Embracing Abstraction

In 1962, Goh Beng Kwan left Singapore to study at the Arts Students League in New York, where he remained until 1966. There, he shuttled feverishly between classes, galleries and museums, and part-time jobs. In New York, Goh was drawn to artists associated with abstract expressionism, whose works were characterised by dynamic brushstrokes and energetic fields of colour. Abandoning naturalism, Goh embraced abstraction. He would continue this style for the rest of his life. Goh first used the term “nervous city” to speak of New York, where the built environment, clamour and energy were an inspiration.1 While walking through its streets, he sought to listen, smell, and sense beyond the limits of sight. He then expressed this emotive, multi-sensorial experience through colour and free-flowing forms. Look, for instance, at his painting, Advertisements. Intersecting horizontal and vertical lines in moody blacks and browns suggest New York City’s grid layout and the dominant presence of advertising. These visual elements express the commercialisation and frenetic pace of urban space. Certain pieces were also prompted by socio-political events. Black Afternoon, on your [left/right], was painted after the assassination of President John F. Kennedy in 1963. Through visceral colours and dramatic brushstrokes, abstraction is used to convey the universal qualities of grief and trauma. Even in Goh’s abstract works, one sees the influence of his Chinese cultural traditions. In U-Stroke, a single bold black brushstroke just off-centre introduces dramatic tension. This stroke was informed by Goh’s practice of Chinese art and calligraphy back home. In America, Goh began exploring the use of collage. To see some of his early collages, look to your [right/left]. Afterwards, make your way to [insert signpost/work], where your tour will continue.