YEO Siak Goon 楊昔銀 (Singapore)
Yeo Siak Goon’s Living with Objects comes from his personal living experience intimately associated with natural environment. Amidst the invisible conflicts between humans and nature, he explores harmony and coexistence.
The artist is almost intentionally obsessed with the tropical landscapes of Southeast Asia, where he is situated. With the lethargic time under the heat, the tropical scenes under his brush also introduce us to a novel life experience, cultural awareness and living aesthetics, as well as the human-nature relationship.
Upholding the philosophy of “open works,” the artist’s “negative and positive techniques” offer something non-fixed, uncertain, or even somehow obscure or ambiguous, thereby granting his readers and viewers a larger space for contemplation and association, thus allowing more contemplation and perception.
Starting from the 1980s to date, his oeuvre has been exhibited and exchanged in Europe, America, and Asia.
楊昔銀的《與物共處》系列，來自於他的個人生活體驗，與自然環境息息相關。人類與自然中蘊含無形矛盾，探索和諧與共存。
藝術家幾乎是刻意而執著於他自己所身處的東南亞熱帶風情。炎熱天氣下的慵懶時光，他筆下的熱帶風情也帶給我們新的生活體驗，文化意識和生活美學和人與自然的關係。
藝術家以「開放式創作」理念，「虛與實技法」，不固定、不確定的，甚至有些隱晦、模糊的，從而提供讀者和觀眾更大的思考與聯想空間，而有更多的思考和感知。
自從80年代開始至今，他的作品在歐美和亞洲展出與交流。
Talking Cock 閒聊
2014 | Acrylic on Canvas 壓克力、畫布 ｜150 x 120 cm
This work depicting the “talk cock” in daily life presents a lively, interesting picture as well as creates a hot yet cool vibe close by. The artist adopts the unique “reverse technique,” i.e. to preserve the base colors of the objects in the foreground and to apply multiple layers of colors to the objects in the background. The work employs two lively cocks that seem to talk with each other to communicate the chitchat amusement and leisurely vibe in daily life. Such presentation in painting elevates this work into an interesting and captivating visual experience.
這幅描繪日常生活中「閒聊」的作品展現了一幅生動有趣的畫面，也營造出炎熱而近處涼爽的氛圍。作者運用了獨特的「反向技法」，即保留前景物體的底部色彩，而將後景物體應用多層色彩。這幅作品中以其生動活潑彷彿在對話的兩隻公雞，傳達了日常生活中閒聊的情趣和輕鬆愉快的氛圍。這樣的繪畫呈現，使這幅作品成為一個有趣且富有吸引力的視覺體驗。
Bicycle at the Fence 籬笆旁的腳踏車
2015 | Acrylic on Canvas 壓克力、畫布｜100 x 200 cm
This is a work that depicts the harmony of people with the environment. The simple view and plane composition in the painting exhibit layers of foreground and background through the fence. With a bicycle that loses a wheel and a lazy kitty, the whole picture overflows with a sense of life.
The work is intended to express a scene of beauty in imperfection. There is no definite figure in the painting. Yet, through the elements of the environment that are delicately portrayed, it imparts the vibe of warmth and serenity that resonates with and allows viewers to immerse themselves in. The color indigo is used to connect the whole image to usher in more dynamic in the work. The work also enables people to ponder and appreciate the value of searching for simplistic beauty in daily life.
這是一幅描繪人物和環境和諧的作品。畫中樸素的景色和平面構圖，透過籬笆展示了前後的層次。丟掉輪子的腳踏車和一隻懶洋洋的小貓，整體畫面散發著濃濃的生活氣息。
作品意圖表達殘缺之美的場景。畫中沒有明確的人物，但透過細膩描繪的環境元素，卻傳達出溫馨和安靜的氛圍，使觀者能夠產生共鳴，並想像自己融入其中。應用靛藍色連接整個畫面，使整幅作品更生動。這幅作品同時也讓人們思考和感悟在日常生活中，尋找樸素美的價值觀。
Under the Roof 屋檐下
2015 | Acrylic on Canvas 壓克力、畫布｜120 x 120 cm
The work depicts the relationship between humans and natural environment. The surroundings in the picture center around the people under the roof, exhibiting a harmonious ambience of tranquility. The whitespace technique is used to introduce more sense of breathing in the image with the seemingly undone work. Such method brings forth diverse room for imagination. The facial expressions on the figures are deliberately not depicted to signal the interdependence and coexistence of humans with natural environment.
作品描繪人與自然環境間的關係。畫面上周邊的景物，圍繞著在屋簷下的人物，呈現出一種靜謐的和諧氛圍。運用留白技法，看似沒畫完的處理，使得畫面多了一些呼吸感，這種處理法，帶來多元的想像空間。人物刻意不描繪臉部表情，傳達人與自然環境的相依與共處。
River of Life 生命之河
2022 | Acrylic on Canvas 壓克力、畫布｜100 x 200 cm
It is a portrayal of the mangrove shore unique to the Southeast Asia, which is a flourishing ecological environment rich in vitality with ebb and flow. The large area of whitespace and the blurred reflections in the foreground add a sense of mystery to the bamboo building veiled in mangroves.
The colors are predominantly blurry greens, in which indigo are inserted here and there artfully to strengthen the sense of layers in the dark of the woods in the picture. Such colors imbue clarity and harmony over the canvas. Both the Chinese and Western techniques and compositions are utilized for the work. Such union grants spectators visual aesthetics and charm.
這是一副描繪東南亞特有的紅樹林河岸邊，潮起潮落，生生不息和茂盛的生態環境。在畫面中，透過大片的留白和前景的模糊倒影，為隱藏在紅樹林中的竹製閣樓增添了神祕感。
色彩以模糊的綠色為主，在其中巧妙地應用了靛藍色來點綴，增加了畫面中樹林陰暗中的層次感，這樣的色彩使畫面顯得清新而和諧。作品運用中西畫的技法布局，這種結合使觀者感受到視覺上的美感與魅力。