, on unavoidable, pragmatic terms, is related to costs and financial matters. Any postgraduate degree is pricey in one way or another (plus opportunity costs), and I was hoping to leverage on ‘saving’ a year in completing a PhD by converting my MA. In any case, receiving the news of my scholarship made it the best night of my life and it’s really been life-changing, and I don’t take it for granted at all. So, so thankful.

Now that I’m doing a PhD — which still feels surreal — what other highlights then? Turning things online has been so helpful in opening up access to hearing more talks, participating in events, etc. across the world for free — although I openly profess I’m still a Zoom noob (I like MS Teams more).

The biggest highlight of 2022 would definitely be finally making it to London to get my hands on the archives in May! I’m also (slowly) sharing more of all the art and museums I saw and visited during my time there on the blog, which was just such an immersive experience.

Ah, so now it’s a matter of writing and completing the dissertation, putting my thoughts together… Let’s see what other thoughts I’ll have about the writing process in the coming academic year!

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