randian | 燃点

As celebrations abound for Singapore’s 50th jubilee, STPI kick starts the year with “Imprint: New Works by Suzann Victor”—a bountiful showcase of the artist’s profound creations in print methods and materials that differ from her customary use of theatrical devices, kinetic mechanisms, performance installations and object experimentations with the body, chandeliers and light.Her residency at STPI evolved into a unique spectrum of over 60 carefully considered works that challenged and exceeded the boundaries of print and paper. As rare additions to her oeuvre and a testament to STPI’s dynamic collaborative space for building and harnessing artistic developments in Singapore and beyond—these delicate and honest works are multiple ‘firsts’ for Victor as well as STPI.With her abstract, performative approach to etchings or ‘paintings with acid’, she has created the largest spit-bite aquatints to be made at STPI, while the décollages capture her gestures and body movement atop large bodies of paper pulp that she gradually tore away. “You feel so many sensations, the slipperiness of the pigment, the water squished underneath you. It is quite an adventure on the surface itself, to be immersed or be impressing upon the surface, and the paper pulp has become both surface and material. In works like We Cloud and Water Symphony in Blue Droplets for example, the paper pulp is the pigment with which to paint rather than a mere receiving surface,” says Victor. The artist has not dealt with paper so extensively and intimately in her practice before.

These works will be shown concurrently at STPI’s booth D13 at Art Stage where her presence proves strong. The etchings have already graced the prominent fairgrounds of Art Basel Miami Beach in 2014.

“Imprint: New Works by Suzann Victor” will definitely be one to highlight as Singapore reflects on its contributions and developments in the art world with Art Week 2015.