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Tanganku Tanganmu                                                                                                                                             Diploma  in  Fine  Art
                                                                                                                                                                                   Grace  Angel







                 Screen Printing on Acrylic Sheet

                 8 x (30.4cm x 45.7cm x 0.3cm)




                 Student Bio                                                                                   Project Description




                 Grace Angel (b. 1999, Medan, Indonesia) is an                                                 Human nature and the beauty of their imperfections are the

                 interdisciplinary artist based in Singapore. She is currently                                 main interests in my creative practice. Experiencing the pain of

                 a graduating student from Nanyang Academy of Fine                                             losing loved ones has given me a huge actualisation of human


                 Arts (NAFA) majoring in Printmaking. She has been                                             nature, mortality, pain and also beauty which has driven me to

                 actively participating in several showcases, exhibitions                                      start employing symbolism and realism in my work. My current

                 and competitions including the Live Client Project in                                         project, Tanganku Tanganmu  (in English,  My Hand Your Hand)

                 collaboration with Singapore Tourism Board and The 6th                                        explores the absence of human interaction in the era of

                 Indonesia International Print Triennial Competition.                                          globalisation. This work will cover studies of hand gestures of

                                                                                                               people dallying with their phones. By deteriorating the hands

                 Recently, she completed her internship at the Singapore                                       into flesh, veins, and bones, it acts as a metaphor to emphasise

                 Tyler Print Institute (STPI). For her hardwork and dedication                                 in the decadance of the society. Neglection of the importance

                 towards her artistic practices, she has been awarded the                                      of communication, purpose, and touch where society is in


                 Dean’s List Award AY 2019/2020, HiArt Scholarship AY                                          conflict with nature due to artificial lusts. Through this work,

                 2019/2020 and AY 2018/2019 and Tan Chay Bing Entry                                            I wished to establish more awareness of the importance of

                 Merit Award AY 207/2018.                                                                      human presence and physical connection by reminiscing and

                                                                                                               embracing the past. By presenting them in a series of eight, it

                                                                                                               engages the audience by questioning, “What is implied on the

                                                                                                               hand gestures and when is the first time you started playing


                                                        Fig 11.                                                with phone(s)?”


































































































                   B.o.B. 2020











                   S.O.A.D.                  Fine Art


















                                                                                                            Fig 12.
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