Singaporean artist Gloria Fu Keh's works between traditions and modernity

Singaporean artist Gloria Fu Keh's works between traditions and modernity . The work of Singaporean artist Gloria Fu Keh is characterized by the use of various techniques and the creation of various works, dominated by abstract motifs, floral motifs, and recently figurative motifs appear in her ink works. Gloria Fu Keh's works are meditative and involve the viewer.The work of Singaporean artist Gloria Fu Keh is interesting and unique, giving the viewer freedom of choice. The work of artist Gloria Fu Keh stands out in the Singaporean and European art context. The year was 1952, when Gloria Keh was born in the Chinese Year of The Dragon.Her late father, Martin Fu, was an oil painter, who although never achieved fame, and died poor, enjoyed many rich experiences from his art and his love of classical music and European opera. Gloria was blessed to grow up in a household surrounded by art and music. Not only did her father paint a great deal, but her late elder brother had a passion for making watercolor paintings which were always of very serious looking Catholic saints. And mother would spend her leisure time coloring black and white comic books. But art is art, no matter what the subject may have been. Because it was a difficult task making a living as an oil painter, her late father was forced to work in an advertising agency, as a commercial artist, in order to support his family. Gloria would also hang around her father, either in his office, or when he freelanced, working on graphic art, at home. She enjoyed watching him work, making art... Hence, she was exposed to commercial art and graphics from a very impressionable age. In addition, to subsidise her allowance, Gloria began peddling little artworks drawn and painted in poster colors, even before she was 10. She would sell her little drawings/paintings for $3 a pop, indeed a princely sum in those days for a child.However, with the passage of time, Gloria entered the work force, taking on jobs in other fields of employment, that certainly afforded better monetary rewards than art. Sadly, art was to take a back seat for a long time, until 1996, when in Melbourne, Gloria began serious study in mandala art and symbolism. Her teacher, Georgina Fode of the Theosophical Society, played an important role in her development as an artist. Her study in mandala art and symbolism continued for a decade, following which, upon the blessings and request of her mandala teacher, Gloria began facilitating mandala workshops both in Melbourne and Singapore. She also undertook a short study course in art therapy.Although she attributes her first art teacher to be her late father, Gloria studied oil painting under P. Gnana of Gnani Arts in Singapore. And acrylic painting under the watchful eye of her mentor, Gregory Burns.Says Gloria: “As I age, I prefer the comforts and quiet of solitude. Painting provides me with a form of meditation, and I find inner peace and healing through my art.” Could you describe your artistic journey? 

It all began when i was a child. My late father, Martin Fu, was an oil painter. He inspired me and taught me how to hold a brush. I spent hours watching my father paint. Inspite of all his financial problems, my father would be as happy as a lark when he painted. He was poised, focused and at peace whenever he painted. I saw wisdom in that and wanted this for myself.  We were very poor and I loved coca cola and chocolates. As we could not afford such luxuries, I began to sell my little artworks when I was about seven years old, so I could buy and indulge in my yummies. When people ask me why did I begin to paint, my answer is ‘because of Coke.”

 Fast forward to me being a young woman. Making a living from art was not possible, so art had to take a back seat as money needed to be earned, a house had to be bought and painting could not pay the bills.  I returned to painting in the 1980s, more as a hobby. Then around 1996, I took a more serious approach to art and painting. I began a long study of mandala art and symbolism in Melbourne, Australia that spanned over 10 years.  By 2008 I was painting a great deal, facilitating workshops and conducting art sessions on a volunteer basis at charity homes and institutions.
 Began exhibiting in 2012 and since then have participated in over 200 international exhibitions. Happily, now at 73, I have staged 16 solo exhibitions, most outside my home country.How would you describe your artistic style and what motifs are most common in your work?  I paint by intuition.
I do not subscribe to just one artistic style. That would be too limiting for me. Frankly, it would bore me. I believe in freedom of expression.
My style varies according to my prevailing moods, state of mind. How has your work evolved over the past few years? Major works are definitely becoming more and more abstract.
There is a sense of ‘freeing’ in the work.
 The work courts formlessness. I prefer to go beyond form. To include at most ‘suggestions’ of form.

That said, I have a passion for collage wherein I usually use extracts, prints of my own art. What symbols or metaphors do you use most often and why? Again, dots and circles because of my deep connection with mandala. The circle is all about wholeness, oneness, no beginning and no end. This speaks to me.

 I also use the lotus alot, as this is my favourite flower and a symbol of universal peace. To me, peace is paramount. I make art for inner peace as believe that peace begins with me, the individual. As an individual I cannot physically do much for world peace. But when I have inner peace, I can function from a point of clarity, serenity and power. And this inner peace ensures positive and correct actions towards outer (world) peace.How does the cultural environment of Singapore influence your work?Singapore is a small island thats cosmopolitan. We have four major ethinc groups, a huge expatriate community. Undeniably, living in harmony with peoples of other races and religions definitely has influenced my art. I respect the traditions of the many cultures present in Singapore and often incorporate various aspects of these cultures in my work. Racial harmony is essential for peace, and as I said before, peace takes priority in my work. What place do femininity, body and identity occupy in your work? When I began exhibiting around 2012, my first works honored the female form. I remember painting and selling many works from my Mother series. Those works were more in the contemporary vein, sometimes quirky, often whimsical, with exaggerated female forms. But always feminine. I am a woman who loves nudes. However, these days my nudes are more in abstraction. How do your Asian roots intertwine with global artistic influences?I am not often influenced by global artistry. I admire many works of many international artists, but I am my own person. I paint what I want, when I want, and how I want. Am not into trends. I work alone, prefer silence and solitude and am contented with what I have been blessed with. I enjoy sharing my art. Am thankful for the joy and blessings that art has bestowed me. But art is not everything to me. I paint in thanksgiving. My artworks are my painted prayers. I only paint. I am not finding a cure for cancer. I believe one must be practical. I have seen how obsession with art or anything else for that matter can easily land one in la la land.   How do you think the voice of female artists in Southeast Asia differs from the Western context?I cannot comment much on this but from what I have experienced, female artists from this region are well heard. In today’s world stage, women are definitely coming to the forefront. The old traditional ways of female subserviant conditioning are becoming a thing of the past. Asian Women do speak up. What is your experience as a female artist in Singapore? What challenges have you faced? I studied Vedanta, Buddhist meditation and yoga philosophy for several years, and must admit that the teachings have inspired my work. Again, I will always remain a student of the mandala, and abide by the wisdom of the Circle. Quotations often inspire me to create artworks incorporating the wisdom of sages, the Japanese haiku master Basho, and the Sufi mystic Rumi. I love zenga, the art of Zen, and in my daily sadhana (spiritual practice in sanskrit), i often take refuge in the single brushstrokes of the enzo.

 Making enzo is a powerful practice thats so centering. This is when a freehand circle is rendered in a single brushstroke along with one long slow breath. Breathing in I inspire for inspiration. Breathing out, I let go and accept. Just awareness and attention to the simple act of breathing fuels inspiration.  What philosophical or psychological aspects inspire your work?  Most things inspire me. From the sound of a splashing fountain, to a shape of a leaf. I believe the planet offers us an amazing plethora of ideas, inspirations. If we listen, watch, observe, we will never be out of inspiration. Plus, the more I paint, the more I get inspired, and stay inspired. Art begets art. 
 I have ongoing themes that i often make art of. For example: aqua peace, waves, cosmic peace, and bookart. I make art books regularly just for my own pleasure.

 Yes, personal experiences do influence my art. I love things japanese, and japanese art. Often, my work, especially for mailart exchanges and the trading of Artist Trading Cards carry a japanese theme.   How does your work help you reflect on your own identity or transformations in life? Answer: In addition to painting large canvases, I spend alot of time working on my personal art journals. To me my artworks are my painted prayers, my meditations. In keeping an art journal, I delve into my thoughts, confront my inner demons. Art ensures negativity, depression, destructive thoughts are kept at bay. Art keeps me focused. Gives me the one pointedness that is necessary for success. This is not just success in the outer world, but success in the satisfaction, that I am on the right track fulfilling my soul’s purpose. And surely one must have a sense purpose in this lifetime? Thank you for very interesting interview The interview preapeared by art critic Gabrielė Kuizinaitė