STPI showcases prints by renowned artists

Fifty years ago, printmaking was not considered an art form in the vein of its classical siblings such as painting and sculpture. As We Never Imagined: 50 Years Of Art Making at print institute STPI brings together novel works from notable printmakers in the past few decades that have elevated the medium's prestige.


Reflections On The Scream (1990)

By Roy Lichtenstein, lithograph, 166x124.2cm

This print is a riff on Edvard Munch's The Scream, the expressionist masterpiece that captures modern society's anxiety and uncertainty. In this work, the artist applies multiple print techniques on a single surface in a bid to present something more ironic and humorous.

Green Wash (Pool 1 -B) (1978-1980)

By David Hockney, lithographic water made of lines and a green wash, 86x66.5cm

For this work, the artist draws on his experiences of living in California in the late 1960s, when he visited many homes with pools. He enhances the texture and surface of the print with layers of turquoise waves.

Deep Forest 01 (2009)

By Tabaimo, lithograph, 131x100x6cm

The Japanese video artist used the medium to express her experience of dealing with dermatitis, drawing out human veins on the lithograph. She also conveys depth and movement by printing insects on thin translucent paper and stockings before placing them on the surface.


Spice Moon Cycle (2015)

By Haegue Yang, screen prints, sandpaper, spices and herbs, 130x603cm

The Berlin-based Korean installation artist uses both industrial and organic materials with sensory effects in her work. Here, she applies layers of local herbs and spices to sandpaper in circular shapes to reflect the wax and wane of the moon. The exhibit has been left uncased for visitors to take in the smell.

(Home Delivery) Six Days A Week (2009)

By Thukral & Tagra, lithograph, 190x154x18cm

The New Delhi-based duo have transported kitsch graphics and topography onto paper using different print techniques. The work, which combines handmade materials with printed digital components, is a commentary on the nature of Indian identity in the modern world.

Faith In Shopping (2013)

By Eko Nugroho, cast paper mask, 119x51x46cm

The Indonesian artist, who desired to create tactile and wearable works, used flat sheets of cotton paper mixed with Japanese konnyaku gelatin to create these masks, which critique contemporary consumer culture.


Universe 22 (2012)

By Zhan Wang, cast and metalised stones on mirror sheet, 167.5x122x9.5cm

The Chinese sculptor collected and smashed stones from China and Singapore. The trajectory of each fragment was recorded and replicated, then coated with aluminium. This process alludes to the principle of creation through destruction.

Midnight Lotus (2002)

By Chua Ek Kay, pressed pulp on handmade paper, 168x264.5cm

A student of the Chinese painter Fan Chang Tien, this late Singapore artist's style meshes traditional Chinese ink painting with Western contemporary influences. Here, he worked directly on sheets of wet paper pulp, scratching away images of lotuses while they were still damp before the pulp was further treated.

WHERE: STPI, 41 Robertson Quay MRT: Clarke Quay WHEN: Till Aug 30, 10am-7pm (Mon - Fri), 9am-6pm (Sat), closed on Sun & public holidays TEL: 63363663 ADMISSION: Free INFO:

Lee Jian Xuan

A version of this article appeared in the print edition of The Straits Times on July 10, 2015, with the headline '(No headline) - JXHOUR10'. Print Edition | Subscribe