Adeline Tan (mightyellow)
Sea Farer (2017) Acrylic paint and ink on paper 420 x 594 mm (A2)
WeAreAWebsite: You had your first solo, Heirloom, at Mulan Gallery earlier this year. What did you learn from the whole experience of mounting a solo show?
Adeline Tan: I learnt that it's expensive (if you don't get a grant, haha). To make larger pieces, I rented or shared spaces with other more experienced artists and learnt about their process.
Your bio on Mulan Gallery's website says: "Using botanical creatures as a metaphor, [Adeline Tan's work] is also a study of memories, relationships and roles within a family structure through the generations." This is such an intriguing idea. Could you explain?
It's hard to explain because I'm not even a little bit good with words, but I will give an example... As a child I grew up in the care of my grandmother, who was always wearing a floral, dusty pink outfit. She was an authoritative figure, every morning she would apply hairspray on her hair, press her fingers on her head to create perfectly spaced waves, then she would sit me in front of a mirror and proceed to part my hair exactly at the centre and tie two tight ponytails on each side of my head for school. She had a garden with numerous pots of pink bougainvillea, the same colour as her outfit. Bougainvilleas were like her, they always show up and are immaculately coiffed, even on bad days. Her presence was dependable and comforting, like the bougainvillea that line our streets. I don't have many photos of her, or my time with her, so the only way to document this was to make paintings based on memories, modelled after the numerous vases and knick-knacks in the house: the curly-wired phone she used for long mid-day chats; the plants, animals and colours of the route to school.
Tell us more about the carnivorous-looking mutant flowers you paint. Are you a fan of The Little Shop of Horrors?
No, I haven't watched the show, although I have heard of it. The plants and creatures are common ones, usually found around me. I imagine them thousands of years later, after the earth has become uninhabitable for humans but some life-forms find a way to survive.
What led you to painting your work directly on objects, like a kiddie ride, an armchair and a denim jacket - transposing your work into the realms of furniture design and fashion?
The kiddie ride was something I loved as a child. I stumbled upon an article mentioning that these rides were for sale, and the first thought I had was: "I'm gonna get one and paint it for my show." After I did, however, I almost immediately regretted it. I had zero knowledge on how to do it and had no studio space to work on it in. Fortunately, I have nice friends and they put me up at their studio. Deciding to paint on objects was more of a spontaneous thing, I had done fabric painting for another project prior to this, the sponsor gave us some clothes and that's how the jacket became another surface to paint on. I love painting on new surfaces, it forces me to experiment with new techniques and read up on materials I otherwise never knew were available for consumer use.
Adeline Tan: I learnt that it's expensive (if you don't get a grant, haha). To make larger pieces, I rented or shared spaces with other more experienced artists and learnt about their process.
Your bio on Mulan Gallery's website says: "Using botanical creatures as a metaphor, [Adeline Tan's work] is also a study of memories, relationships and roles within a family structure through the generations." This is such an intriguing idea. Could you explain?
It's hard to explain because I'm not even a little bit good with words, but I will give an example... As a child I grew up in the care of my grandmother, who was always wearing a floral, dusty pink outfit. She was an authoritative figure, every morning she would apply hairspray on her hair, press her fingers on her head to create perfectly spaced waves, then she would sit me in front of a mirror and proceed to part my hair exactly at the centre and tie two tight ponytails on each side of my head for school. She had a garden with numerous pots of pink bougainvillea, the same colour as her outfit. Bougainvilleas were like her, they always show up and are immaculately coiffed, even on bad days. Her presence was dependable and comforting, like the bougainvillea that line our streets. I don't have many photos of her, or my time with her, so the only way to document this was to make paintings based on memories, modelled after the numerous vases and knick-knacks in the house: the curly-wired phone she used for long mid-day chats; the plants, animals and colours of the route to school.
Tell us more about the carnivorous-looking mutant flowers you paint. Are you a fan of The Little Shop of Horrors?
No, I haven't watched the show, although I have heard of it. The plants and creatures are common ones, usually found around me. I imagine them thousands of years later, after the earth has become uninhabitable for humans but some life-forms find a way to survive.
What led you to painting your work directly on objects, like a kiddie ride, an armchair and a denim jacket - transposing your work into the realms of furniture design and fashion?
The kiddie ride was something I loved as a child. I stumbled upon an article mentioning that these rides were for sale, and the first thought I had was: "I'm gonna get one and paint it for my show." After I did, however, I almost immediately regretted it. I had zero knowledge on how to do it and had no studio space to work on it in. Fortunately, I have nice friends and they put me up at their studio. Deciding to paint on objects was more of a spontaneous thing, I had done fabric painting for another project prior to this, the sponsor gave us some clothes and that's how the jacket became another surface to paint on. I love painting on new surfaces, it forces me to experiment with new techniques and read up on materials I otherwise never knew were available for consumer use.
Where did you train?
I trained at LaSalle College of the Arts, graduating with a diploma in communication design.
Who are your favourite artists?
There are many, but David Shrigley and Ernst Haeckel will be at the top of the list.
What in pop culture influence you?
Random phrases and funny bits from movies and animated music videos. Internet culture, song lyrics, scenes from sci-fi manga, comics and games. It's kind of like a big mixed bag of confetti.
What is your working process like?
I take around five days to a month to complete a medium-sized paintings on paper, depending on the level of detail or my schedule. This does not include time needed for conceptualising and sketching. My ideas come randomly and sketches follow. I keep a stash of sketches and pick some to work on. Usually, as a painting progresses, it evolves and becomes different from what is initially planned.
How has your background in commercial graphic design and illustration - working in an agency, and then freelancing for clients such as Facebook and Adidas - shaped the way you work as an artist?
I think exposure to commercial work gave me skills in graphic software, typography knowledge and an appreciation for design. Often, with commercial work, there are client objectives, deadlines and budgets to consider. It made me understand the importance of working with what I've got, to find ways to work around limited budgets and working with others in general.
When and why did you decide to become a full-time artist? Was there a particular moment where you knew this was what you wanted to do?
I had always wanted to be a full-time artist and tried once before, but became so broke I went back to full-time work again. After my son was born, in 2013, I went back to work after three months' maternity leave. However, it seemed to me that the field I was in wasn't friendly to new mothers. My employers were nice, but the nature of the job required hours I couldn't give. I would return home to a baby crying his lungs out because he wouldn't bottle-feed. Conversely, during brainstorming meetings, I would get incessant calls from home to tell me my baby was inconsolable. At work, I became distracted and filled with guilt; at home, I became anxious about being a bottleneck to the workflow and a liability to the team. Mainly, I just wanted to be a good mom and also be useful to society in some way, and this was the solution. It helped that my husband graciously carried most of the financial burden that came with my switch to art.
I trained at LaSalle College of the Arts, graduating with a diploma in communication design.
Who are your favourite artists?
There are many, but David Shrigley and Ernst Haeckel will be at the top of the list.
What in pop culture influence you?
Random phrases and funny bits from movies and animated music videos. Internet culture, song lyrics, scenes from sci-fi manga, comics and games. It's kind of like a big mixed bag of confetti.
What is your working process like?
I take around five days to a month to complete a medium-sized paintings on paper, depending on the level of detail or my schedule. This does not include time needed for conceptualising and sketching. My ideas come randomly and sketches follow. I keep a stash of sketches and pick some to work on. Usually, as a painting progresses, it evolves and becomes different from what is initially planned.
How has your background in commercial graphic design and illustration - working in an agency, and then freelancing for clients such as Facebook and Adidas - shaped the way you work as an artist?
I think exposure to commercial work gave me skills in graphic software, typography knowledge and an appreciation for design. Often, with commercial work, there are client objectives, deadlines and budgets to consider. It made me understand the importance of working with what I've got, to find ways to work around limited budgets and working with others in general.
When and why did you decide to become a full-time artist? Was there a particular moment where you knew this was what you wanted to do?
I had always wanted to be a full-time artist and tried once before, but became so broke I went back to full-time work again. After my son was born, in 2013, I went back to work after three months' maternity leave. However, it seemed to me that the field I was in wasn't friendly to new mothers. My employers were nice, but the nature of the job required hours I couldn't give. I would return home to a baby crying his lungs out because he wouldn't bottle-feed. Conversely, during brainstorming meetings, I would get incessant calls from home to tell me my baby was inconsolable. At work, I became distracted and filled with guilt; at home, I became anxious about being a bottleneck to the workflow and a liability to the team. Mainly, I just wanted to be a good mom and also be useful to society in some way, and this was the solution. It helped that my husband graciously carried most of the financial burden that came with my switch to art.
How does your son influence your work?
He is turning four real soon and, because I work from home, we spend a lot of time together. Luckily for me, he likes painting. Sometimes I "borrow" his compositions...
How do you juggle motherhood with being an artist?
I don't have a studio of my own, so work is done where I eat, sleep and hang out with family. If there is a need to work with large or unsafe materials, I rent a space for the short term. As for juggling, my son's grandmas help out with him after school, so I get a few hours to work, get groceries and do stuff like bringing the dog to the vet or walking her. During particularly hectic periods, I get up after everyone is in bed to continue work. It's challenging trying to give enough time to my family, while trying to put in enough hours in the work in order to become better at what I do.
What's the most satisfying reaction someone else has had to your work so far?
The most satisfying one is from my son. He recognised himself from a drawing I made of the back of his head – there were no eyes, nose or mouth, only a back view of his cheeks and ears. This means one of us did a pretty good job! Most probably him.
What themes, materials, forms and ideas are you interested in exploring in your future work?
I have have taken an interest in ceramics and clay.
What are you working on right now?
I am currently working on a new painting and also on customising a little resin toy.
He is turning four real soon and, because I work from home, we spend a lot of time together. Luckily for me, he likes painting. Sometimes I "borrow" his compositions...
How do you juggle motherhood with being an artist?
I don't have a studio of my own, so work is done where I eat, sleep and hang out with family. If there is a need to work with large or unsafe materials, I rent a space for the short term. As for juggling, my son's grandmas help out with him after school, so I get a few hours to work, get groceries and do stuff like bringing the dog to the vet or walking her. During particularly hectic periods, I get up after everyone is in bed to continue work. It's challenging trying to give enough time to my family, while trying to put in enough hours in the work in order to become better at what I do.
What's the most satisfying reaction someone else has had to your work so far?
The most satisfying one is from my son. He recognised himself from a drawing I made of the back of his head – there were no eyes, nose or mouth, only a back view of his cheeks and ears. This means one of us did a pretty good job! Most probably him.
What themes, materials, forms and ideas are you interested in exploring in your future work?
I have have taken an interest in ceramics and clay.
What are you working on right now?
I am currently working on a new painting and also on customising a little resin toy.
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Adeline Tan (aka mightyellow) is an illustrator and visual artist based in Singapore. Taking inspiration from her surroundings and popular culture, her works are often a juxtaposition of elements pulled from personal experiences and past memories. Having worked in advertising, branding and tech before becoming a full-time illustrator, her clients include Facebook, Adidas and Uniqlo. She is currently represented by Mulan Gallery, Singapore.
More at www.mightyellow.com |
