When we think of natural materials like earth, water or wood, thoughts of digital motifs rarely come to mind. Nature is in fact, one of the most primal subjects one can even discuss, and therefore its quite seldom that we see elements of computers or other types of technological advancements being integrated into art that is composed of natural elements.





Enter the pixelated sculptural art of Taiwanese sculptor Hsu Tung Han. These oddly charming pieces can't help but turn heads and steal gazes from people who randomly pass by his installations and exhibition areas. His peculiar way of shaping wood stems from his innate mentality to challenge the norms of traditional carving. Often dubbed as 'pixelated' or 'glitched' carvings, his strange pieces have appealed to many art critics all over the world. Han's delightful take on melding the old and the new, showcases a rare glimpse of someone's imaginitive power to bridge the conventions often set by a strictly disciplined community.





Most of his sculptures consist of hyper-realistic human forms, disassembled in partiality by the presence and absence of cube-shaped areas. These works are often life-size, consisting of compositions that can tower 4-5 feet in height, making their presence be known, with not much allowance for subtleties. Han's creations have been exhibited around the world, and give Taiwan another maestro to showcase for their journey into the spectrum of modern arts.

Sculpture Artworks by Taiwanese Artist, Hsu Tung Han

Yayoi Kusama is probably Japan's most well-known contemporary artist today. Her career has been a massively influential beacon for younger Japanese art students hoping to break into the tenacious and often intimidating field of visual creativity. She has had her works exhibited alongside personalities like George Segal and Andy Warhol through the decades, while prominently personifying her public installations, paintings, sculptures and collages.





When she moved to New York in 1957, Kusama experimented with pieces influenced by the different practitioners of abstract expressionism, eventually leading her to create works that helped launch the pop art genre. Her works have been criticized to be intertwined with aspects of autobiographical, sexual and even psychological influences. All these were masterfully shadow-painted in between the compositions of her psychedelic masterpieces, which were also often adapted into the world of fashion.





As a forerunner of feminist art, abstract expressionism and pop art, Kusama's name quickly became a phenomena to women who wanted to find something more than just finely crafted collectibles. The big brands of luxury, like Louis Vuitton became aware of this and asked her to collaborate with them on novelty lines for their products. She had even established Kusama Fashion Company Ltd in the late 1960's and sold modernist fashion items at Bloomingdale's. Kusama's incredibly multi-faceted career has also had numerous large-built public installation sculptures launched in major cities of Japan and America, collaborating with many local and international artists as well. She's an idol of many young female artists who aspire to make large footsteps in the scope of avant-garde aesthetics.

Artworks and Installations by Yayoi Kusama, Photography by Representative Galleries

The archipelago of the Philippines has been exposed to several foreign influences during its colonial times. From the Spanish conquistadors, to the Japanese invasion and finally ending with the American soldiers who eventually gave the country back to its local population. The cultural diversity of the Philippines is rather prominent, especially in its artistic societies, where movements from different sides of the world collide to create breathtaking and beautiful masterpieces.

Today, we take a look at some of the country's artists who have either shaped or are currently shaping the Philippines' tastes in modern and contemporary art. First off we have the glass sculptures of Ramon Orlina, a peer to the great Dale Chihully (maestro of blown glass art). His style of glass sculpture involves the direct carving of solid glass blocks- a process that he himself popularized as a pioneer. Orlina's method may have arisen due to the complexities of glass casting back in the day, however his proprietary style has now become a favorite for many prominent collectors around the country.

His carved figures are mostly considered to be geometrically abstract constructs, with some formless pieces that reflect and refract light similarly to how the ocean waves create their natural shimmering against the sandy beaches. Orlina has been touted to be the Philippines' most popular glass artisan today, even establishing his own museum for Filipino communities to view and learn from his hard-won original process.




Another sculptor who has gained a nationwide following for creating works that draw from multiple cultures, is Kylo Chua. A Chinese-Filipino artist from Vancouver, Chua works with a variety of hyper-elegant media such as gold, porcelain and bronze. His main material though is cast marble, which he is able to contort in ways that allow him to bring out the graceful feminine appeal within his abstract, humanist figurines. Several of his works depict couples or families, stylized to embody a theme of endless connection and infinite existence. His works have been featured all throughout the country, as well as in Tokyo, Canada and London.

Some of his works are scaled to miniaturized proportions, earning the name "Thumbeline Sculptures", for their tiny, yet fairy-like golden silhouettes. The Artasia Gallery in Manila, is a product of his passion for sculpture, along with his mentor and father, Seb Chua and his uncle, the late Maximo Chan who was also an award winning sculptor and architect in the country.

Sculpture in the Philippines, isn't just about modernity and abstraction though. One famous artisan from Paete, carves realistic faces into alabaster, wood and other mediums to illustrate the passionate hearts of the Filipino people. Fred Baldemor has been sculpting for over three decades, and has been able to create masterful pieces derived from the faces and bodies of his muses. His beautifully classical work are often seen throughout the prominent houses of Manila, being that his craft has earned him a place in the eye of serious collectors and enthusiasts alike.

Baldemor maintains his studio himself, hand-carving his sculptures in the fashion that he's take on since the birth of his trade. From humble beginnings, he has climbed the artistic ladder to sit amongst the very top as one of the great artisans that the archipelago can proudly appreciate.



Aside from carving, Filipinos also love to paint. Historical records have shown us the incredible pieces of painters like Malang, Amorsolo and Joya. Many of whom were able to lead their respective movements in the scope of art genres within the nation's multi-cultural heritage. One of the late masters, Ang Kiu Kok, was of Chinese descent, but was able to strongly influence the avant-garde Filipino painters of later generations through his primal cubist style, proliferating colors of stark contrast against textures that were bold and full of emotion.



Kiu Kok's paintings garnered him the admiration of many collectors, up until his passing in 2005. Today, he still lives on through the beauty and impact of his many works, all of which stay precious in the permanent collections of the Philippines' colleges, schools and private galleries.

Artworks by Filipino Artists (Ramon Orlina, Kylo Chua, Fred Baldemor, Jose Joya, Kiu Kok Ang) Photography by Filbert Tiu and Publications of the Artists

Born in Da Nang, Vietnam, 1969, Tiffany Chung is one of Vietnam's leading contemporary visual artists. Her embroidered canvas maps, cartographic artworks and similarly detailed installations have all been exhibited in areas across the US, Australia, the UAE and Japan. Having been a part of the Vietnamese population that had immigrated during the Vietnam war, Chung was able to seek out education in the US, studying at the California State University, achieving her bachelor's degree in Fine Arts.





As a Southeast Asian artist with widespread recognition, Chung seeks to lead the next generation of contemporary artists in their search for the bold and the new- through similar processes of experimentation and stylistic evolution. Through her works she seeks to address many internationally related social issues like migration, environmental degradation and areas damaged by natural disasters or political upheaval. Her works have been characterized as polished, beautiful and saccharine throughout her many decades of professional artistry.







In 2007, Chung co-founded the non-profit art space Sàn Art, in Ho Chi Minh City, along with peers in the contemporary art circles of her country, as well as personalities from the Propeller Group. The famous Art critic; Xiaoyu Weng has mentioned this about her works: "Often based on old urban plans and grid-like official surveys, Chung's vivid, abstracted maps foreground the cultural memories and histories specific to each region."

Paintings and Artworks by Tiffany Chung, Photography by Galerie Quynh

When we talk about Asia, once country often pops into mind more frequently than any other- China. Donald Trump himself, has often referenced the business giant in many of his conference speeches and public addresses. The country's large expands of land houses a population famously known for being the best at mass-producing industry items.

Fortunately for China, the highly cultural society pays a lot of respects to their artisans, putting the forerunners of visual arts in high regard within social investments. Museums, art galleries and even schools have partnered with collectors to showcase the country's rich history of watercolor paintings, terracotta sculptures and more modern pieces from today's new and upcoming masters of art.

One person who has touched on the more modern side of Chinese art is sculptor Zheng Lu (郑路). This modernist has a portfolio of creations that are simply magnificent to behold, at least for many of us on the editorial team. A particular favorite series takes the splashing movement of water, and renders it into crisp, convoluted compositions that seem frozen in reflective metal. Such a style has enchanted a large portion of the Chinese public, and Lu's works have been cast into public monuments across major cities in China.







Zheng Lu's interpretations of natural wonder stir the senses into a believable paradox. His solid, yet flow-like sculptures give a us a sense of tranquility in an effortless form, without sharing the labor-intensive secrets of their creation and process. China's traditional artists have also played their part in influencing more modern practitioners. A deep-rooted appreciation for the elements, such as water, earth and fire, serves as a basis for a lot of subject matter in Chinese artistry.

Going even further into the development of Chinese art, we can take a look at the very existentially themed figures of Huang Yu Long (黄玉龙). This artist has become quite well known for his contemporary hooded-buddha sculptures, that seek to convey his message of the ongoing societal exchange between Chinese traditions and Western, contemporary beliefs. His pieces depict in many ways, the curious change happening more gravely within each new generation of Chinese citizens, as they forego ancient ways and beliefs in favor of foreign advancements and trends.







Yu Long graduated from the Jingdezhen Ceramic Institute in China's Jiangxi Province. Ever since his first art show, his style has always been growing and adapting to the many social issues and concerns that for him, need to be addressed by the most basic units of the current Chinese civilization. The curious, signature look of his figurines would be the missing head piece underneath a lifted hood, which has become a very strong symbol of his own personal expressions and beliefs.

If we're speaking about contemporary artists that have catapulted China to the forefront of the genre, Yue Minjun (岳敏君) is probably the one to mention. Called a cynical realist by several of his peers and the media, Yue has become famously received in many parts of the world for his pioneering "frozen laughter" artworks (which depict his own face by the way). Yue sort of rejects the allocation of the term cynical realism to his works, not believing in the labels touted around by people and critics.









His red-faced paintings and stark, gigantic sculptures are all of his laughing face, stylized in a very original manner. This highly recognizable trait has been copied by many younger artists, but Yue still retains the belt for being the first to propagate and popularize his style of 'happy expressionism' that the world has come to love.

Liu Jianhua's (刘建华) incredibly contemporary porcelain works and Sui Jianguo's (隋建國) conceptual "Made-in-China" themed assemblages are also among the more modern series of artworks coming out of China's fast-moving visual community. Trends, movements and advancements are all gearing the country for a higher form of art, however the very nostalgic traditions from their ancient cultures will always prove to be a factor in the way Chinese artisans conduct themselves in their respective fields. Chinese artists who have migrated to many different countries also carry with them, this sense of traditional influence. One such example is Kylo Chua Tsai (蔡宗凱)- a Chinese sculptor residing in the Philippines, who's delicate water-inspired figurine-sculptures also draw from an profound sense of elemental continuity. We'll mention more about this in our next country-themed documentary of modern art.

Some countries, if not most, have had long and morality-defining struggles with war across their historical timelines. Artists often draw meaning from these periods of conflict, to illustrate the gravity and severity of their effect on the population-general and the population still unborn. We can see this integration of experience in the works of Laotian artist Bounpaul Phothyzan, who created sculptures made of bombshells laden with greenery in some of his most notable exhibitions as of recent years. Phothyzan's taste for involving the controversial media with his craft, stems from his desire to remind people about the maliciousness of war, and the aftermath of its descent. Despite this, he also infused an overtop of plant-life in these structures, possibly to symbolize the fact that life moves on and pushes through, even overcoming the cold, metal-hard attitudes of war.





His idea of "Turning a Bomb into A Flowerpot", may be criticized as a sympathetic outlook towards the mass genocides that occur in times of turmoil, however we believe that the artist seeks to find a nationalistic or cross-nationalistic redemption of people in general, a forgiveness and regrowth for communities that have battled with each other for territory, power or wealth across the ages.





Man's history and legacy should not be defined by his aggression towards his fellow man, however history has shown us the facts that people are flawed in this area. Still, the desire to outlive and outshine the troubles of war can be seen in the simple expressions of artists like Bounpaul Phothyzan, who simply wish to convey a future where we can thrive, despite the imbalances of history and the atrocities of the past.

Artworks by: Bounpaul Phothyzan, Photography by Mediacorp & the Artist's Publications

In all of my travels across Asia, I've been able to encounter a great divide in the schools of thought accepted and appropriated throughout the artistic communities. There seems to be some kind of popular definition-battle between critics, artists and galleries who are on one of two very opposite sides. On the one hand, there are the classicists otherwise known as the purists or traditionalists. This group proudly associates historical and ancestral art with a higher form of culture in their society. I've observed this trait to be most true in some areas of China, where the elder generations all but venerate the calligraphic-looking 'mopit' paintings of olden times. They put such a high regard on the idealism of these artists from past time periods, that any deviance from the prescribed standard insults the way art is supposed to be viewed. Not that everyone is like this- but there are extremists in every field of human culture, art included.



On the other end of the range, we see a bunch of people who love to experiment with combinatory learnings from different sources. They possess eclectic tastes that govern their direction when creating new artworks and exhibition pieces. Many people describe them as post-modernists or contemporary practicioners, and a majority of them belong to generations significantly younger than the group I previously mentioned. Milenials are also often times a part of this second category of artisans. A greatly appreciating view towards westernized movements can sometimes drive many artists to integrate into their works- values, messages and even techniques foreign to their forefathers' cultures.

It's just an observation that I've made, nothing else. There are of course, middleground people who simply appreciate that art can actually be one thing, while being another. There is no real limit to creativity. We can't predict it by putting it into a a set of definitions and restraining people to follow our schools of thought.

Amidst all the tension cycling throughout their region, South Korea remains as one of Asia's most influential countries in the areas of tech, business and arts. Their taste for the post-contemporary side of art has evolved into a local influence that spans across multiple generations in the nation's diverse society.



Within the realm of arts, there are some who have bridged the gap between stundent and maestro- orchestrating works that can capture the eye's atention and grasp the respect of the masses in their multitude.

Jeongmoon Choi, a graduate from Sungshin University in 1990, is a korean artist who plays with
light threads", weaving an almost mathematical stream of visual arrangements into reality. She has since then moved to reside in Germany, displaying her some of her more notable works at the Moeller Fine Art in Berlin and at the Karst Project in Plymouth. Choi illustrates an joining of mediums, through her intense, psycho-sensual works that are now appreciated all over the world.







Choi's works use different allocations of media, such as various lighting forms, and UV thread that resembles the afterlight of glowworms found in nature. This bold series that she has created through her style, touches on the merging of inspirations in her design process. Some works acquire muses from what appears to be spider-web formations, while others can be related to abstract formulae and graphs put in a different light, literally.

Younger, but similarly impactful artists like surrealist JeeYoung Lee, posts bouts of curiosity to the modern world though her strange, yet illuminating collection of photographs that depict the boundless extent of human imagination. Lee's works often explore worlds that could be taken to be purely fantastical- with a grounding element that can bring the audience back to some form or memoir of reality. She herself, is often placed within her pictures, but never facing the viewer, possibly to send an abstract message to whoever seeks to interpret her works.









Aside from being exhibited worldwide, Lee has also acquired honors and recognitions, such as the Sovereign Art Prize in 2012. She, alongside a select group of artists, constitute the growing and evolving circles of contemporary art in South Korea today.

Xooang Choi is another artist from the region, who stands on the cusp of post-contemporary art. His creations although miniature during the earlier years of his career, have grown in side, depicting thought-provoking subjects that have been criticized to evoke very strong reactions from the base of his fans. Some of his more large-scaled pieces have been noted to look nightmarish and epic- in such ways that may strike both fear and curiosity in the minds of patrons.







Choi's famous work "The Noise and Sheddings." is a pair of two setups. The first involves a ring of 70 human heads that each possess very different expressions. These pieces form in a way that put the viewer at a mildly distant view, though still centered in their gaze. The second makes use of different body-part forms, piled in ways that would ask to be mentally re-assembled within the boundaries of human interpretation and limit.

Such works indeed ask the question- what kind of art constitutes as contemporary in South Korea? Is it the type that scares? or maybe those that elicit unbelievable reactions from commentators of their exhibitions. Art cannot fully be explained in its own right, so we can only seek to push farther into its unknown definitions and expectations to come.

Sculptures and Artwork Photography Credit to their Respective Artists (Jeongmoon Choi, Xooang Choi & JeeYoung Lee)

Every now and then, we meet a quirky yet talented artist whose works find their niche in the hearts of people who appreciate a certain slice-of-life in their artworks. Let's take a look at the works of someone who makes use of a medium very unique to the world of art. These are the works of Haroshi, the skateboarding sculptor from the heart of Tokyo. His meticulously carved creations are colorfully created by the process of stacking old skateboard decks together to create a carvable mass, which he then contours to mimic his original subject's look.






Haroshi's pop art sculptures have melted the hearts of younger generations in Japan, simply because he was able to connect with their sense of playfulness and joviality. Many of his creations embody subjects that are cartoonish or game-like, often resembling characters that have a familiar animated appearance to the most beloved ones seen by kids in the city.








His portfolio of works also extends to deeper subjects of influence, such as anatomies in gesture. Some certain works can be considered provocative or rebellious in nature, due to the subject matter they concern, but to most, he is simply a youthful artisan who has found his own originality in the craft of wood carving. Not many think of using such a curious medium, but he certainly seems to have a knack for popular culture and its desires.



Sculptures by Japanese Artist Haroshi

Singapore is probably one of Asia's most prominent destinations today. With a strikingly large population of foreigners and a wide range of dialects spoken, this small nation is the gateway to some of the world's most active trade industries, tourist attractions and cultural meccas. Singapore maintains a first-edge roster of both traditional and modern artists, spanning from end to end of their modest but evolving territory.

Among the most prominent of these artists is sculptor Han Sai Por. Widely recognized for her large, interpretative monuments, she has become somewhat of a cultural icon in the local communities. While many crafters pursue a speciality in a single medium of work, Han Sai Por does not limit her aesthetic sensibility to a singular mode of expression. Her glass composition- "Shimmering Pearl 1", a public fountain-laced sculpture at Capitol Tower has stood the test of time, to the delight of many public viewers. Despite the fragility often associated with glass, her work has been an icon in the area for over two decades now.





Some even more iconic sculptures have been set on permanent display at international hubs like the famously known Changi Airport. Her style is a mix of representational and expressive abstract genres, showing her changing tendencies and mannerisms of the past 50 years of her career. Han Sai Por is also one of the sculptors who's body of work currently inspires many of the younger generations to pursue a career in the field of fine arts.

Speaking of Singapore's maestros in art, another famous personality is Chong Fah Cheong, who has also contributed many of his large public works to better the landscape of the main city's bustling business and educational districts. A recipient of the cultural medallion (Singapore's highest accolade), Chong Fah Cheong has continuously showered the country with work-upon-work of his artistic style, throughout the decades.







His main themes seem to revolve around the pursuit of power, wealth and a general or initial definition of success. Many of these more understandable subjects are sometimes overlooked by artists who deem them to be shallow, but a true artist who perseveres across half a century of struggle knows the value of relating to his audience. Much of his portfolio reminds the Singaporean communities that hard work is what earns a good life, and that laziness is never going to win against discipline and good manners.

The younger generations of Singaporean artists also seem to inspire their peers with works that prod and move the standardized definitions of art and design. Joo Choon Lin's exploration of the relationship between appearance and essence has led to many of her aesthetic installations being exhibited in places like Hong Kong, Tokyo, Toronto, Stockholm, Copenhagen, and New York.



Fyerool Darma from the Lasalle College of the Arts, one of the country's pride and joys within the scope of education, has been a part of the Singaporean art scene for many years as well. Despite his young age, Darma's complex and expressive surrealist paintings appeal to a majority of the country's people. He has also been a part of the 2016 Singapore Biennale with his work entitled, The Most Mild Mannered Men.



Photography artist Koh Chaik Hong, an alumni of the Nanyang Academy of Fine Arts (NAFA) has won several of the national awards aimed towards architectural and structural photography. This young man is growing quite a following for his professional understanding of beautiful landscape and cityscape compositions- a trade not very often understood by photographers merely seeking to proliferate profit.



Multiple mediums of art are being popularized in Singapore, especially the ones revolving around digital-based styles, possibly due to the growing interest of young adults who see their country as a booming hub for learning about the most advanced techniques and practices used in the fields of graphic arts, movie making and 3D modeling. They're not wrong, Singapore has definitely earned its place in the roster of fastest-growing countries with relation to these sectors.