Proposal for Biopolis Art Project

Basic Concept

To conquer SPACE, to re-create SPACE, and to understand the world from different angles.

The DIMENSION series comprise of three works, in which the main themes Earth, Natural Phenomenon, and Man respectively are used as intermediating subjects to bring out interesting ideas.

1. Third • Dimension – probing into fixed notion of volumetric measures and judgments. It is an attempt to diversify perspective on the understanding of greatness and insignificance. The intended “forest of hair” supplies a contradicting element to the real trees in the surrounding, thereby inducing another criteria to reexamine this “three dimensional” world.

2. Fourth • Dimension – by bringing in interaction of natural elements such as light and wind (heat), to recall aesthetic experience that is reminiscent to that of the theory of relativity. With the use of glass, the properties and changes of the various elements are magnified and transmitted straight to our eye and mind. With this pursuit of light, we look forward to that moment of transcendence, when human could override light and enter the fourth dimension of time…

3. Sixth • Dimension – “I think therefore I am”, a metaphor pointing straight at human’s mind, which potential is yet under-explored and immeasurable. As innumerable possibilities of all kind are opened up to man endlessly, man Enters and Exits to determine his destiny. “For the need to enter, we chose to leave.”

Third · Dimension

Man are used to judging the world from his own subjective point of view, while ancient legends usually record our quest for the unknown in beautiful metaphors.

In the ancient Chinese legend of the creation of the world, the giant Pangu split the egg that he was born form into two and created the sky and the earth. When Pangu died, his breath turned into wind and clouds, his eyes became sun and moon, his body and limbs turned into mountain ranges, his blood became rivers, his hairs became flowers and trees…

In The Third Dimension, I attempts to make use of the sculptural forms to subvert the original sense of dimension, and to return to the earth’s most original condition as described in the legend. When one steps into this land where Pangu’s huge, hard as iron hairs are flourishing, one is suddenly transported into a different world; like Honey I Shrunk the Kids, one becomes a tiny ant roaming on a person body as if it was a vast land…

Perhaps this world is indeed a living organism, and the earth a tiny little cell belonging to the universe…science is in fact as imaginational and romantic!

Fourth.Dimension

The sun appears, temperature changes.

Air current took its form and scurry into void, sound is heard.

Hither and thither, rippling waves reflect lights.

Images appear gradually in our eyes.…..

I am attempting to create a space, from which people could trace the path where Light travels, and the rhythm in which Light follows. Then we would understand how nature changes her mood, and how the day comes.

Glass are seldom used for out-door sculptures, as it is a difficult material for large-scale and made-to measure purposes. However, its exclusive transparency would usually reveal a kind of “inherent space” within itself. This “inherent space” exists in one unique way: it is virtual, as its existence depends on that of the light. As for water, its restless character helps to reflect rays in a natural and rhythmic manner.

Human beings yearn to control light all because we are afraid of darkness. At night, while the flowing water and the reflective light rays are under our manipulation, this dimension become a dream of radiance.

When wind comes, melodies follow, and the light dances with the wind.

Sixth . Dimension

The door exists as a result of man’s instinct to demarcate and mark borders. One requires it to transcend confinements, to found his basis from the infinites, and to pursue the unknown through the familiar. It is both an entrance and exit.

This sculpture itself denotes an enclosed dimension. It occupies space while recreating the negative space. There is a man inside, gazing and examining from his own perspective.

Stainless steel is an ideal substitute for mirror. Its reflective nature allows the sculpture to blend in its surrounding, and merge into our psyche. The interior reflections capture images back and forth, creating a six dimensional abyss, and hence bring forth infinity. I perceive such relations as intriguing metaphor of our innermost being.


				*cheekiong _Yeo* *My Project*



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		A Line, A Door 9 Dec 2001 – 3 Feb 2002 Nokia Singapore Art 2001 Singapore Art Museum (SAM) “Yeo Chee Kiong’s work, A Line, A Door, employs the language and architecture of rooms as metaphors – doors, doorframes, exits and entrances, delimiting and directional lines leading to and from one kind of space to another. The use of geometry (e.g. the square, rectangle, and grid) has gained particular currency as a metaphor for constrictions and enclosures in cultural expressions. The work that the artist describes as a construction of an “extended (and) a surreal world”, further destabilizes familiar notions of spatial proportion and perspective, while it touches on the human condition in such an environment.” - SAM ..........



		Dimension Proposal for Biopolis Art Project Basic Concept *To conquer SPACE, to re-create SPACE, and to understand the world from different angles.* The DIMENSION series comprise of three works, in which the main themes Earth, Natural Phenomenon, and Man respectively are used as intermediating subjects to bring out interesting ideas. 1. Third • Dimension – probing into fixed notion of volumetric measures and judgments. It is an attempt to diversify perspective on the understanding of greatness and insignificance. The intended “forest of hair” supplies a contradicting element to the real trees in the surrounding, thereby inducing another criteria to reexamine this “three dimensional” world. 2. Fourth • Dimension – by bringing in interaction of natural elements such as light and wind (heat), to recall aesthetic experience that is reminiscent to that of the theory of relativity. With the use of glass, the properties and changes of the various elements are magnified and transmitted straight to our eye and mind. With this pursuit of light, we look forward to that moment of transcendence, when human could override light and enter the fourth dimension of time… 3. Sixth • Dimension – “I think therefore I am”, a metaphor pointing straight at human’s mind, which potential is yet under-explored and immeasurable. As innumerable possibilities of all kind are opened up to man endlessly, man Enters and Exits to determine his destiny. “For the need to enter, we chose to leave.” Third · Dimension Man are used to judging the world from his own subjective point of view, while ancient legends usually record our quest for the unknown in beautiful metaphors. In the ancient Chinese legend of the creation of the world, the giant Pangu split the egg that he was born form into two and created the sky and the earth. When Pangu died, his breath turned into wind and clouds, his eyes became sun and moon, his body and limbs turned into mountain ranges, his blood became rivers, his hairs became flowers and trees… In *The Third Dimension, I attempts to make use of the sculptural forms to subvert the original sense of dimension, and to return to the earth’s most original condition as described in the legend. When one steps into this land where Pangu’s* huge, hard as iron hairs are flourishing, one is suddenly transported into a different world; like Honey I Shrunk the Kids, one becomes a tiny ant roaming on a person body as if it was a vast land… Perhaps this world is indeed a living organism, and the earth a tiny little cell belonging to the universe…science is in fact as imaginational and romantic! Fourth.Dimension The sun appears, temperature changes. Air current took its form and scurry into void, sound is heard. Hither and thither, rippling waves reflect lights. Images appear gradually in our eyes.….. I am attempting to create a space, from which people could trace the path where Light travels, and the rhythm in which *Light* follows. Then we would understand how nature changes her mood, and how the day comes. Glass are seldom used for out-door sculptures, as it is a difficult material for large-scale and made-to measure purposes. However, its exclusive transparency would usually reveal a kind of “inherent space” within itself. This “inherent space” exists in one unique way: it is virtual, as its existence depends on that of the light. As for water, its restless character helps to reflect rays in a natural and rhythmic manner. Human beings yearn to control light all because we are afraid of darkness. At night, while the flowing water and the reflective light rays are under our manipulation, this dimension become a dream of radiance. When wind comes, melodies follow, and the light dances with the wind. Sixth . Dimension The door exists as a result of man’s instinct to demarcate and mark borders. One requires it to transcend confinements, to found his basis from the infinites, and to pursue the unknown through the familiar. It is both an entrance and exit. This sculpture itself denotes an enclosed dimension. It occupies space while recreating the negative space. There is a man inside, gazing and examining from his own perspective. Stainless steel is an ideal substitute for mirror. Its reflective nature allows the sculpture to blend in its surrounding, and merge into our psyche. The interior reflections capture images back and forth, creating a six dimensional abyss, and hence bring forth infinity. I perceive such relations as intriguing metaphor of our innermost being. .......... Lieutenant Adnan NHBoard, WWII Interpretative Centre, Singapore Bronze (2002) .......... Shine (2002) RISIS Pte Ltd .......... The Making Of A Masterpiece - Sieats in Bali by Liu Kang (2001) "This is the first time that a painting of mine has taken on a three-dimensional form. It is a new and fresh approach to art and is certainly worthy of my support and encouragement." RISIS Pte Ltd .......... Frog-man (1996) Naval Diving Unit, Sembawang Camp 240cm (heigth) .............



		*A REALISTICO-IMAGINARY EVENT*