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Raymond Yap Poh Tiam

Lecturer

Fine Art

Qualification

Postgraduate Diploma in Higher Education (PGDHE),
Nanyang Technological University,
National Institute of Education, Singapore


Master of Arts, Painting,
Royal Academy Schools, London, UK

Bachelor of Arts (Hons), Fine Art (Painting),
Wimbledon School of Art, London, UK

Master Drawing Course,
The Slade Summer Course, London, UK

Foundation Course in Art and Design,
South Thames College, Wandsworth, London, UK

Biography

A recipient of the Selina Cheneviere Fellowship (Major Award in Painting) from the Royal Academy Schools in 2001, Fenton Art Trust Prize & David Murray Travel Scholarship in 2000, and the Drawing Prize (Highly Commended) from the Wimbledon School of Art in 1998, Raymond’s vast experience in arts have seen him being a Visiting Lecturer at the John Moore University from 2000 to 2001 and at Wimbledon School of Art from 2001 to 2007. Raymond’s unique approach in painting has also been admired by collectors such as IKB Deustche Industriebank AG, Debehams, A.T Kearney, Financial Service Authority in London, Department of Human Genetics, University of Newcastle-upon-Tyne in Northumberland, and Great Northern Railway Hotel in Peterborough.

Raymond started his journey towards the arts in 1994, and he has already had 7 solo exhibitions under his belt, namely at the Sangkring Art Space, Yogyakarta, Indonesia in 2010; The Jendela, Esplanade, Singapore in 2009; Valentine Willie Fine Art, Kuala Lumpur, Malaysia in 2005; and The Agency Contemporary, London in 2003 and 2002.

In 2014, Raymond has participated in group exhibitions; ‘Do you believe in Angels?’, MO_Space, Philippines and subsequently toured to Equator Arts Project, Singapore, ‘…6767… Draw Bridge’, Nanyang Academy of Fine Arts, Singapore, ‘Nothing in Common’, ION Art Gallery, Singapore and recently completed his Artist Residency at the Light & Space Contemporary, Philippines in December 2013.

Currently a full-time lecturer, Raymond diligently uses his spare time to create more artworks, as to what Tony Godfrey, an art critic has wrote on his paintings in 2014, “…his contribution to the philosophical discourse on what painting is significant.”