Fridae

Andy Warhol said "art is never chaste, if it is, then it is not art". The work of Ernest Chan surely falls into the former category. Known for his figurative and "Capsicum" series, his artworks are subdued yet provocative. His works have been described as visually engaging, drawing the viewer in to make certain assumptions, which almost inevitably turn out to be of a sexual nature. Perhaps this is one of the reasons Ernest's works have garnered a loyal following with gay men.

"The artist's practice elaborates on some of the anxieties and dilemmas that define contemporary relationships - the apprehensions of betrayal, the cravings for acceptance, and stress of coping with expectations. His early works, executed in expressionistic style, manifested his personal turmoil and despair at resolution of many of his probing questions. His later work marked a conspicuous adoption of a more mellow and deliberate approach, but which nonetheless attests to his persistence in orientating our attention towards certain moral and spiritual predicaments. The artist regards his works as describing the subterranean ways in which the private is veiled in public in order to preserve the veneer of decorum. His figural works are characterised by monumental male figures against a "contextless" or blank background. In his capsicum series, the vegetable and its parts rendered in "close-up" format, substantially altering the identity of the subject to create ambivalence and speculation." - Lindy Poh (Source: The President's Young Talents Exhibition catalogue)

æ: Probably the most noticeable works are your Capsicum prints at Vincent's Lounge. Your paintings usually create a sense of recognition with gay men. Can you explain why?

ernest: I think gay men are very sensuous beings. Being stimulated by visual imagery, perhaps they are seeing with another organ rather than their eyes. As they say, men think of sex every 5 seconds or so. Also the colours are vivid and passionate, which might appeal to a person's sense of drama.

æ: Why Capsicums?

ernest: I don't know what it is with me and the Capsicums. I started out at LaSalle, with observational studies, and kept on doing it like an obsession. The appearance of the Capsicums have changed, - my early ones were very detailed illustrations - the later ones were more like metaphors or suggestive forms like O'Keefe and Mapplethorpe's works. I like the way the Capsicum acts like a teaser. People see all kinds of things in the paintings - but then they realise that it is really the stalk of the capsicum.

---

æ: Could you elaborate on some of the issues that you highlight in your works?

ernest: Very broadly, it refers to the ideas of private spaces and how these are transcribed in public places. I want to bring some social awareness, to change this prevalent attitude that if we don't see it, and we don't talk about it, then it doesn't exits. It's one big closet. So I started my own investigations into the history of behaviours and social relationships in China, and discovered how even common language is affected by certain conventions and beliefs of the mainstream and what is deemed to be acceptable. Or how laws reflect the beliefs and interests of the majority. I started to use these ideas in my work. Capsicum's is finally coming to an end after 10 years.

æ: Your works have evolved throughout the years, especially for your Capsicum series. The style has shifted from raw and expressionistic, to a more photo realist treatment over the years.

ernest: You're right. My early works are so different - but I like to look at them now and see the difference. They seem so spontaneous and immediate, and I wanted it that way - for people to see it and feel instantly the sense of rejection or discomfort. I was so impressed with the German Expressionists, the neo-Expressionists and their bold strokes and raw colours. They were in fact what influenced my decision to go to Germany. My works are now so totally changed. Someone said my handling now is more sophisticated, I find that as I grow older, I am not interested in being the "screaming" messenger. All that angst has gone. You're right that I still feel deeply about the same issues, but my interpretation and expression has changed. After 10 years or so, I am finally bringing the series to an end. My second show 'Capped' features the culmination of the series.

æ: Do you feel like you can identify with the Singapore art scene now and be able to work well under the present conditions?

ernest: Well, although I feel very strongly about certain issues, I don't think you can describe me as an 'activist' because I don't participate in social groups or anything like that. But I do enjoy that there is generally more open-ness, and it is the small things that count. I wouldn't say that I am frustrated as an artist because I paint for myself.

Ernest's second show 'Capped', opening Friday 23 Aug, will feature his most recent and final Capsicum works. The showspace is located at warehouse 72-13 Mohammad Sultan Rd (located further down from Orange on the opposite side of the road) Opening hours are 6-8 pm Fri 23 Aug, 1-8 pm 24 Aug-5 Sept.

This article was interviewed and transcribed by Lindy Poh/ Steve Tan. Ernest can be contacted at tuckpepper@hotmail.com.