National Gallery Singapore's ink show is ambitious
Titled Where Ink Tides Meet, the show traces ink's long history and highlights moments of creative exchange and discovery.
But with only about 50 never-seen-before works taken from the museum collection, the exhibition also reveals its limits. There are clear gaps here – especially the general lack of women artists and younger voices. The story focuses mainly on male artists from the 20th century, which reflects how the collection was built through past acquisitions and private donations.
Wu Guanzhong's Running Stream (1988) is one of the best works in National Gallery Singapore's uneven showcase of ink art. PHOTO: NATIONAL GALLERY SINGAPORE
This is understandable, but still raises important questions: Whose stories get told? And how can ink continue to feel relevant if we don't see it evolving through the eyes of today's emerging artists? Why do we have so few young ink artists?
Some curatorial choices are puzzling, like dedicating almost a fifth of the show to Chinese-born artist Hong Zhu An. He is an undeniably gifted artist and his ink works – many gifted by him to the museum – are among the most captivating here. But the heavy focus on one artist feels unbalanced.
Curated by Jennifer KY Lam, Lim Shujuan and Chee Jin Ming, the exhibition makes an effort to include artists beyond the Chinese tradition. It features South-east Asian and non-Chinese artists who use ink in unconventional ways, expanding what the medium can do and reflecting the cultural diversity of the region.
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Vietnamese artist Nguyen Minh Thanh's Waiting (2001) uses ink in unconventional ways. PHOTO: NATIONAL GALLERY SINGAPORE
Vietnamese artist Nguyen Minh Thanh offers thoughtful self-portraits combining local materials and calligraphy to explore identity and memory. Filipino artist Nena Saguil takes ink into abstract, almost spiritual territory, pushing the medium's limits. Malaysia's Latiff Mohidin uses calligraphic strokes to capture the dramatic limestone hills of southern China, blending Nusantara styles with East Asian traditions.
But these diverse voices don't compensate for the show's uneven quality.
At the heart of the exhibition are works by Chinese artists from the mid-20th century onward. Within this core, the quality fluctuates. Early pieces such as Khoo Seok Wan's (Not Titled) (Orchids On A Scholar Rock), Liu Xiande's (Not Titled) (Rambutans And Sparrows), and Chen Jen Hao's Who Wakes Up First From The Dream shine with nuance and refinement.
Chen Jen Hao's Who Wakes Up First from the Dream (1943) is another show standout. PHOTO: NATIONAL GALLERY SINGAPORE
Among the later creations, Wu Guanzhong's Running Stream (1988) boasts his signature brilliance, while Lee Hock Moh's intricate depictions of Pulau Ubin and Fort Canning draw viewers in with minute details.
But several other works lack this same vitality, breaking the rhythm and intensity of the show. It becomes clear why some of these pieces rarely see the light of day – they just don't carry the same emotional pull.
Ultimately, Where Ink Tides Meet offers a thoughtful but uneven exploration into ink's evolving presence in South-east Asia. While it reveals moments of true beauty and insight, those moments also highlight the gaps that need be bridged so that future showcases can genuinely reflect ink's rich, dynamic and ever-evolving tradition.
Where Ink Tides Meet runs at National Gallery Singapore from Jun 6 to Nov 16, 2025
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11-08-2025
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China's Gen Z women embrace centuries-old script
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