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Teo Eng Seng
Photograph: National Gallery SingaporeTeo Eng Seng
Photograph: National Gallery Singapore

'Teo Eng Seng: We’re Happy. Are You Happy?' – the chaotic beauty of art made from repurposed objects

Cultural Medallion artist creates compositions, both large and small ones, that respond to global issues with spontaneity and a tad of wit

Mingli Seet
Written by Mingli Seet
Arts & Culture Writer
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Ever so often, you chance upon a source of inspiration that prompts you to reflect on yourself and the world around us – for us, it is both the artworks of Teo Eng Seng and the man himself. If you’re curious to find out how so, then your next art date should be to National Gallery’s upcoming exhibition, Teo Eng Seng: We’re Happy. Are You Happy?, running from September 6, 2024 to February 2, 2025.

Teo Eng Seng
Photograph: National Gallery SingaporeArtist Teo Eng Seng and his work We’re Happy. Are You Happy? (1997)

Veteran artist Teo Eng Seng is many things. First and foremost, he was awarded the Cultural Medallion – Singapore’s highest arts accolade – in 1986. He was also an art teacher, an avid traveller (hitchhiking from Singapore to England with just 25 pounds), and most importantly, an artist through and through.

Over seven decades, his practice involved exploring different mediums: from sculptures and painting to performance and installation art. His art voyage continuously explored daily life through his use of everyday materials and his commitment to social engagement. 

Teo Eng Seng
Photograph: National Gallery SingaporeInstallation view

Repurposing everyday materials such as plastic waste, canvas, concrete, wood, and found objects such as old curtains, Teo creates compositions, both large and small ones, that respond to global issues with spontaneity and a tad of wit. In the 1980s, he invented ‘paperdyesculp’ – a medium that is created by shaping dyed papier-mâché and other materials into sculptural artworks.

The exhibition features nearly 70 artworks, which may initially seem like a chaotic mess of colours, materials, forms, shapes, and mediums. However, a closer look reveals deeper details and underlying messages.

Teo Eng Seng
Photograph: National Gallery SingaporeSweet Talk and Straight Talk (2009)

The show is divided into two sections that reflect the philosophies that guided artist Teo throughout his career: Don’t Try to Read it, See it, Feel it – showcasing the spirit of innovation and Sweet Talk, Straight Talk: A Global Citizen Engaging in Social Commentary through Art – exhibiting the use of art as both a medium for social engagement and public messaging. 

Don’t Try to Read it, See it, Feel it

Photograph: National Gallery Singapore

In the exhibition’s first section, Don’t Try to Read it, See it, Feel it, you’ll find Teo’s works that explore various practices, genres, and movements, inspired by things he has seen, heard or felt. You might find it slightly difficult to identify what his works are, but that’s because most of them aren’t created to be recognisable objects. Instead, they are assemblages that utilise vibrant colours and abrupt forms that are integrative of existing art genres and movements. Teo also prioritises spontaneity in his work, choosing colours and materials instinctively rather than through meticulous planning.

Don’t Try to Read it, See it, Feel it (1986)

Don’t Try to Read it, See it, Feel it (1986)
Don’t Try to Read it, See it, Feel it (1986)
Photograph: Teo Eng Seng

Here, you’ll come face to face with the artwork Don’t Try to Read it, See it, Feel it (1986), one which seemingly displays two Chinese characters, but upon further scrutiny, reveals to its viewers that it is illegible. Teo’s intentional distortion of the characters challenges traditional ideas of readability in Chinese characters, highlighting how visual communication can transform beyond language.

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Five Nails (1991)

Five Nails (1991)
Five Nails (1991)
Photograph: National Gallery Singapore

Another work you’ll be able to find is Five Nails (1991), which, as its name speaks for itself, is a sculptural artwork depicting five fingernails. Inspired by Buddha’s palm as depicted in the classic Chinese novel Journey to the West, the artwork stands at 3.7 metres, aiming to convey a feeling of being immersed in something much larger and greater than oneself.

Sweet Talk, Straight Talk: A Global Citizen Engaging in Social Commentary through Art

Photograph: National Gallery Singapore

The second section is titled Sweet Talk, Straight Talk: A Global Citizen Engaging in Social Commentary through Art. The artworks in this category, such as paperdye sculptures and paintings, clearly showcase Teo’s perspective on global and local issues, artistic genres, and personal events through a straightforward, no-nonsense approach with a hint of humour. 

We’re Happy. Are You Happy? (1997)

We’re Happy. Are You Happy? (1997)
We’re Happy. Are You Happy? (1997)
Photograph: National Gallery Singapore

Some highlights include We’re Happy. Are You Happy? (1997). The artwork is essentially a second-hand birdcage filled with objects made using his paperdyesculp technique. You’ll notice classical columns, ones that can be found in Singapore’s wealthy mansions, and paper birds held captive within. This illustrates the clash between luxurious living and the compromise between material wealth and personal freedom.

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Massacre at My Lai (After Haeberle’s) (1970)

Massacre at My Lai (After Haeberle’s) (1970)
Massacre at My Lai (After Haeberle’s) (1970)
Photograph: National Gallery Singapore

Do look out for his painting Massacre at My Lai (After Haeberle’s) (1970) as well – a reference to American photographer Ronald L. Haeberle’s photograph of the My Lai massacre that captures a heap of bodies rendered in stark black lines against a striking red background.

Photograph: National Gallery Singapore

The exhibition stretches beyond the gallery space – you’ll find three works scattered across The Spine Hall and Coleman Entrance. One of which is titled Ah Wah and Ah Kiat: Crossing Borders (2001), illustrating the daily migration of workers between countries worldwide such as the causeway between Singapore and Malaysia, through 200 sculptures of motorcyclists. This work celebrates the everyday worker, highlighting their intrinsic worth and contributions to society.

 

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Photograph: National Gallery Singapore

At the end of your visit, don’t forget to answer the exhibition’s lingering question, “Are You Happy?” on the last page of the exhibition brochure, and drop off your response in the box located at the exit. And if you’re curious to know how artist Teo Eng Seng answered his own exhibition question – he responded simply: “Am I happy? I’m happy anywhere.”

To visit Teo Eng Seng: We’re Happy. Are You Happy? at the Singtel Special Exhibition Gallery 1, Level 3, visitors may purchase ‘Special Exhibition Passes’ priced at $25 each ($15 for Singapore Citizens and Permanent Residents). Those who purchase online before September 26, 2024, will receive a 20 percent early bird discount on Special Exhibition or All Access Gallery Passes.

Find out more about Teo Eng Seng: We’re Happy. Are You Happy? at National Gallery’s webpage here.

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