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On top of all the food & drink, we had an amazing time catching up with the artist and getting to know you. Throw in the wonderful playlist by the fabulous crew from Poptrash, this was an event that’s going down memory lane for a very long time :) Catch the action right here!

 

 

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The exhibitee, Sharma, with one of her series “Childhood Dreams”.

 

IMG_1588lores IMG_1564lores IMG_1597lores IMG_1602lores IMG_1580lores IMG_1617loresWe got to meet the talented founders of Makers of Singapore! “An initiative that explores the avenue of craft locally, as well as to dig deeper into the stories of these Makers (people who produce their products in Singapore) and understand why they decided to stay in Singapore.” – Makers of Singapore

 

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Tyler from The Secret Mermaid introducing his cocktails.

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With the lovely DJ Christina of Poptrash. Her debut set!

 

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Founder, Ashe, of Poptrash grooving it for a pretty amazing turn out.

 

 

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Guests trying out Popaganda’s fresh fruit popsicles :)

 

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Trying out the Cheng Thng Jelly Shots !

 

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Appreciating art throughout the event!

 

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DJ Christina played a handsome range of music which got us moving from the front of the house to the back!

 

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Relatives of the artist.

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Capturing the colour, the art works and the life!

 

 

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Artist, Sharma, with some of her relatives.

 

 

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Thank you everyone for coming down and supporting the exhibitee, us and making the event worth more than a thousand words! And a big thank you to our collaborators and sponsors for making the event a success. The atmosphere would not have been the same without you guys on board x

 

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John Berger, English art critic, once said, “Never again will a single story be told as though it were the only one.” In accordance, Arundhati Roy wrote, “There can never be a single story. There are only ways of seeing. So when I tell a story, I tell it not as an ideologue who wants to pit one absolutist ideology against another, but as a story-teller who wants to share her way of seeing.”

This exhibition features three collections by Shaumyika Sharma. Three themes with three different artistic modes of production, Sharma’s influences range from modern and contemporary art to architecture and design. Sharma’s mother was also a great influence during her developing years and she gives much tribute to her for teaching Sharma about art.

At the front of the space, our viewer is presented with The Seasons – a mixed media series of four collages exploring the theme of change. Towards the middle wall, a twin set series of past and present explores the notion of memories and is depicted through a series of photos taken when she was a young girl, entitled Childhood Dreams. The third series, facing the back of the space, two strikingly blue images made up of smaller individual ones explores quite a popular theme in Singapore – food and our interactions with it.

SEASONS IV

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SEASONS IV: Summer
From a new series launching this April!

Artist’s statement: Architecture can seem permanent and static, yet the seasons impact it visually, transforming its appearance over time, and technically, affecting materials and inhabitation. The seasons represent change and are a reminder that architecture can’t be conceived of as purely static.

Seasons IV is a mixed media series of four collages depicting the changes Sharma’s felt during her time spent in New York. The idea sprung from a series of drawings she had from childhood and was later influenced by Cy Twombly’s The Four Seasons, where Sharma was inspired to create new work to express the language between space and time in her professional and city life.

Here’s a quick glimpse into some of her childhood drawings which we absolutely adore:

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And in case some of you were wondering about Cy Twombly’s The Four Seasons, here’s what they look like:

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Executed with an eye for composition and detail, Sharma will be using watercolours, acrylics with paintbrushes and found objects such as magazines and discarded materials such as corrugated card and foil from her studio to compose a new and lively series that is reminiscent of her previous work, influences and in a lot of ways, cubist art.

CHILDHOOD DREAMS

Artist’s statement: In the timeline of a design project, photos are more or less the first and last step. As a child I took these black and white photos at a school and developed the film in a dark room, soon after which I decided to study architecture. Revisiting the site last year, I captured the same locations in full colour with a digital camera. Recalling pre-digital photographic processes, both sets of photos are presented as enlarged negatives.

This series came about when Sharma presented her portfolio, which included photos from when she was a child. Why she had them in there, she wasn’t quite sure but they were first seen at the Highline Open Studios, a bi-annual event in New York City allowing artists of the West Chelsea district to open their studios to the public. It sparked a conversation between us about memories and what it would feel like to go back to the exact spot and take the same picture.

Going back there was a revelation as I remembered being really happy, feeling like I was somewhere where I could be free to explore ideas, creativity, without feeling embarrassed about being studious.”

CHILDHOOD DREAMS: Then & Now I

The black and white images were originally processed as slides and are the photos she took when she was still a young girl. They are processed as a negative image today to inform our viewer that “we never remember things exactly as they were…” And perhaps that is why the images that she took today when she revisited the same spot last December have the same subject matter but are not duplicates/replicas of the images taken over 20 years ago. Our memories are never 100% accurate, the wider the gap between past and present.

BLUE TOPOI

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BLUE TOPOI: Laksa

Artist’s statement: Cyanotype, the photographic process used to make blueprints, intrigues me as a way of studying light and shadow. In this series, the raw ingredients from two dishes-laksa and biryani-are composed to form imagined landscapes, using skills similar to those used in model-making. The pieces are intended to explore the disconnect between agricultural processes and city-dwellers in relation to food.

Much has been written about food in Singapore. No other subject is better suited to smartphone camera shots than food. Whether these shots are for the purpose of keeping a personal record of great places one has patronised, or for the instagramification of social life, more people are snapping photos of their favourite dishes than ever before.

Blue Topoi explores food culture in Singapore and consists of discrete and disparate images of: Laksa and Biryani, two of the most commonly found dishes at public housing food shops and hawker centres, places indigenous to Singapore’s food and urban landscape. In this series, Sharma deliberately considered every ingredient that makes up the essence of each dish’s recipe and gives us a new perspective of how food can look when framed. By rearranging each ingredient to create a surrealistic landscape, Sharma’s images look entirely different from a typical laksa or biryani. Each image can be taken apart and appreciated on its own but the images are more inviting together.

BLUE TOPOI: Laksa
An excerpt from the collection of 8 images.

Using one of the earliest forms of photography, Cyanotype, otherwise known to some as a Photogram, the medium seems to counter the speed at which photos of food are being taken and posted onto social media platforms, quite simply for the instant gratification of getting “liked”. Little goes into truly appreciating the skills and processes that go into making that dish.

By looking at this series, we’re lead to think about what an ingredient actually looks like, the ingredients that go into each recipe, the colours and the flavours of that dish, which have been stripped down to their basic shapes and form.

We were really excited to launch Anchalee’s aka “Kai” debut exhibition in Singapore, where you can find more photos of her artworks here and the kitchen crew at SPRMRKT came up with an equally amazing canapes spread that catered to over 50 guests throughout the evening.

2013 Food 6

Quinoa & Tomato Salad

Spoonfuls of this healthy grain makes for a delicious substitute to your usual carbohydrate of rice, potato or pasta. We loved how the orange-reddishness of the tomatoes popped on the black spoons.

2013 Food 3

Grilled Pork Belly with Polenta & Mustard

These pork belly babies went off the tables each time they were replaced with a fresh plate!

2013 Food 5

Chocolate Brownie Bites

A bite-sized version of one of our daily dessert from past menus. Now we can only imagine them to become available in little brown bags or plastic tubs…

2013 Food 4

Raspberry Financier

A recipe by head of pastry, Furrene Hoh, these were specially created for the event.

2013 Food 7Some of our favourites from the event! Tuna mayo on fresh cucumber bites – grilled pork belly with polenta & mustard – quinoa & tomato salad – raspberry financier. If you’re thinking about hosting a party and would like any of these at your event, feel free to drop us a line!

But before you go, have a look at some of the photos from the event. Enjoy!

2013 Event 5

One of Singapore’s top bartenders, Tron Young, mixes up some fun cocktails for the evening.
A vanilla lemon drop shot anyone? :)

2013 Event 4

The lovely artist Kai (in black) speaking to some of her guests.

2013 Event 3

Preparing a delicious moscow mint mule!

2013 Event 2

The day’s set up

Anchalee Temphairojana, also known as Kai

Anchalee Temphairojana, also known as Kai

A Singaporean, originally from Thailand, Kai works in operations as a blender in the oil industry. She knew from an early age that art would always be a part of her life but going to art school was not an option then. Nonetheless, she has continued to pursue her artistic dreams, quietly and meticulously building her portfolio after work. We did get a chance to spend some time with the lovely Kai and now you can find out more about her right here.

I think quite a few of us are intrigued about your work and how you got started from never having been to art school to keeping a portfolio with a diverse body of work. What can you say about your first exhibition and what are some of your earliest memories of drawing?

My first memory of drawing was in Thailand where my Primary school teacher would tell us what to draw and I was terrible at it! I remembered constantly asking my dad to finish my art homework for me as he’d get better marks.

My second memory of drawing was when I started school at New International School of Thailand (NIST) in Year 6. Mr. Zermani would make us draw a book introducing ourselves (I still have it!) and I would get really stressed out about it (flashbacks to first memory and bad grades.) But with his encouragement and later on a great art teacher, Ms. Krishna, both of them have instilled a passion for art in me which I can’t let rest.

I was set on pursuing an art education but due to various turns in events ended up doing a business degree. Nonetheless, I continued to take art enrichment courses such as pottery, photography, watercolour, charcoal drawing, oil painting and draw whenever time permits.

I feel so blessed to have my first exhibition in collaboration with SPRMRKT. I’ve started pushing my work to the public early this year and have been so lucky to meet Sue Shan and have the opportunity to work on this exhibition. There was quite a lot of doubt at first and a lot of hard work was involved but it is one of my proudest moments to date.

You do have a remarkable range of illustrations in your portfolio. What subject matter do you feel most connected to and who or what has been your sources of inspiration?

I started developing context in my work last year while spending time with my late grandfather in China. Prior to that, my works didn’t fit into a single theme. My favourite series is “Mr. Animal” which was sparked initially by the desire to improve my drawing skills. To my pleasant surprise – after illustrating the faces of these animals, I discovered that they each have personalities of their own! So I dress them according to the personality they convey to me.

Mr. Corporation was conceived a little differently where we discussed about some of the evil characters one sees in the office and thought it would be a good idea to use common local slang to  identify these animal portraits while giving them a humourous twist! After these characters were crafted, I had such a blast creating all 10 of them!

Work in progress: my next series will continue to be focused on “Mr. Animal” but will be drawing inspirations from my faith featuring topics like 7 Deadly Sins.

It’s quite timely that your first showcase here at SPRMRKT is launching around the same time Home & Décor magazine commissioned you to design a poster for their interior design and decoration fair. Tell us more about it.

While I was working on SPRMRKT’s project, I was commissioned by Home & Décor to do a piece featuring the word “Home” for their Home & Décor Fair (4-6 Oct 2013.) I was one of the 8 local artists to have their art featured on the October issue and our works will be featured at Marina Square Central Atrium during the fair. There will also be an opportunity for their lucky readers to bring these prints home! Here’s a peek -

Posters will be available at the Singapore Home & Decor Fair 2013

Posters will be available at the Singapore Home & Decor Fair 2013!

Great owl on SPRMRKT’s window by the way! Having never done an illustration on this scale before, you single-mindedly took up the challenge and it’s been a hit. Any reason why you chose the design you did? And have you ever thought about designing or becoming an artist as a full time profession?

When brainstorming for this piece, I was looking at designs that would look good in black and white lines. I eventually chose the owl as my subject as it has mysterious eyes and beautiful detail in its feathers that can be crafted into black line patterns.

Since young I’ve always dreamt of going to art school (I even know which school I want to go to!) and recently I’ve been looking for ways to create more awareness for my artworks. This year has been extremely rewarding and full of surprises. I’m happy with where things are now, being able to balance my time (and wallet!) with my full time job and my weekend art pursuit.

Owl illustration on SPRMRKT's shop window

Owl illustration on SPRMRKT’s shop window

Coffee Shop Street Talk was another commission you did in collaboration with SPRMRKT and we love it! What are your top three local dishes you can’t live without?

Hotpot, Prawn Mee, Ngoh Hiang

In the third and final commissioned series, Mr Corporation, a collection of 10 animal portraits characterised with local slang were created and named to fit the environs. We love how you’ve managed to portray such familiar characters at work more winsomely. Whose other portraits have you done or will you want to do?

Work in progress: 7 Deadly Sins (Animal portraits portraying a sin)

I’ve done a portrait series of my family members and am planning to do more human illustrations as these are skills I would like more practise in.

We can’t wait to see your next series :)

Kai’s exhibition at SPRMRKT marks the first time she is showcasing her work in a public space. She has created two exclusive series in collaboration with SPRMRKT: Mr Corporation and Coffee Shop Street Talk. Ranging from whimsical animal portraits that caricature personalities in the office like Mr Ngeow and SaboKing to graphic tongue-in-cheek plays on popular Singapore slangs, her pen and gouache illustrations reveal the lively wit and imagination of a creative young artist.

For enquiries on the availability of these artworks as individual pieces or as a collection, please contact us at art@sprmrkt.com.sg

MR CORPORATION

Mr Sabo King

“Mr Sabo King”
25 x 25 cm, original illustration in pen and gouache on acid-free artist paper, S$325

Mr Ngeow

Mr Ngeow
25 x 25 cm, original illustration in pen and gouache on acid-free artist paper, S$325

Mr Kiasu

Mr Kiasu
25 x 25 cm, original illustration in pen and gouache on acid-free artist paper, S$325

"Mr Atas"  25 x 25 cm, original illustration in pen and gouache on acid-free artist paper, S$325

“Mr Atas”
25 x 25 cm, original illustration in pen and gouache on acid-free artist paper, S$325

"Mr Hao Lian"  25 x 25 cm, original illustration in pen and gouache on acid-free artist paper, S$325

“Mr Hao Lian”
25 x 25 cm, original illustration in pen and gouache on acid-free artist paper, S$325

COFFEE SHOP STREET TALK

"Can Lah"  25 x 25 cm, original illustration in pen and gouache on acid-free artist paper, S$325

“Can Lah”
25 x 25 cm, original illustration in pen and gouache on acid-free artist paper, S$325

"Shiok"  25 x 25 cm, original illustration in pen and gouache on acid-free artist paper, S$325

“Shiok”
25 x 25 cm, original illustration in pen and gouache on acid-free artist paper, S$325

ISOLATION & INDEPENDENCE ( i / i )

Pink Triangle 50 x 50 cm  Reprint of original illustration on sihl smooth matte paper S$ 285

Pink Triangle
50 x 50 cm, reprint of original illustration on sihl smooth matte paper, S$285

Yellow Paperplane 50 x 50 cm  Reprint of original illustration on sihl smooth matte paper S$ 285

Yellow Paperplane
50 x 50 cm, reprint of original illustration on sihl smooth matte paper, S$285

 

For more information on Kai, please write to us at art@sprmrkt.com.sg or visit her Facebook fan page!

This is the 4th installation of “Never again shall a single story be told as though it were the only one”. A space dedicated to anyone with an artistic sensibility and a creative instinct, this show features photographer Sue Anne Tay. Exhibiting for the first time in Singapore, Tay’s images are divided into two themes: landscape and documentary photography. The main thrust of this exhibition lies in her documentation of the trade bazaars and landscapes in Kyrgyzstan, Central Asia.

Tay’s landscape prints capture a secret sense of serenity and surrealism in a provincial but no less beautiful countryside. Taken with a DSLR, these were about as close as the images got to being “digitally manipulated”. Reprints are available for purchase at S$275 nett each. Please write to us at contactus@sprmrkt.com.sg for purchasing methods and delivery details.

A statue of a headless goat stands atop a boulder along the Southern Corridor highway that leads to the Irkeshtam Border Pass with China. The headless goat carcass is used in a game of polo in Central Asia, called buzkashi.

A statue of a headless goat stands atop a boulder along the Southern Corridor highway that leads to the Irkeshtam Border Pass with China. The headless goat carcass is used in a game of polo in Central Asia, called buzkashi.

Cows graze in pastures near Toktogul, located along the Bishkek-Osh highway.

Cows graze in pastures near Toktogul, located along the Bishkek-Osh highway.

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Moving on to a photographic spreadsheet of Tay’s encounters with everyday Kyrgyz life, this series details the country’s food types, economic activities and social behaviours, bringing us closer to authentic Kyrgyz culture and its inhabitants. This is just an extract of Tay’s work, where she is also contributing photographer for ChinainCentralAsia.com, an ongoing research project charting China’s growing influence in the Central Asia region.

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On a different side of trade and industry, and as part of her commission exchange for SPRMRKT, Tay explored café culture in cosmopolitan Shanghai while we followed her through this process and featured a live feed on Instagram (#tayexhibits), over two weeks before the launch of this exhibition. Now at SPRMRKT, we’ve used our retail shelves to create an installation of these images, like window frames where we peer in to a different life of spaces in other places, or is it?

This gallery contains 14 photos.

Sue Anne Tay is a Singaporean photographer based in Shanghai. When not armed with a camera, Tay dons a suit as Senior VP and strategist at HSBC. Her widely read blog ShanghaiStreetStories.com focuses on Shanghai’s urbanization trends and attempts to preserve its heritage architecture. Tay is also the contributing photographer for ChinaInCentralAsia.com, an ongoing research project charting …

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PERSISTENCE / DELIBERATION

P/D Landscape Art Series No 1

P/D Landscape Art Series No 1

P/D Landscape Art Series No 2

P/D Landscape Art Series No 2

P/D Landscape Art Series No 3

P/D Landscape Art Series No 3

P/D Landscape Art Series No 4

P/D Landscape Art Series No 4

P/D Landscape Art Series No 5

P/D Landscape Art Series No 5

PYRAMIDUS

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Pyramid 1

Pyramid 2

Pyramid 2

Pyramid 3

Pyramid 3

Pyramid 4

Pyramid 4

Pyramid 5

Pyramid 5

Pyramid 6

Pyramid 6

Pyramid 7

Pyramid 7

Pyramid 8

Pyramid 8

Pyramid 9

Pyramid 9

Pyramid 10

Pyramid 10

Reprints can be purchased in the following formats:

  1. A3 canvas print. Stretched canvas approx. 460mm x 300mm – S$300 per print
  2. A3 photo print. Smooth matte paper mounted on 3mm Dilite (an aluminium composite) mount – S$200 per print

Please write to us at contactus@sprmrkt.com.sg with your orders or enquiries and remember to quote the print title number that you’re interested in. Other prints from Akai’s online portfolio are available upon request.

Reprints will take about 3 to 5 working days and can be collected at SPRMRKT, 2McCallum Street, Singapore 069043

All images & text are provided and copyrighted by Akai Chew Hung Kai.

 

akai profile pic

Graduating with a Diploma in Architecture, Akai Chew currently works at The Urban Redevelopment Authority of Singapore (“URA”). Pursuing both what he accomplished at school and his passion for photography, SPRMRKT is proud to present his first ever solo show in this series of photographs that captures his eye for detail towards the built environment and in fashion.

Your first solo show! How and when did you discover your love for photography?

My dad had an old compact film camera and I loved the press of a button and hearing the film whirl. As for cityscape photography, it started from my aunt’s house actually. She stayed in this old shophouse which was adorned with many colourful ornaments. She had a motor showroom and workshop downstairs, and she lived upstairs. The whole place was full of character. Soon I began to notice that there were actually many houses like hers. That was how I started noticing architecture.

I picked up a book on design in secondary school which showed a really colourful house with lots of walls and greenery. It got me in love with architecture and photography. I’m amazed at how something so simple can look so breathtaking. Later I learnt that the house was designed by architect Luis Barragan and it was photographed by Rene Burri.

You have a diverse body of work from landscape art to fashion. Which artists or photographers have inspired you the most?

I am inspired more by architecture, which to me is like a three-dimensional photograph. I like to observe how light enters a building and reacts in a spatial environment. I love the works of Luis Barragan, Tadao Ando and lately, Peter Zumthor and Stephen Holl and their theories of phenomenology.

As for fashion photography, I am inspired by Nick Knight, Solve Sundsbo and local photographers Chuando & Frey.

Name us one of your personal favourite photos or series and tell us why.

That would be my Bane of Urbanism series. It was one of my more well-received earlier works. I received a few online messages on it, and through those, I met many like-minded people who became my closest friends.

I had visited Pearlbank Apartment through an open invitation by architect Ed Poole who works from one of the penthouses. During that time, the apartment was pending an en-bloc sale. I was struck by the monumentality of the whole place and how dense it actually was. Despite that, it felt really comfortable inside, and rather well-designed.

There seems to be a correlation in what you do at URA and your eye for detail for the built environment, as seen in your images in Pyramidus and Persistence / Deliberation. Has your discipline nurtured or inspired your art as a photographer in any way?

Definitely. It taught me to see beyond the cosmetic look of the building and consider factors like why it is designed this way, what the driving idea behind the design is, and how this certain design influences people in more ways than they expect. It also drives me to question the function of architecture and the built environment in society, and how it affects our perceptions and our lives.

Any thoughts on taking photography up full time?

Perhaps one day in the future!

Boundaries you wish to push with your art?

I am currently conceptualising an interaction of elements with architecture photography, and a blend of architecture and painting perhaps?

One of your fashion shots appeared in Harper’s Bazaar in 2012. What other publications would you dream about seeing your images in?

Artistic magazines like i-D and Dazed & Confused.

Any plans for after this show?

Sell some prints and take it from there!

A series of landscape art photography taken by Akai, inspired by SPRMRKT.

Napkins bw walnut bw Muffin (1) bw Earl grey tea cake 2a bw _D7K1487 bw

For a complete view of Akai’s work, please visit his online portfolio here or visit us at 2 McCallum Street from 6th April 2013.

Martin YeohFounder, MLC Productions

Martin Yeoh
Founder, MLC Productions

1. Being an entrepreneur has been at the tip of the nation’s tongue in the past couple of years. What made you decide to come out on your own in 2010 and what’s the one experience you would like to share with others who are striving to do the same?

Well, back in the end of 2009, I was in-between projects in Southern Star, I felt the need to shake up my life a little. I felt I was getting a little too lazy and complacent. Don’t get me wrong, Southern Star is a great company to work in and I had a great time there. I guess I reached a point in life whereby I needed something to call my own, I needed a new challenge, something that could hold my short attention span. So one thing led to another and MLC was started. I guess the one thing which I learnt from running this business is (that) money isn’t everything: when you start a business, your product is everything. So focus all your attention on your product and money/clients would come by as a result.

2. You’re constantly working with new and various teams of people put together either by you or your clients. Afiq Omar worked with you as the assigned photographer for The Westin Gurgaon, New Delhi’s Event. How important is it to form the right team before starting a project? What happens if the best person or people you have in mind for the job can’t take on the project? 

It is essential to work with the right people. Different photographers and camera operators have different strengths, as a production company it is important for us to know what each individual crew’s strengths are and designate the right jobs to the right people. Well, if the person is not available, then we would have to call on our second choice.

3. There’s less wonder when a videographer picks up and starts shooting with a 35mm camera but conveying different images and mood by that same person switching between mediums, that’s art. How do you know when to use what? Have there been times when you wished you had captured a video on photo instead?

Both mediums have their strengths, a well taken photo can just be as effective as any video, they are both different mediums but yet employ very similar skill sets to capture the right moments. When I’m not working I don’t necessarily choose whether to shoot photos or videos, I just go with the moment. This choice is a lot easier now over the last 2 years with DSLRs from all the big brands that have great video shooting capabilities. and in 2013 onwards we will start seeing video cameras that can shoot videos with 4k – 6k resolution. So essentially we can make screen grabs from those video footage and use them for print.

4. Through this latest showcase of street photographs and portraits, you and Afiq have captured an essence of another culture that some are only fleetingly familiar with. What would define a street photograph or portrait of Singapore for you? 

Singapore’s really diverse, I guess a good Singapore portrait would show that diversity but in a contrasting manner. For example, contrast between old and new, rich and poor, the difference races that live here. As for a good street Singapore photograph, anything goes I guess, you just have to be at the right moment at the right time.

5. I don’t think “street videography” could work as well as an artistic genre and concept but someone could prove me wrong. Any thoughts or feelings about working with this idea? 

I don’t think there is a genre called street videography. but people have been doing similar things since video started in the form of indie documentaries, mood travel videos, street time lapses etc. you can find a whole lot of them on vimeo.

6. A good portion of your work are in music and fashion, frequently associated with club culture, and not easily recognisable in these photographs. What inspires you?

Everything inspires me, I feel a lot of people spend their lives waiting for inspiration to land on their lap, but that doesn’t happen all the time. Inspiration is found, not given and its everywhere!

7. We’re launching the third edition of our daily menu along with your showcase. Is there any dish you hope will stay on the menu? With whom do you find yourself enjoying a meal or who would you want to have a meal with? 

I haven’t had a chance to taste the (whole) menu yet! But I must say so far your soups are just fantastic, every time I step into the store, I’ll make sure I order some soup cos it warms my heart and belly. I would bring my parents there next time *hah*

A video specially commissioned by Martin and in collaboration with the launch of our new daily menu this January 2013. Enjoy!

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