Of a Fine Brush is a defining series for Yang Chang, of which many aspects redraw previous understandings of who Yang Chang is as an artist-painter. Throughout the series we are treated to a delectable blend of the intense rigor from gongbi and the carefree spirit of xieyi, reminiscent of pioneering Singapore watercolour artist Cheng Chong Swee who exceled at composing masterpieces tying together a myriad of different tree forms. We can also observe the elevation of tonality through unconventional hues and the transformation of the traditional (ink awakening / ??) into the experimental (awakening white / ??). It is this harmonious duality of the seemingly dichotomic that excites and attracts us. The trademarks of Yang Chang remain too, amidst his eclectic showcase of ideals and techniques. We might notice his unique style of appending seals, where at first glance they appear to be at random, but on deeper introspection they can be seen to enhance the overall composition of the painting. It could be the immaculate detail in the broad leaves, or the rich layers and tones to his skies and stones. It could even be how the paper he uses inspires different forms and shapes. The series’ title would suggest it runs and revolves around fine technicalities and brush techniques, but that would be far from the truth. The continual refinement of skill founded upon a heightened understanding of Chinese watercolour and ink are only the expression of and window to Yang Chang’s philosophical inclinations and avid soul.

by Mr. Ling Shao Tong

City Impressions is an iconic series of artworks by Ling Yang Chang. While numerous artists in Singapore, the Nanyang region, and abroad, have explored the themes of buildings and architecture, Yang Chang’s City Impressions stands out as a unique, personal statement. Consistent with his other series of artworks, Yang Chang’s whimsical style of art is also present in his interpretations of automobiles, people, and buildings. Beneath this appearance lies philosophical depth; to Yang Chang, an artist’s connection to the subject of his or her artworks is of utmost importance. Having grown up in the man-made oasis that is Singapore, Yang Chang has had greater interactions with towns and cities as compared to the mountains and valleys that are the subjects of traditional Chinese ink landscape paintings. To the artist, City Impressions is his version of Chinese ink landscape paintings; the buildings are his mountains, the roads are his rivers, the lampposts are trees, the cars and people are tiny rocks and pebbles; even the brushstrokes and ink tonalities are derived from traditional Chinese ink painting. City Impressions is truly a series of artworks that brings tradition into our present.

by Mr. Chin Rui Yang

Perspectives is an amalgamative series, both an intimate expression of Yang Chang’s innermost outlooks and a playful dabbling with the commonplace. In a simple Eastern caricature of a lazy cat, we catch a tiny glimpse of joy inherent in little breaks and daydreams, be they well-deserved or self-indulgent. When we gaze upon the humble figure of Bodhidharma, a deep sense of veneration and reverence falls upon us and settles in our hearts. The gales and winds of life are brought to a temporal halt. In that one moment of reprieve, there is inner peace. As a handful of chicks gather together over a clean bowl of grain in great excitement, an atmosphere of vibrancy and life is heralded. In the midst of that celebration, our spirits are uplifted. From the portrait of a scholar poised in deep contemplation, we are led to speculate on his exact musings. His pensive eyes hint of melancholy and wistfulness, yet in his upright posture an aura of great dignity and strength of character is exuded. Perspectivescarries the very flavours of life through the eyes of Yang Chang. The culmination of all works simplistic and expressive stands incisively revealing not only of his innermost thoughts but of an attitude, a Dao (?) with which he navigates his life.

by Mr. Ling Shao Tong

Growth is one of Yang Chang’s key series of artworks. It is largely derived from the lotus subject, although there are also many interpretations of trees, vines, and other flowers. To Yang Chang, Growth is many things. It is the outcome of life’s developmental process. It is also the process in itself, and not just a snapshot of a specific moment. It is the promise of the future that life will become. Yang Chang presents these qualities through various traditional Chinese ink painting elements. In some paintings, he employs the use of imaginative, white space to allow viewers to imagine the lotus flowers blooming and vines stretching out. Yang Chang also insists on ink and colour tonalities to ensure that there are changes throughout each painting, and that no portion of an artwork is static. He complements the effects of these tonalities with traditional Chinese ink brushstrokes, which are, in my opinion, more dynamic than Western lines. And while traditional Chinese ink painting elements dominate, Yang Chang’s choices of forms and colours – which often have their roots in Western painting – are statements by an art practitioner from the present. Growth is a remarkable spectacle that challenges the boundaries of Chinese ink painting.

by Mr. Chin Rui Yang