TIMELINE
October 2014
Conceptualisation / Original Proposal
Conceptualisation / Original Proposal
Click here to find out more about the concept, inspiration and process behind the mural.
march - june 2015
Clay Workshop in Artist Studio (Woodlands)
Clay Workshop in Artist Studio (Woodlands)
Each session started with a briefing and demonstration for an hour and a half. After which, the groups of volunteers began working on their pieces. Participants were invited to work on slabs of clay. They could select from various shapes and sizes cut out from frames that were prepared for them, or they could create their own. There was a personalised communication between the artist and each participant. Based on the given themes (Nature, Tradition, Technology, Future), they were encouraged to use their imagination and spontaneously express ideas, leaving an imprint of their statement, emotions and memories on the clay.
An uncensored approach was used in the selection of pieces, each piece unedited, to showcase a collage of raw expression. As majority of the participants have not had experience working with clay, the artist and her team guided each participant in the creation of their drawings. Dry pieces were subsequently bisque-fired at 900°C in a gas kiln.
An uncensored approach was used in the selection of pieces, each piece unedited, to showcase a collage of raw expression. As majority of the participants have not had experience working with clay, the artist and her team guided each participant in the creation of their drawings. Dry pieces were subsequently bisque-fired at 900°C in a gas kiln.
July - August 2015
Glazing in Artist Studio (Hiangkie Industrial Building)
Glazing in Artist Studio (Hiangkie Industrial Building)
Glazes were used by the artist to enhance and highlight certain areas and ideas expressed on the slabs of clay based on the theme of the different segments in the mural. The method of glazing serves as a collaboration between the artist and the participants. She colours them according to her interpretation of the participants work, creating an intimacy between the two parties that invites one into the other's world. Every available glazing method was employed, from hand-brush painting, under-glaze painting, spray-gun painting, layering and additional on-glaze lustre effects. At times, the firings (at above 1050°C) were repeated consecutively until the desired chromatic effects and textures were achieved.
August - September 2015
Assemblage / Mosaic-making
Assemblage / Mosaic-making
After the glaze-firing, all completed pieces were sorted out by the location of communities (West, North, East, South), themes and colours. The mural begins and ends with dark greens and earth tones. The composition follows the original concept strictly, focusing on an equal distribution of the participants' works and those made by artist. The configuration for each panel was labeled and recorded, and the location of each piece was then confirmed on the participants' database.
Specially made elements inspired by batik and Southeast Asian crafts were used to bridge the pieces together, achieving a compact and fluid composition. This serves as a vivid reminder of a tapestry. Some pieces were cut with electric machines and adjusted in order to get a smooth continuation among themselves and from one panel to other.
The mosaic-making technique is used to fill up areas between individual thematic and chromatic entities. The purpose of including mosaic details was to integrate all elements in one large, monumental area. From afar, it is an entire symbolic composition, yet rich in details up close.
Specially made elements inspired by batik and Southeast Asian crafts were used to bridge the pieces together, achieving a compact and fluid composition. This serves as a vivid reminder of a tapestry. Some pieces were cut with electric machines and adjusted in order to get a smooth continuation among themselves and from one panel to other.
The mosaic-making technique is used to fill up areas between individual thematic and chromatic entities. The purpose of including mosaic details was to integrate all elements in one large, monumental area. From afar, it is an entire symbolic composition, yet rich in details up close.
September 2015
Casting
Casting
Once all the pieces were assembled and glued, the completed panels were sent for casting in the factory. The GFRC (Glass Fiber Reinforced Concrete) method was the ideal solution for permanent installation and display in a public area.
September - October 2015
Cleaning & FINAL TOUCH UP
Cleaning & FINAL TOUCH UP
Post-casting cleaning and touch ups were continued by the artist and her team and completed with a layer of sealer using a spray gun.
October 2015
Installation at Marina South Pier MRT Station
Installation at Marina South Pier MRT Station
Brackets were fixed on the metal sub-frame of each panel and professional contractors were appointed to install them on the station's wall.
23 October 2015
Unveiling Ceremony
Unveiling Ceremony
Unveiling ceremony by Josephine Teo, Senior Minister in the presence of LTA Officials
* Please click on the titles (or the '+' at the right of each title) to view more information about the process
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THEMES
Nature (Flora, Fauna, Water) Tradition (Cultural / Heritage) Food Family Technology Future POPULAR MOTIFS Tourist Attractions (Flyer, Merlion, Marina Bay Sands) Tropical Landscape (Ocean, Coconut Tree) Animals Sun / Solar Panels Transportation (Boat, Cars, Airplane) Family Portraits / Hands |
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CUSTOM MADE BY ARTIST, DELIA
Tropical Ornaments (Fish-scaled tiles, Modular tiles) Geometric Elements (Lines, Triangles, Frames) Chromatic and Texturised Tiles Crafted Textile (Lace pattern, Imprinted fabric) Batik Connections |
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ARTIST'S TEAM
Mosaic (Stone, Marble, Porcelain, Ready-made Mosaic Beads) |
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DOCUMENTATION
