Tilda Swinton, Cornelia Parker and The Maybe

“The Maybe” was a work of art, supposedly by a collaboration of Tilda Swinton, the actress and Cornelia Parker, the artist. I say, “supposedly” because the truth of the matter is that the origin of this work lay outside the heads of both of these ladies.

In the early 1990s, I conceived a performance art work called Lord Valentine the Misplaced. This was an 18^th Century dandy, living in the 20^th Century world. I was fully attired in 18^th Century clothes and had old world airs and mannerisms. I took this work of living art, to both London and New York and it was eventually covered on CNN in 1994, NBC News in February 1995 and Reuters on 14^th February 1995. There was also coverage in the Observer newspaper in October or November 1994, and Time Out magazine, of London, in November 1994. Basically, it was quite a well known work, by the mid 1990s.

Now, an odd thing happened one night, in London. I was attired as Lord Valentine the Misplaced and was to meet a journalist (one Andrew Mosby from Time Out magazine, if I recall correctly), at Beach Blanket Babylon, a rather trendy and ornately decorated bar, in Notting Hill, West London. This was in November of 1994, after an article had come out about me, in Time Out.

As I entered Beach Blanket Babylon, I saw a familiar figure, her head laying on the shoulder of another woman: Tilda Swinton, the actress. I had seen her in person, several times before, but never really spoken to her. She had been pointed out to me, at Cambridge University, when I was there, many years before – since we both attended it, though she was rather older than me (still is!).

This pair were very interested in me. They appraised me with eager eyes, thinking thoughts that would later become clear. I did wonder at their closeness, since Tilda Swinton’s head was on the other lady’s shoulder. I did wonder at what kind of relationship they had. Then again, girls are often much more touchy-feely than guys.

Both studied my 18^th Century attire carefully.

I believe that Tilda Swinton introduced her friend as Cornelia, because she became so labeled in my mind, thereafter.

“What are you doing?”, one asked – I can’t remember which, though I think it was Tilda Swinton – “Are you trying to get cast?”

“No.”, I said, for my purpose was deeper than that. I didn’t explain what I was actually doing though.

The conversation was very brief, but there was something guarded about Tilda Swinton, at the end. She suddenly tugged at her friend to come away, a thought seeming to have come to her. I passed on, seeking my contact within.

It was the following year that Tilda Swinton and Cornelia Parker, collaborated on The Maybe. This was a simple piece of performance art/live art, in which Tilda Swinton slept in a glass box, in everyday ordinary clothes. Now, what I found immediately interesting about this was that it was a piece of living art – which is precisely what Lord Valentine the Misplaced was. I also thought it very interesting to note, from the pictures released at the time, that Cornelia Parker had been the lady with Tilda Swinton that night, in Beach Blanket Babylon. It was immediately obvious where the “inspiration” for this work of art had come from. I had created a piece of living art. Tilda Swinton and Cornelia Parker met me whilst I was being Lord Valentine the Misplaced – and Tilda Swinton (it seemed) had the idea of copying my idea and embodying herself as a living work of art, too. Particularly telling was the use of unattractive everyday clothes for The Maybe. Brian Sewell, the art critic, wondered why Tilda Swinton hadn’t dressed up as some kind of Sleeping Beauty (though maybe not in those words). It is clear why not. Had Tilda Swinton dressed up in any kind of beautiful period clothes, she would have revealed the inspiration for her work. She had no choice but to be in ordinary clothes, so as to obscure the original inspiration for the work.

Later on, Cornelia Parker and Tilda Swinton fell out over who “thought” of the Maybe. Both claim to have conceived the idea – though Tilda Swinton makes the louder claim that the idea was hers. It is very, very clear why this argument has arisen: because BOTH ladies met me, at the moment they decided to imitate what I was doing. The reason they can’t agree on who was responsible for thinking of it, is that NEITHER was responsible for the original thought. All they decided to do was to create a “me too” art work, based on my own prior explorations of living art. It is very telling that neither can agree on who conceived it, which indicates that they have something in common, at the moment of conception: that common point was the meeting of me as Lord Valentine the Misplaced. Had only one of them met me at that time, then only one of them would be laying claim to the idea. Their very argument points to the moment of contention: the instant they both met me, and one of them (or both of them) decided to imitate my work, in their own way.

Of course, the fact that they recognized my work as living art (implicitly, since they imitated it), does go to show the success of my work.

Cornelia Parker has gone on to produce other pieces of work, though Tilda Swinton hasn’t. Evidence of the influence of my work on Cornelia Parker can be seen in another of her proposed works. My art work was called Lord Valentine the Misplaced. Interestingly, Cornelia Parker wanted to put a meteorite back into space and used the term “misplaced” to describe this action – so the meteorite would now become a misplaced object. This seems to be a clear adaptation of the idea of misplacement as art. Lord Valentine the Misplaced, was misplaced in time – Cornelia Parker’s meteorite would have been misplaced in space. It is an analogy of my prior work.

We can see here, how Cornelia Parker conceives some of her works. They are adaptations or analogies to other people’s work. She is translating other people’s ideas into a different setting. Tilda Swinton’s The Maybe is a sleeping piece of living art, dressed in everyday clothes. Lord Valentine the Misplaced was a waking piece of living art, dressed in 18^th Century clothes. Cornelia Parker’s proposed meteorite project was a rock misplaced in space. My Lord Valentine project, was a human misplaced in time. These are both analogous to each other, adaptations of the same idea in a different context.

It is important that the true origins of the work of artists and supposed artists, like Cornelia Parker and Tilda Swinton – because the art, in these cases, lies in the idea, for they are conceptual works. If the idea is not truly theirs – as it is not, in both cases, here – then the work of art is not truly theirs either. The history of art is being defrauded if we are led to believe that the origin of these works lay in either of these ladies minds. The history of art deserves better than that. The true background to each conceived work should be known – and the “inspiration” that gave rise to them, should be appreciated.

This blog is but one page in an internet Universe of trillions of pages, thus, very few people will read it. So, please help spread the word about the origin of The Maybe, as an adaptation of the ideas behind Lord Valentine the Misplaced. Tell the story of how Tilda Swinton and Cornelia Parker met me at Beach Blanket Babylon in November 1994 and recognized the artistry in Lord Valentine the Misplaced, enough to want to steal it for themselves. If you have a blog, or other website, please post a link to this article, to help people become aware of it. Thank you.

Posted by Valentine Cawley

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I also write of gifted education, child prodigy, child genius, adult genius, savant, megasavant, HELP University College, the Irish, the Malays, Singapore, Malaysia, IQ, intelligence and creativity.

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Ainan's IMDB listing is at http://imdb.com/name/nm3305973/

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Our editing, proofreading and copywriting company, Genghis Can, is athttp://www.genghiscan.com/

This blog is copyright Valentine Cawley. Unauthorized duplication is prohibited. Use only with permission. Thank you.)

In the event of fire.

About a week ago, Syahidah asked her two youngest sons:

"What three things would you take, from the house, in the event of a fire?"

Syahidah's voice was neutral, with no invocation to a particular answer or style of response.

Fintan, seven, took the question seriously and answered with certainty: "I would take my blanket, the PS3...and mummy." His sobre eyes spoke of love.

His mummy was touched.

I had been watching this exchange and piped up at that moment.

"What about Daddy?"

Fintan looked over at me, and dismissed the matter, with an implied shrug.

"Daddy," he said, explaining the obvious, "You can run."

Ah. I could look after myself, it seemed. He hadn't, however, considered that the athlete of the house, was actually his mother, not his father. I rather think that he was labouring under an unconscious bias: everything he had chosen to take, was a source of comfort to him - his blanket, which kept him snug and warm at night; his PS3 which he so enjoyed playing - and his mum, all full of hugs and kisses. Fintan, would seek to save all that brought him most comfort in life. I don't suppose a hug from big, cumbersome old Daddy was half as comforting, as one from warm, huggable mummy.

Tiarnan's answer to the same question was rather more inwardly directed.

"The Xbox, the PS3 and the laptop.", he said, quickly.

"But how could you carry all those?", said Syahidah, practically, to her littlest son, four.

"I would have to!", he said, his face all defiant, for an instant, at the thought that reality might challenge his aspirations.

Tiarnan's choices are all things he enjoys doing. They are, in fact, reflections of the same thing: computer games. Perhaps, at his age, he cannot imagine anything more valuable.

Considering this memory, makes me realize that I shall have to sit both Tiarnan and Fintan down and tell them that, in the event of a real fire, the most valuable "things" to save, are people, followed by uniquely irreplaceable items, like art, or writings with only one copy. Apart from Fintan's last choice, all other items are replaceable, and need not be bothered with, in the event of a fire. It will, I think, be a valuable lesson to our two youngest sons.

(If you would like to learn more of Ainan Celeste Cawley, 10, or his gifted brothers, Fintan, 6 and Tiarnan, 4, this month, please go to: http://scientific-child-prodigy.blogspot.com/2006/10/scientific-child-prodigy-guide.htmlI also write of gifted education, child prodigy, child genius, adult genius, savant, megasavant, HELP University College, the Irish, the Malays, Singapore, Malaysia, IQ, intelligence and creativity.

You can get my blog on your Kindle, for easy reading, wherever you are, by going to: http://www.amazon.com/Boy-Who-Knew-Too-Much/dp/B0042P5LEE/ref=sr_1_1?ie=UTF8&m=AG56TWVU5XWC2&s=digital-text&qid=1284603792&sr=8-1

Please let all your fellow Kindlers know about my blog availability - and if you know my blog well enough, please be so kind as to write a thoughtful review of what you like about it. Thanks.

My Internet Movie Database listing is at: http://imdb.com/name/nm3438598/

Ainan's IMDB listing is at http://imdb.com/name/nm3305973/

Syahidah's IMDB listing is at http://imdb.com/name/nm3463926/

Our editing, proofreading and copywriting company, Genghis Can, is at http://www.genghiscan.com/

This blog is copyright Valentine Cawley. Unauthorized duplication is prohibited. Use only with permission. Thank you.)

A love of Art.

Popular Bookstore is a chain present in both Singapore and Malaysia. It tends to stock academic books for schoolchildren and a reasonable - though restricted - range of general reading material. Today, in a Popular Bookstore, in KL, I noted something most telling. I saw a book section I have never seen in the corresponding stores in Singapore. Now can you guess what it was? What kind of section could a Malaysian bookstore have, that its Singaporean counterparts don't have?

Have you had a good think? Well, to my astonishment, today, I saw a "Drawing" section, in the Malaysian Popular Bookstore. That gave me pause, for it was not a small section: it consisted of two whole bookshelves, perhaps three to four metres wide and one and a half metres high, in total, carrying nothing but books on the art of drawing: how to do it, what it is, and how you can learn. There were books on particular types of drawing: portraits, fantasy figures and so on. I was, in an instant, most impressed by what it said of the country I am now living in. It says, quite clearly, that there are enough people in KL interested in learning how to draw, for it to be profitable for a general bookstore like Popular, to carry such specialized titles.

Yet, and this was the most telling part of all, I had never seen a similar section in Singapore's Popular bookstores - though I have been in many of them, many times.

One can conclude from this that Malaysians are rather more artistically inclined, than their Singaporean counterparts, for no bookstore is going to waste shelf space on things which don't sell enough to justify it.

Perhaps, pragmatic Singaporeans don't see the value in art, so much, because they cannot see how it connects to their life value of accumulating money as rapidly as possible. Since art seems distant from this, they are less drawn to it...excuse the pun.

As for me: I like art and artists and think that it is an eminently worthy pursuit, even if it never results in great personal wealth, or even a decent living: it is the art itself that counts.

I find it refreshing that an ordinary bookstore would actually pay such heed to drawing. There is, I think, more depth to this nation, than one might first grasp. No doubt there are more clues out there, waiting to be seen.

I will let you know when I spot one.

(If you would like to learn more of Ainan Celeste Cawley, 10, or his gifted brothers, Fintan, 6 and Tiarnan, 4, this month, please go to:
http://scientific-child-prodigy.blogspot.com/2006/10/scientific-child-prodigy-guide.html

I also write of gifted education, child prodigy, child genius, adult genius, savant, megasavant, HELP University College, the Irish, the Malays, Singapore, Malaysia, IQ, intelligence and creativity.

My Internet Movie Database listing is at: http://imdb.com/name/nm3438598/
Ainan's IMDB listing is at http://imdb.com/name/nm3305973/
Syahidah's IMDB listing is at http://imdb.com/name/nm3463926/

Our editing, proofreading and copywriting company, Genghis Can, is at http://www.genghiscan.com/

This blog is copyright Valentine Cawley. Unauthorized duplication is prohibited. Use only with permission. Thank you.)

Art Singapore 2009 - The Contemporary Asian Art Fair.

Art Singapore 2009 has begun. We know, because Ainan was invited to the Gala Opening Party. Yes, that is right, he received his very own invitation. Of course, we accompanied him to the Art show!

It was, to me, a pleasant surprise to see the diversity of art and artists on show. Perhaps, an annual event like this, will give Singapore's nascent art world, the impetus it needs to become truly alive. The artists and galleries showing, come from all over Asia, and some appeared to be from Europe (there was at least one German gallery present). It is good to see this interconnectedness of Singapore's art world, with the wider world. Perhaps, through this mutual exchange, some Singaporean artists might make it on to the world stage - just as the world makes its way to Singapore.

It is quite possible that Ainan was the youngest person to be invited - and that led to a comic moment, which I shall not recount - I mention it here only to remind myself, in years to come, of how he was greeted.

Ainan enjoyed the evening rather more than he expected. He seemed to wish to interact with the works and did so when permitted: touching them, to feel their textures and peering closely at them to see how they were made (which he would then comment on perceptively, sometimes debunking the artist's work, once the method was revealed). It was rewarding to watch him think about something outside the realm of science, and see how he perceived it, processed it, and understood it. At times, he even laughed at pieces - in a positive way. So, it was a good evening.

Thanks to Art Singapore 2009 for their invitation. It is definitely a worthwhile exhibition and all who can, should get along to Suntec City to catch it before its close on October 12th. You will be as pleasantly surprised by the range of work on show, as we were. There are, without doubt, interesting artists at work, in Asia. See it!

(If you would like to learn more of Ainan Celeste Cawley, a scientific child prodigy, aged eight years and seven months, or his gifted brothers, Fintan, five years exactly, and Tiarnan, twenty-eight months, please go to:http://scientific-child-prodigy.blogspot.com/2006/10/scientific-child-prodigy-guide.html I also write of gifted education, IQ, intelligence, the Irish, the Malays, Singapore, College, University, Chemistry, Science, genetics, left-handedness, precocity, child prodigy, child genius, baby genius, adult genius, savant, wunderkind, wonderkind, genio, гений ребенок prodigy, genie, μεγαλοφυία θαύμα παιδιών, bambino, kind.

We are the founders of Genghis Can, a copywriting, editing and proofreading agency, that handles all kinds of work, including technical and scientific material. If you need such services, or know someone who does, please go to: http://www.genghiscan.com/ Thanks.

IMDB is the Internet Movie Database for film and tv professionals.If you would like to look at my IMDb listing for which another fifteen credits are to be uploaded, (which will probably take several months before they are accepted) please go to: http://www.imdb.com/name/nm3438598/ As I write, the listing is new and brief - however, by the time you read this it might have a dozen or a score of credits...so please do take a look. My son, Ainan Celeste Cawley, also has an IMDb listing. His is found at: http://www.imdb.com/name/nm3305973/ My wife, Syahidah Osman Cawley, has a listing as well. Hers is found at: http://www.imdb.com/name/nm3463926/

This blog is copyright Valentine Cawley. Unauthorized duplication prohibited. Use Only with Permission. Thank you.)

Art project: appeal for volunteers.

My brother in law, Hafiz Osman, is a professional artist (which long term readers of my blog will know). Right now, he is preparing for an exhibition. He has asked me, to ask you, to help him with one of his artworks. We would very much appreciate it, if you could help with the art work - or suggest someone who could do so.

The requirement is simple: Hafiz Osman would like volunteers who were residents in the former Hillview Estate to become involved in the art work. No art skill is necessary - just the kindness of a good heart and a moment of time. Involvement in the art work will cost the participants NOTHING at all. However, participants would get the satisfaction of knowing that they helped an art work happen. There is also an element of "immortalization" involved, in their participation, however indirectly, in that the way they interact with the art work will make a lasting impression.

I can't give details on this blog without revealing too much of this new art work, before the exhibition (which would spoil it for Hafiz). However, if you would like to help an art work happen and are kind enough to give a few minutes of your time (it will not take more than that), then please CONTACT HAFIZ OSMAN at hbo003@yahoo.com.sg I know that email address is confusing...it only contains two zeroes, in the first half...the other one is an o (comes before "p" in the alphabet). Alternatively, you can call him on 94786131.

So, if you are from the Hillview Estate - or you know someone who is - then please volunteer to help Hafiz with this piece of art work - or suggest to your friend that they should do so. Remember, it will cost you nothing, but allow you to help in the creation of a lasting work of art.

(If you would like to learn more of Ainan Celeste Cawley, a scientific child prodigy, aged eight years and seven months, or his gifted brothers, Fintan, five years exactly, and Tiarnan, twenty-eight months, please go to:http://scientific-child-prodigy.blogspot.com/2006/10/scientific-child-prodigy-guide.html I also write of gifted education, IQ, intelligence, the Irish, the Malays, Singapore, College, University, Chemistry, Science, genetics, left-handedness, precocity, child prodigy, child genius, baby genius, adult genius, savant, wunderkind, wonderkind, genio, гений ребенок prodigy, genie, μεγαλοφυία θαύμα παιδιών, bambino, kind.

We are the founders of Genghis Can, a copywriting, editing and proofreading agency, that handles all kinds of work, including technical and scientific material. If you need such services, or know someone who does, please go to: http://www.genghiscan.com/ Thanks.

IMDB is the Internet Movie Database for film and tv professionals.If you would like to look at my IMDb listing for which another fifteen credits are to be uploaded, (which will probably take several months before they are accepted) please go to: http://www.imdb.com/name/nm3438598/ As I write, the listing is new and brief - however, by the time you read this it might have a dozen or a score of credits...so please do take a look. My son, Ainan Celeste Cawley, also has an IMDb listing. His is found at: http://www.imdb.com/name/nm3305973/ My wife, Syahidah Osman Cawley, has a listing as well. Hers is found at: http://www.imdb.com/name/nm3463926/

This blog is copyright Valentine Cawley. Unauthorized duplication prohibited. Use Only with Permission. Thank you.)

On Silence and Self-expression.

Someone I know, whom I shall not name, is very keen on silence. That is, as a life philosophy, they prefer the silence of the tongue and the pen, to their use.

I shall explain. I enjoy blogging. I like to write. I have much to say. Daily, thoughts come to me, which I wish to share. So, I write them down and send them out into the world. I find great personal satisfaction in doing this, for it gives me the chance to communicate my world view in a way that did not exist a handful of years ago. Yet, this person would prefer that I stopped writing and maintained a stoic silence to the end of my days.

Now, what would be gained by being silent? Would the world be a better place for my silence? I am not sure that it would, but not for any egoistic reason. You see, everyone who has ever lived, lived a unique life. They came into the world with a unique set of genes and dispositions, they encountered unique circumstances, learnt unique things, experienced things no-one else ever experienced - and came to understand things no-one else will ever understand. This is the story of all humans, from the very first cave dwellers or savannah roamers, to the newest of newborns. We are all undeniably unique. So, what is gained if one of these unique human beings falls silent? Nothing. However, a great thing is lost: a unique set of experiences, world views, understandings and thoughts is never shared, never known and therefore forever lost when the bearer passes away.

Were I to stop writing, all my understandings of the world may as well never have been understood, for they will be lost with me, when my time comes. The same is true for us all. On a personal level we probably only share our thoughts with very few people - but those people, too, are mortal. So, in time, even if we share our thoughts on a personal level, all will be lost when those we shared them with, pass away. Therefore, it becomes our individual responsibility to ensure that we share our thoughts in a permanent fashion, that our world views and understandings become embodied in something more durable than another person's mind.

Different people share themselves - or express themselves - in different ways. Some design buildings, and show their views in how they are constructed. Some manage companies, and do so with a particular personality that shapes those companies. Some paint and draw and literally show the world their viewpoint. There are many ways to express the uniqueness of oneself. For me, it is writing: I express my thoughts in words. Were I not to write, I would feel somehow lessened. For in not writing, I am not speaking, in not speaking I am not communicating, in not communicating, I am not ensuring that what I learn from life has some afterlife, as it were.

I could heed this person's repeated request - to stop blogging. Yet, were I to do so, a particular kind of record, of a particular set of experiences and understandings would be forever lost to the world. However one judges the merit or quality of this contribution doesn't matter - what does matter is its essential uniqueness. No life lived will ever be as the one I know, is. Thus, if it is not recorded, the world is somehow impoverished by that. There would be no record of it - so that if anything I have learnt or understood is of any value, that value would be forever lost.

I don't see any benefit in that. Silence is the kind of outcome that leads nowhere and has no descendants. Silence produces nothing, creates nothing, achieves nothing. Silence is either for those with nothing to say, or too afraid to say it. I come into neither category at this time.

Some of my blog posts have stimulated quite an interesting reaction in the Singaporean blogosphere. I act as an outside voice, whose comments are informed by many years of direct experience. That voice, therefore, has a certain value because it contributes opinions that might not otherwise be uttered. Were I not to write, there are, perhaps, conversations that would never be, ideas that would never form, understandings that would never be understood. It is, therefore, important that I continue to write, for, in my small single-voiced way, I contribute to the ongoing debate that is the Singaporean blogosphere.

Were I not to record my children's antics, I would not have them to hand, when I am old, and my memory is fading. I choose to record them on a public blog, for I feel that family offers the greatest of rewards a human can know and I like to share my pleasure in those joys. Some readers have indicated that they, too, enjoy my tales of childhood. Would the world be better off without those tales of childhood? I don't think so - for while all childhoods have certain things in common, all childhoods also have unique elements, too. My writing constitutes a record of that uniqueness. Again, I don't think the world is better off without it - and my family is certainly not better off without it. This record will be precious to my children, when they are adults, for they will be able to see glimpses of their childhood here.

In all there are many reasons to write and only one reason not to write: because my relative believes in self-containment, rather than self-expression. They believe that silence, itself, is a value and has value. They believe that I should be, as they are - and maintain a silence in the world. Sadly, I think they could not be more wrong. Their world view, if adopted universally, would mean the end of all Art, all literature, all music, all public debate, all culture, all communication between people - and, ultimately, the end of all societies. You see, a society that has people who maintain a silence, among themselves, cannot survive - for without communication, there is no evolution of that society, no ability to grow, to deepen, to understand. It is a society that can only function at the level of clockwork programming and automaticity.

This person believes that it is better to say nothing, than to say anything at all. The act of communication is regarded as to be avoided. I understand why they think this. They value a certain kind of life, which does not admit the idea of a public presence. They believe in not leaving a mark, in not being noted, in not interacting with the public. Yet, that stance is completely at odds with the idea of any public self-expression - be it artistic, or social commentary, or even scientific (for an idea that is had, but not communicated cannot enter the public world of science). The idea of silence as a virtue means the end of all and any career which actually affects the world in any way, at all. To be silent, is not to exist, from the point of view of society and history.

The only effect on the world that is left to those who believe in silence, is to have children. I believe that there is more to life than just creating children. One must also create what one may, oneself. However, the creating of children is of great importance, too. One should ensure that both types of creation are part of life.

If you have read this far, then you must have some interest in the matter of self-expression, or perhaps silence. If so, feel free to express your thoughts in the comments.

I believe that if everyone were to believe in self-expression, the world would be much enriched, thereby, for the uniqueness of us all would leave some imprint upon the world, to be found and read, understood and appreciated. This imprint would mean that mankind could better accumulate understandings, insights, viewpoints and experiences (or records of them, anyway). It would all contribute to the wisdom of Man.

Singapore is one place that has, in recent years, through the internet, discovered this capacity to express itself. I am heartened to see that quite a few voices are contributing their understandings of life, to the global view of Mankind.

Long may it continue - and may silence never befall those with something to say and the means to say it.

(If you would like to learn more of Ainan Celeste Cawley, a scientific child prodigy, aged eight years and seven months, or his gifted brothers, Fintan, five years exactly, and Tiarnan, twenty-eight months, please go to: http://scientific-child-prodigy.blogspot.com/2006/10/scientific-child-prodigy-guide.html I also write of gifted education, IQ, intelligence, the Irish, the Malays, Singapore, College, University, Chemistry, Science, genetics, left-handedness, precocity, child prodigy, child genius, baby genius, adult genius, savant, wunderkind, wonderkind, genio, гений ребенок prodigy, genie, μεγαλοφυία θαύμα παιδιών, bambino, kind.

We are the founders of Genghis Can, a copywriting, editing and proofreading agency, that handles all kinds of work, including technical and scientific material. If you need such services, or know someone who does, please go to: http://www.genghiscan.com/ Thanks.)

Signs of a child artist.

All parents wonder what their children are going to grow up to be. We can only watch and wonder. However, if we watch closely enough, we can often discern signs of the growing personality and type of gift of each of our children.

Tiarnan shows himself to be responsive to many things in his environment in an acute way. About ten days ago, he decided to play with the cards in his mother's wallet. He took them all out one by one - and then he did something very interesting, from the perspective of what it says about him. He arranged the cards into a humanoid shape, with two arms, two legs, a body and a head and declared his creation: "Robot".

It did, indeed, look like a robot - being an all plastic humanoid.

What I found interesting about this is that he didn't see what most people see in a set of plastic cards: nothing much. He saw the potential to make a visual statement with them.

Perhaps, he will one day be an artist, like his mother. It would be good to think so, for I think art is one of the most valuable of human endeavours (though it happens to be under-appreciated in Singapore, where we live).

(If you would like to learn more of Ainan Celeste Cawley, a scientific child prodigy, aged eight years and four months, or his gifted brothers, Fintan, four years and nine months, and Tiarnan, twenty-six months, please go to: http://scientific-child-prodigy.blogspot.com/2006/10/scientific-child-prodigy-guide.html I also write of gifted education, IQ, intelligence, the Irish, the Malays, Singapore, College, University, Chemistry, Science, genetics, left-handedness, precocity, child prodigy, child genius, baby genius, adult genius, savant, wunderkind, wonderkind, genio, гений ребенок prodigy, genie, μεγαλοφυία θαύμα παιδιών, bambino, kind, niño, gênio criança, gifted adults and gifted children in general. Thanks.)

The super puzzle solver of Singapore

A couple of months ago, Fintan got given one of those gifts that was more appropriate than we could possibly have thought. It was a Spiderman puzzle.

Now, we are not a household that goes in for conventional puzzles (of the broken image variety). I, for one, never found them particularly interesting. Thus, we haven't made any effort to ensure that our children were surrounded by them.

The puzzle was an interesting choice for Fintan, four, because he rather likes Spiderman (Fintan is a superhero expert). However, I was concerned to note that the puzzle was of many pieces, and all in dark colours with little contrast and few clues to allow each piece to be placed in its proper position. I didn't, therefore, hold out much hope for Fintan being able to do it. It seemed rather an unhelpful puzzle, actually.

I withheld my tongue, however, as an inner wish bid me to discourage him from even trying it. I let him proceed. He scattered the puzzle pieces everywhere and then set about reassembling them.

I was feeling thirsty so I went to get a cup of tea.

A few minutes later I returned. The puzzle was done. Fintan had finished it.

I was somewhat startled to see this, since I, for one, had not expected anyone to be able to do the puzzle at all easily, given its problems in design, already spoken of, above - but somehow, Fintan, who was ever an observant child, saw enough in it, to get it done very quickly indeed.

I congratulated him - and looked with some puzzlement at the wholeness of the dark image he presented me with.

Fintan has not been weaned on puzzles. Yet, somehow he is most adept at them. Again, he has shown us surprising resources where visual tasks are concerned.

Of course, those tasks which require visual skill - such as Art - are not popular or well supported here in Singapore. We shall have to find our own ways of ensuring that his native gifts are developed accordingly.

The next time I see a puzzle which looks inordinately complicated, with few visual cues as to how to complete it, I know just what to do with it: give it to Fintan.

(If you would like to learn more of Ainan Celeste Cawley, a scientific child prodigy, aged eight years and one month, or his gifted brothers, Fintan, four years and seven months, and Tiarnan, two years exactly, please go to: http://scientific-child-prodigy.blogspot.com/2006/10/scientific-child-prodigy-guide.html I also write of gifted education, IQ, intelligence, the Irish, the Malays, Singapore, College, University, Chemistry, Science, genetics, left-handedness, precocity, child prodigy, child genius, baby genius, adult genius, savant, gifted adults and gifted children in general. Thanks.)

The price of silence.

Singapore is quieter than it should be, at this time. There is a silence where there should be voices, singing.

I should explain. The Complaints Choir, which formed in Finland in 2005, is what you might term a performance art group. They gather together common complaints local to each country, from the natives of that country, select those that sound most interesting, join them together, set them to music - and sing them. Hence, their name: The Complaints Choir.

They recruit local singers in each country that they go to and work with them to create a performance that should resonate with the people of the country in question, because it gives a sung voice to their deepest concerns.

They have performed in several cities around the world, including Helsinki, Birmingham (in the UK), Hamburg (in Germany) and St. Petersburg in Russia.

They were set to perform in Singapore, in the first Asian performance of the Complaints Choir, but a Singaporean Government body stepped in at the last minute (after another government body, the MDA (Media Development Authority) had given permission), and made an unreasonable demand. The government stated that the performances could go ahead with one condition: that no foreigners could perform, for no foreigner was allowed to comment on Singaporean affairs. This was an unacceptable condition for this Finnish choir, for several obvious reasons: the conductor is Malaysian (so they can't have a conductor!), and a few singers are professional Finnish singers, whose voices would, of course, be sorely missed. The Complaints Choir cancelled all public performances, being unable to meet the demands.

The performances were to take place in very public places with a lot of passersby: Vivo City (a large shopping mall), The Esplanade (the leading theatrical centre), a Housing Development Board public housing estate in Eunos, the City Plaza complex and Speaker's Corner. Interestingly, no foreigner is ever allowed to speak at Speaker's Corner (and all locals have to register their names and intentions before doing so).

Two private performances were arranged instead, at which all who came had to register: one at the Arts House, the other at the Old Parliament House debating chamber.

Now, I have introduced this situation in detail, for a reason. I want you to understand the background to what I am going to say next. Singapore is a nation without a culture. That is a bold statement, but it is essentially true. Little that is artistic originates here and most that does is highly imitative. There is no creative, original, expressive spark. Knowing this, the Singaporean government says that it wishes to ignite such a spark. It builds cultural infrastructure: such as The Esplanade, with its theatres and concert halls and speaks of encouraging creative people to create. Yet, they do not. Little is created. Few are artistic. The culture does not grow and flourish. Why is this so? Well, because to be able to grow, the artistic community must feel free to speak out. They must not fear reprisal. They must not worry about their futures if they freely say what they wish to in their work, through their creative efforts. If an artist feels that they are being monitored, that their work is being scrutinized and that any untoward content will be in some way punished, censured or censored, they will not create. Thoughts will die unrecorded, works will go unwritten, art undrawn. There is nothing surer to kill the artistic spirit than the feeling that ones works will be greeted with any kind of punishment.

Look at what has happened here with The Complaints Choir. A group of Singaporeans, and permanently resident foreigners (PRs), answered the call from the Finnish group to convene to form a choir. They then sat down together and began to write their thoughts about life in Singapore. They worked together to express what it was that is bothersome about life here. They then selected and honed the complaints to form the lyrics to a song. They set it to music together. They rehearsed the singing of it until all sounded well. They applied for the relevant performance licenses. All was set to go ahead. Then, at the last minute, they were told that no-one who had not been born in Singapore could perform. That included all the Permanent Residents, who had taken residency here and made Singapore their homes. All their hard work in creating this piece of performance art was for nothing: they would not be allowed to perform in public.

So, what do we have here? We have a group of Singaporeans and fellow human beings from elsewhere in the world, but resident here, who, together had created a piece of performance art. They had done what the government stated it wanted people to do: be creative, express yourself. Yet, when they had done so, they were told that they could not do so. This particular art could only be performed by locals.

Let us extend their argument a little. If this song can only be sung by locals, then surely we must ban all American and European films on the television and in the cinemas - for is that not performed by non-locals? All books that have not been penned by Singaporean authors (a very small group of people) must be taken from the libraries, because they were written by non-locals. All music on the radio must be stopped at once, for apart from the tracks of Hady Mirza and the like, none of it is local. The radio stations will have to be silent. I could go on - but you get the idea. If their argument is taken into analogous realms then Singapore would have no exposure to culture or art at all. It would be a completely isolated, ignorant nation.

You may question my extension of the situation into other artistic realms by pointing out that the stated reason that foreigners could not perform was that no foreigner was allowed to comment on Singaporean affairs. Yet, all art, of any kind, is a comment on the societies to which the artist has been exposed. So, anything written or painted, or sung, or otherwise created by anyone who had ever become acquainted with Singapore would, in some way or small degree, be a comment on Singapore: knowledge of it would be part of the background of the artist. Is all creative product from people who know Singapore to be banned too?

This could be extended into other areas too. Surely it would mean that no foreign diplomat or journalist, or financial analyst would be allowed to comment on their work here, to anyone else? For would that not be commenting on Singaporean affairs?

You should be able to see by now, that the underlying premise is really rather silly. When extrapolated into adjoining areas it creates truly absurd circumstances. This is, I think, a policy enacted without a great deal of thought as to the implications. It is a "knee-jerk" reaction, that has seemingly been taken without deep consideration.

The Singaporean Government says that it wants a flourishing arts scene. It reasons that having one would make it a more attractive place for foreign talent (true) and residents alike (it would be true if they had learnt to appreciate the arts on growing up: schools here, however, don't teach them anything about them - so they can't appreciate the arts at all). The Singaporean Government has come to understand that part of the secret of London, New York and Paris, is their thriving culture: it is what makes such cities live and it is what draws people from all over the world to live and work in them, lending them their great vigour.

However, there is a problem. The Singaporean Government wants the Arts, but it also wants control. It wants to monitor, and contain what is expressed and created, within ill-defined limits. It wants to license only certain forms of expression. True freedom of expression is not allowed, for then artists might create works it does not appreciate.

This is their dilemma, then: they want the benefits to the nation of a thriving arts scene, but they cannot, philosophically and temperamentally, allow true freedom of artistic expression. What they fail to understand, however, is that without true artistic freedom, art just cannot be. Artists cannot speak when you are holding their tongues. Writers cannot write when you won't give them a pen. Without artistic freedom, the only culture Singapore will ever have - and I mean EVER have - is that which it imports. Local artists will never begin to create, if they don't feel free to do so.

The Complaints Choir is silent. Few will hear their song, written and created by Singaporeans though it was. The Singaporean Government has got its wish - as always: their unwelcome words will not be heard. Yet, there is a price to this silence. The price will be in future artistic works lost, never written, never painted, never sung. The message has gone out, from the Government, with the utmost clarity, to the nascent artistic community of Singapore: you still can't say what you wish, despite what we have declared publicly.

This is not, therefore, just the silencing of one piece of performance art - it is the silencing of a culture.

If the Singaporean Government really, truly wants to have an arts scene, that would benefit the nation and make it truly a first class city, then they have to do one thing: let go. They have to give up trying to control what people say. They must just let people be.

What will happen if they let go? Well, more art would be made. Writers would begin to write. Thinkers would begin to think. Artists would begin to paint. There would be the feeling that it was truly permitted to do so - encouraged even. An arts scene would begin to thrive - and a culture would finally be born.

It is up to the Government. They cannot have a cultured city, without letting the culture live.

I hope to see it happen one day. I would like to see this become a cultured city. If it is ever to happen, the artists must first be free to say whatever they wish. Without that freedom, nothing good will ever come to be. Singapore will remain a city without a culture.

(If you would like to learn more of Ainan Celeste Cawley, a scientific child prodigy, aged eight years and one month, or his gifted brothers, Fintan, four years and seven months, and Tiarnan, two years exactly, please go to: http://scientific-child-prodigy.blogspot.com/2006/10/scientific-child-prodigy-guide.html I also write of gifted education, IQ, intelligence, the Irish, the Malays, Singapore, College, University, Chemistry, Science, genetics, left-handedness, precocity, child prodigy, child genius, baby genius, adult genius, savant, gifted adults and gifted children in general. Thanks.)

The best party in the world

Fintan, four, is rather fond of drawing and painting. His compositions tend to the well-designed and/or story telling. There is always something in particular going on.

About a month ago, he showed us one painting that was heavy on the dark green and other dark colours - and had been done on dark paper. Off to one side was a large cat.

"It is called Leopard at a Party", said Fintan, to his mummy, Syahidah.

Syahidah looked at it for a moment, drinking in its anatomically correct cat, its well-observed trees and other animal guests and pointed out something she had noticed:

"Fintan, the Leopard hasn't got any eyes."

Fintan looked at his mummy, then, as if she had overlooked something pretty obvious:

"Mummy, it doesn't need eyes: it is dark!"

What a wonderful - and logical - perspective he has on things.

Sadly, that evening, when I came home, I found Fintan on the floor with a pair of scissors. He had cut up his wonderful painting. Perhaps, I thought, he had taken Syahidah's remark as a criticism.

I asked him why he had cut it up. He pointed at a part of it and said: "I wanted to take that bit out." I had an awful feeling that it was the Leopard he was referring to.

It wasn't entirely clear which bit, though - but perhaps, he had become dissatisfied with his own work, once the omission had been pointed out. It was a pity because it was a well-observed painting that got everything just right - apart from the eyes of one who did not need to see.

It seems that Fintan is both creative - and sensitive. Though, of course, I cannot be sure why he decided to cut up the painting. Perhaps he had another creative intent behind it. I, for one, however, would have liked to have kept "Leopard at a Party".

(If you would like to learn more of Ainan Celeste Cawley, a scientific child prodigy, aged seven years and ten months, or his gifted brothers, Fintan, four years and three months, and Tiarnan, twenty months, please go to: http://scientific-child-prodigy.blogspot.com/2006/10/scientific-child-prodigy-guide.html I also write of gifted education, IQ, intelligence, the Irish, the Malays, College, University, Chemistry, Science, genetics, left-handedness, precocity, child prodigy, child genius, baby genius, adult genius, savant, gifted adults and gifted children in general. Thanks.)

Akiane Kramarik: a child prodigy artist?

Is Akiane Kramarik a child prodigy artist? For those who know of Akiane Kramarik – and that probably includes almost everyone who has ever searched for my page (because she has been around for a very long time and word tends to get around) – you would know that she has a reputation as a child prodigy artist. You may even have seen Akiane’s CNN interview with Glenn Beck. So, why do I ask this question, then?

Well, it is, as usual, simple. You see I have noted various debates about her on the internet. Some voices speak of her with awe, others speak of her in a knocking fashion – usually because she is religious and believes passionately in God (strange that, in the modern world, someone can be knocked for what they used to be praised for). A few, however, question whether she is a “genius” – they say that her style is not that of a “genius”. They seem to be arguing that she is not a child prodigy, because her work does not manifest what, to them, is “genius”.

The debate is, I feel, based on a misunderstanding of what Akiane is and what she is doing. She showed, from a very early age, a high degree of technical skill in the making of fine art paintings. There was a very high degree of precocity in these works, such that they appeared to have been made by the steady hand and eye of a much older, more experienced artist. It is this quality of work that leads to the description of her as a child prodigy. You see, a child prodigy is any child, under 11, or so, displaying an adult degree of skill, in a domain normally reserved for adults. By this criteria, Akiane (variously also known as Akiane Kramarik, Akaine, Aki Anna, Akiana, Akiane Anna, on the internet: no doubt there are other permutations, too), is definitely a child prodigy. She may well be a genius, too. She may well turn out to be an influential and capable artist who leads the world in a new style, one day – for then she would be known as a genius, too – but, right now, she is correctly described as a child prodigy artist – or a child art prodigy, depending on which way you look at it.

The fact is, her childhood works, while of primary school age, show an uncanny facility that can only be described as prodigious. She is of a lonely breed, child prodigy artists being one of the rarest kinds of prodigy (along with child prodigy scientists, like Ainan). Akiane is a competent artist, in technical terms, compared to artists of any age. That is what qualifies her as a child prodigy artist. She does not need to be a genius, also, to win that title. (Though she may turn out to be a genius, too – time will tell.) I think it is time the internet arguers accepted Akiane Kramarik for what she is: an artist – and a child prodigy.

(If you would like to learn more of Ainan Celeste Cawley, a scientific child prodigy, aged seven years and ten months, or his gifted brothers, Fintan, four years and three months, and Tiarnan, twenty months, please go to: http://scientific-child-prodigy.blogspot.com/2006/10/scientific-child-prodigy-guide.html I also write of gifted education, IQ, intelligence, College, University, Chemistry, Science, genetics, left-handedness, precocity, child prodigy, child genius, baby genius, adult genius, savant, gifted adults and gifted children in general. Thanks.)

Artfriend and customer service in Singapore

On Friday, 21st September, we went to Artfriend, the Singaporean art supplies shop.

We went there to buy art materials, subsequent to our meeting with Mr. Loh, a Singaporean artist, who was having an art show and Claude, an Art manager, (and Mr. Loh's manager through a firm known as Art Management) at The Coffee Connoiseur, known as "The Gallery" in the Raffles Place area. Mr. Loh had wanted to see some of Syahidah's works (Claude Verly's idea, who represents Mr. Loh). More of that meeting in another post, perhaps.

Now, Singapore is famous for its shops. This fame is not unfair, in terms of the infrastructure: there are a lot of very highly presented, polished and beautiful shopping malls. So, the architectural element is there. Where Singapore fails, however, is in the human element. Customer service is not a tradition here - indeed, the populace seem to think of themselves as being above service. This attitude creates a situation in which poor service is a daily occurrence - in every aspect of human interaction, here.

The trip to Artfriend was a typical example. We went there with two particular items in mind. We had chosen Artfriend simply because it is the biggest art supplier in Singapore, with the greatest number of shops and the best locations. One would have thought, then, that it would be good at what it does. This is not, however, necessarily so. Artfriend it may be called, but a friend to Art it may not be - as we shall see.

I approached a sales assistant who appeared to be busy with daydreaming: "Excuse me, do you have Unipin pens?" At least, that is the name of the pen I thought I had been given.

He led me to a rack of pens that looked nothing at all like the one I had seen. He assured me that these were it. Large, thick pens stared up at me. "Do you have smaller ones?" For the one I had seen was much slimmer.

"No, these are the only sizes we have left."

I marvelled, then, at their capacity for stock control. Surely, someone in that shop (and there were perhaps a dozen or more staff), should have noted the declining stock of pens, such that the smaller sizes - in all colours - were now missing.

Nevertheless I took two of the pens in question: one black, one white.

The next question seemed to stump them.

"Do you have marker paper in higher gsm, than 70?"

The first staff member I asked said: "Wait." and went off to get someone else.

That someone else appeared after a minute or so.

I repeated my question.

He went, "I don't know..." and went off.

He returned with a third person.

I repeated my question.

He replied with a puzzled silence and kind of wandered off, while I wasn't looking.

No-one else came to help.

I decided to look around the shop for myself - but could find nothing that matched my need.

So, I braved the remarkably uninformed staff again.

"Do you have coated art card?"

"I will get someone." came the unknowing reply.

Someone came.

I asked my question again.

"Coated art card?" He repeated, as if hearing an alien tongue for the first time.

He wandered off.

No-one came.

Finally I collared a sixth member of staff and asked my question again.

"We don't have it for art", he said, at least knowing what I meant, "It is just for printing." Then he turned to leave, before I could reply.

"Wait," I requested, he paused, mid-step, reluctantly, repressing an urge to speed away, "show me."

He turned slowly around and came back to where I was. Then he passed me and showed me a wrack of papers alongside one wall. "There."

I noted that they were glossy. "Do you have matt?"

He sort of shrugged - combining not knowing and not caring in one gesture.

I tried one more question - a central one to all artists, who care about the longevity of their work.

"Is it acid-free?" I asked, clutching one piece of the art card, between the fingers of my left-hand.

"No.", his head shook, that was something he was sure about, "We don't stock acid-free card."

I was flabbergasted at that. Singapore's leading art supplies shop was selling materials that would guarantee that anything created on them, would crumble away in a few short decades. Like I said "Artfriend" they may be called, but a friend to Art they may not be. It is irresponsible - and unfair - to sell art materials to artists, that will not endure. It seems such a waste of all the effort put into creating something.

He turned to leave but then, in an afterthought that constitutes the first piece of real service since I had entered the shop, he said: "Try Straits Commercial on North Bridge Road." I had never heard of Straits Commercial - and he had to spell it for me - but one day, soon, we will have to go there. Perhaps they sell materials worth making art upon.

Oddly, just as we were about to leave the shop, we met Claude, the art manager, buying some materials of his own. He didn't seem in a mood to speak, so the conversation was a brief one.

"Singapore is so small..." I began.

"Especially for the enlightened." he agreed.

I left with one thought in my mind: a shop, in my childhood, manned by an elderly Polish couple, who had survived the most terrible of events in the World War II. It was a stationery shop. What was notable about them was that they had offered everything that Artfriend had not. They knew everything about everything in their shop. Whatever you asked, they would know instantly where it was and what it could do. They were friendly, too, talking widely about life. Even as a child, I had appreciated the way they were - and chose them over the stationery chainstore that was their nearby competitor.

There is a difference between the shops of my London childhood, and the ones of Singapore. The ones of London did not glisten like the Singaporean ones - but they shone in another way. The staff really knew their jobs - and cared about their customers. Here, in Singapore, the staff know nothing about their jobs, and couldn't care less about their customers.

I don't know the cause of this situation. Is the pay so low that staff turnover is so high, that no-one works long enough to learn anything about their jobs? Or do they just not care? Whichever it is, the result is the same. It took the asking of six people - perhaps half the staff in the rather large shop - to find one who could provide me an answer - and that answer was in the negative.

Shopping shouldn't be like that. Nor should any other area of customer service. Singapore has the gloss - but now it needs to work on something else: a smile for the customer that means something - and competence on the job. Right now, few, very, very few shops in Singapore, can boast of either.

As for Artfriend: why not ensure that all your stock is acid-free, in future? That will help make sure that Singaporean art has a future.

When we got home, we tried the pens. Neither worked - or at least could not be made to work, seemingly lacking ink. Nor were they of the brand name sought. Ah well...

(If you would like to learn more of Ainan Celeste Cawley, a scientific child prodigy, aged seven years and nine months, or his gifted brothers, Fintan, four years and two months, and Tiarnan, nineteen months, please go to: http://scientific-child-prodigy.blogspot.com/2006/10/scientific-child-prodigy-guide.html I also write of gifted education, IQ, intelligence, College, University, Chemistry, Science, genetics, left-handedness, precocity, child prodigy, child genius, baby genius, adult genius, savant, gifted adults and gifted children in general. Thanks.)

Hafiz Osman Wins Art Award

I would like to congratulate Hafiz Osman, my brother-in-law, on winning the Winston Oh Art Award.

As long-term readers of my blog will know, Hafiz Osman is a Singaporean contemporary artist with a gift for the abstract, who works in many media, from painting, through to sculpture - and even interior design/furniture. Hafiz makes his living as an artist, which is unusual in a Singapore context, since this is a land built on finance and trade: it is not, yet, a bastion of the arts (though, who knows, it one day might be, if the Government has its way, in building a vital culture, here).

The Winston Oh Art Award is conferred on a Singaporean artist to allow them to travel to an international Art Biennal, giving them the opportunity to participate, promote their work, build a career - and learn from the experience. It is refreshing that there should be such an enabling award for Singaporean artists - for without such support it is difficult for artists who have not yet made an international name for themselves, to build their careers. It is a good step in the right direction, that Singaporeans should have initiated and supported such an award. There are other art awards in Singapore - and I am happy to see this trend: it promises a better future for local artists - and, that in turn promises a better future for Singapore. Consider this: what better advertisement could there be for Singapore than to have the art of a Singaporean on the walls of tens of thousands of homes of influential people around the world? Such artistic success greatly bolsters the impression of creative power that a country leaves on others. Few local artists have managed to build an international career - but should this change, and local artists, become international ones, it can only be good for Singapore's overseas reputation - as well as, of course, allowing the artist to focus more on their work and life, without so much financial struggle (which is an inevitable part of every artist's career - in the early stages, at least.)

The Winston Oh Art Award will cover Hafiz Osman's travel costs to the International Biennial of Contemporary Art, 2007, in Istanbul. There he will participate in Real Presence - Floating Sites, 2007. This is a parallel project within the Biennial in both Istanbul and Belgrade. Hafiz had received an invitation to both Belgrade and Istanbul, but circumstances dictate that he should attend Istanbul, alone. Nevertheless, this will be a great opportunity for him to raise the profile of his work, overseas, to engage with other artistic minds and forge alliances with other artists that may, in time, lead to collaborative enterprises. (The latter is one of the intentions of the art project.)

Real Presence - Floating Sites is described as a workshop at which international art academies will give presentations of art works and hold a conference; individuals will present their works and give performances; artistic talks and discussions will be held - and, interestingly, in which works, installations and projects will be realized "in situ".

The number of Art academies and Institutions involved is phenomenal - and the list that follows, for the sake of information, is incomplete, for at the time of the invitation, not all participants had been finalized. At the very least however, the following renowned art academies and institutions will be in attendance:

ALBANIA > ACADEMY OF FINE ARTS, TIRANA > Selector on-call Edi Muka, video presentation > Prof.: Edi Hila, Edi Muka, Gezim Qendro
AUSTRIA > Academy of Fine Arts, Vienna > Rector: Stephan Schmidt-Wulffen, Professors: Heimo Zobering, Peter Kogler, Eva Schlegel …
University of Applied Arts, Vienna, Visual Media, Prof. Peter Weibel
BULGARIA > Academy of Fine Art, Sofia > Prof. Assistant Pravdoliub Ivanov
CROATIA > Academy of Fine Art, Zagreb
GERMANY > Staatliche Hochschule Für Bildende Künste, Frankfurt > Rector Daniel Birnbaum, Professors: Ajse Erkmen, Tobias Rehberger
Kunstakademie Berlin, Prof. Katharina Sieverding
Kunstacademie, Dusseldorf> Professors: Helmut Federle, Jannis Kounellis, Klaus Rinke, Georg Heoxl
Academy Of Fine Art, Braunschweig > Prof. John Bock
Academy of Fine Art, Munchen > Prof. Olaf Metzel
FINLAND > Academy of Fine Arts Helsinki, Prof. Seppo Salminen
BOSNIA > Academy of Fine Art, Sarajevo> Prof. Radoslav Tadić
BULGARIA > Academy of Fine Art, Sofia > Prof. Andrej Daniel, Prof. Assistant Pravdoliub Ivanov
CZECH REPUBLIC > Akademie Vytvarnych Umeni, Prag
DENMARK > Royal Danish Academy of Fine Art, COPENHAGEN > Professor: Frans Jacobi >
ESTONIA > Academy of Fine Art, Tallinn > E+Media Centre, Professor: Mare Emmott Tralla >
FRANCE > Academy ofFine Art > Prof. Richard Deacon
HOLLAND > Dutch Art Institute - AKI 2 – Enschede > Director MA Hendriekje Bosma
HUNGARY > Academy of Fine Art, Budapest > Prof: Eszter Lazar
ICELAND > Academy Fine Art, Reikyevik > Selector: Ósk Vilhjálmsdóttir, Living Art Museum
IRELAND > University of Ulster, School of Art ahd Design, Belfast > Hilary Robinson
ITALY > IUAV prof. Angela Vettese, Prof. Giulio Alessandri
Accademia Delle Belle Arti Brera, Milano > Prof. Alberto Garutti, Paolo Gallerani >
MACEDONIA > Academy of Fine Arts, Skoplje > Prof. Stanko Pavleski
NORWAY > Statens Kunstakademi, Oslo
POLAND > AKADEMIA SZTUK PIEKNYCH - Academy Fine Art Warschau, Selector Hanna Wroblewska
PORTUGAL >Escola de Artes Visuals, Lissabon > Prof. Jürgen Bock
ROMANIA > Universitatea De Arte Din Bucuresti > Professors: Roxana Trestioreany, Iosif Kiraly
SINGAPUR (SINGAPORE) > Lasalle-Sia College of The Arts > Dean: Milenko Pravacki
SLOVENIA > Academy of Fine Arts, Ljubljana > Prof. Sračo Dragan
SOUTH AFRIKA > Technikon Pretoria-Postcolonial Studies > Prof. Johan Thom
SERBIA > Academy of Fine Arts, Belgrade > Prof. Mrđan Bajić
Academy of Fine Arts, Novi Sad > Dean: Nenad Ostojić
MONTENEGRO, Academy of Fine Arts, Cetinje > Dean: Pavle Pejović
SWEDEN > Umeå Art Acade my, Profesor: Cecilia Parsberg
SWITZERLAND > Hochchule fur Gestaltung Kunst, Zurich > Professors: Cristoph Schenker, Peter Emch,
UNITED KINGDOM > Metropolitan University London, Audio Visual Production, Prof. Yossi Balanescu
Chelsea Art School, London

As you can see, therefore, this is a truly exciting opportunity for Hafiz Osman, one of Singapore's young "up-and-coming" artists, to show his work and interact with artists and art academics from around the world.

Hafiz Osman was trained at La Salle-SIA College of the Arts, here in Singapore, where he obtained his Bachelor's in Fine Arts. He has held several exhibitions, here in Singapore - and even in Europe. He is presently studying for his Master's in Fine Arts at La Salle-SIA College of the Arts, while simultaneously lecturing there, to support himself.

I wish him luck on his trip to Istanbul as a representative of Singaporean art.

Real Presence - Floating Sites at the International Biennial of Contemporary Art, 2007, in Istanbul, will run from the 3rd September 2007 to the 10th September, 2007.

The Winston Oh Art Award is named after Winston Oh, a Singaporean artist, born in 1941, who, lives and works in Essex, England, now. His speciality is watercolours and he has worked in many countries.

(If you would like to read more of Hafiz Osman, or Ainan Celeste Cawley, his nephew, a scientific child prodigy, aged seven years and eight months, or his gifted brothers, Fintan, four years and one month, and Tiarnan, eighteen months, please go to: http://scientific-child-prodigy.blogspot.com/2006/10/scientific-child-prodigy-guide.html I also write of gifted education, IQ, intelligence, genetics, left-handedness, College, University, Chemistry, Science, child prodigy, child genius, baby genius, adult genius, savant, the creatively gifted, gifted adults and gifted children in general. Thanks.)

The signs of an artist

I believe that who we are to become is evident in our childhoods. Careful observation of any child will lead to an understanding of their special gifts, strengths and passions, their natural inclinations and ways of thinking.

Observation of Fintan, four exactly, points us in several directions but mainly, two: life as an actor and life as an artist.

At the weekend, I took Fintan to see Transformers. At the end of the show, I asked him which transformer he had liked best. Instead of giving me a name, or a description, he did what can only be interpreted to be an infallible sign of an artist. Fintan drew the Transformer in the air, before my eyes. He traced the lines of the one he liked, as I watched.

"Optimus Prime? The big truck Transformer?" I gathered.

He nodded.

This display pleased me. It showed me how Fintan is beginning to think: as an artist does - in terms of lines and structures. Here what is significant is not only what Fintan did - but what he did not do. He did not reach for words, to describe his favourite Transformer; he did not give a name, he did not give a description - his instinct was to draw it, in front of him - to convey the image he had in his mind, directly to me. This shows me that visual thinking predominates in him - but it also shows me that the visual mode is his preferred means of communication.

I think Fintan will one day say much, in silence, with his pencil in his hand, sketching his thought, but not speaking of it. This is the characteristic of a true artist.

(If you would like to learn more of Fintan, four years and no months, or his gifted brothers, Ainan Celeste Cawley, seven years and seven months, and Tiarnan, seventeen months, please go to: http://scientific-child-prodigy.blogspot.com/2006/10/scientific-child-prodigy-guide.html I also write of gifted education, IQ, intelligence, child prodigy, child genius, baby genius, adult genius, savant, the creatively gifted, gifted children and gifted adults in general. Thanks.)

Tiarnan and the meaning of art

A few days ago, Tiarnan was hurtling about the house, as he likes to do, when he suddenly stopped in his tracks.

He pointed at a little green badge and said: "Kuda". This is Malay for horse.

There, on the badge was a rather confused line drawing. It was of a male rider, drawn over a horse, about a centimetre tall. It wasn't a very good work of art for the lines of the man became confused with the lines of the horse. An adult would know what was meant to be represented (if only from the name of a riding school on the badge), but it was a surprise that a seventeen month old baby could work it out - for it was not at all clear.

From this, it is clear that Tiarnan is aware of the littlest things in his environment, which he is able to pick up at speed, even when moving around quite quickly. It is also clear that he understands the relationship between art and object; between the representation and the thing represented. He has long shown this understanding, but this is just one more example of him drawing that connection, with little information to go on.

(If you would like to more of Tiarnan, seventeen months, or his gifted brothers, Ainan Celeste Cawley, seven years and seven months, or Fintan, four years and no months, then please go to: http://scientific-child-prodigy.blogspot.com/2006/10/scientific-child-prodigy.blogspot.com.html I also write of gifted education, IQ, intelligence, child prodigy, child genius, baby genius, adult genius, savant, the creatively gifted, gifted adults and gifted children in general. Thanks.)

Encouraging and discouraging creativity

Singapore is a nation that talks of encouraging creativity in its people. There is a view of this small city state that, in the main, its people are not creative. There is fair justification for this view since it is not without foundation. Few Singaporeans stand out enough to be independent creators. Yet, there are some creative ones around. I just don't think they really have been getting the opportunities they needed to grow and prosper.

The government recognizes this situation and is trying to foster creativity - though how it will achieve this, I do not know. One thing it could do is to enable a child like Ainan to grow as he will, for he shows great creative promise: we will see what opportunities they offer him. From my point of view, it is a test case of the new cultural outlook, that creative minds are to be encouraged.

Not all signs, however, are good in this new world. Many old world thinkers remain. I heard a story about a Nanyang Academy of Fine Arts (a leading Art university, here) lecturer speaking to his charges. His subject was the matter of what makes a great artist and he was trying to inculcate in them an understanding of how this was to be achieved and what they should set out to do to achieve it. It is quite sickening to consider his words and their repercussions. He said: "A great artist is a great imitator."

Think about that. He was urging his students to copy others in order to become "great". No artist of any merit does this. A true artist has their own viewpoint, style and even method. Their work is unique. This lecturer thought that great art was to be found in becoming like someone else.

If Singapore is serious about becoming a more creative nation, lecturers who hold views like this one should be fired. They have no place in education, at all. There is already a local tendency to copy others. It can be seen in every aspect of life, here. It mustn't be encouraged. It must be expunged. If this nation is to become more creative, then copying must be seen as a negative, socially unacceptable activity. It should be looked down upon - and even laughed at. Were that the new attitude to imitation, then, perhaps, a more creative world would develop here. There is no chance of a more creative culture as long as teachers are encouraging their students to copy. To do so is to discourage creativity.

Quite a few students study art here. Very few become artists. Perhaps the fault lies with what their lecturers are teaching. I rather hope it changes.

(If you would like to read of Ainan Celeste Cawley, seven years and six months, and his gifted brothers, Fintan, three and Tiarnan, seventeen months, please go to: http://scientific-child-prodigy.blogspot.com/2006/10/scientific-child-prodigy-guide.html I also write of gifted education, IQ, intelligence, child prodigy, child genius, baby genius, adult genius, savant, the creatively gifted, gifted adults and gifted children in general. Thanks.)

Fintan draws mummy and daddy

Yesterday, we gave Fintan, three, a piece of charcoal and a piece of paper to see what he would do. He decided to draw his parents.

First, he drew mummy. He gave her eyes which looked like eyes and a mouth which looked like a mouth. The eyes had lashes and the mouth had teeth. He did not draw a stick figure stereotyped face as most children draw - but actually sought to render what he saw before him. It might have been better if we had given him another medium rather than charcoal for he tended to smudge what he had drawn - but the results were very interesting. He actually produced a recognizably human face.

Daddy's face was less complimentary - but again he followed the "draw what I see" mode and came up with something in a style of his own.

What was particularly interesting was the manner in which he tackled the task. When it came to me, he held the charcoal in his hand and looked at me for a long pause, as he took in what was before him, before he began to draw. He was very much performing as the little artist deciding how to approach his subject. He drew with earnest but with speed and clearly enjoyed what he was doing. Perhaps he will be an artist like his mummy, one day. It would be nice to think so.

We didn't direct him in how to draw, but let him draw as he pleased: that way we had a chance to see how he saw the world - and not how we wanted him to see it. It is better that way, I think. It is more true to the child.

Singapore shopping with a smile

It is strange how often strangers smile at us, now. Strange - but good.

Yesterday, I went shopping with my wife Syahidah - there is a tale to tell about that, which I shall another time, but for now I would like to focus on the smiles.

We went to an arts supply shop, Art Friend, in Orchard - they have several branches throughout Singapore - and there we asked an assistant about materials. The lady couldn't have been more helpful, leading us to where the pastels were located, even getting us a box to put them in. She told the cashier how to charge us (differently owing to our special request) and made sure we got everything we wanted. She was the second assistant to help us in that shop. The other - a young man - had explained which materials to use with which supplies and shown us where each were located.

I don't know if it was just a lucky day but the service seemed better than average, that day. I had the uncanny feeling they knew of us, already.

(The art materials were for my wife, for, as you may know if you are a regular reader, she is an artist - like her brother, Hafiz. She does portraits, in a unique style; he does abstracts.)

The same thing happened in a toy shop. The assistant was very keen to help; very keen to show us where everything was - and after we settled the bill, she looked directly at me and gave me the biggest of smiles. I am not used to that - big smiles being thrown in my direction - but I must say it is pleasant to be on the receiving end.

Everywhere we went; we were bathed in this warmth. It was not from all people - but enough seemed to know us and respond to us positively to make the feeling of the city warmer than it had been, more welcoming.

This warm welcome says something good about Singapore and Singaporeans. It says that Singapore does not begrudge its gifted - in a very real way, they are welcomed. At least if our experience is anything to go by. In this manner, I see that Singapore has a bright future - for here if, again, our experience is typical - the bright may be allowed to shine and in shining, make the whole society shine. Perhaps that is why they call it a "meritocracy" - and promote meritocratic principles throughout the society. Perhaps the smiles we are receiving are a symptom of the adoption of a meritocratic outlook.

I think it will do Singapore a lot of good to maintain such an outlook - and such a set of principles. It is an outlook and a way of living on which a great city may be built, in time.

Tiarnan's fine motor control

When you are small, it is difficult to manipulate objects which are even smaller. Little hands fumble when the going gets too delicate. At least, that is how it usually is. Yesterday, I saw something to make me question that assumption.

I was holding Tiarnan in my arms, by the door to my home, when he reached out to a white plastic cover of a strange switch near the exit, whose purpose I have yet to divine. It is long, thin and black and sticks out above the light switches. It has a white cover on it. The cover is about three millimetres in diameter and one and a half centimetres long.

Tiarnan held this cover between thumb and forefinger and removed it by sliding it off. He looked at it a moment - then, he did something that any parent of a young child would know is unlikely: he put it back. He slid it on over its three millimetre wide target and smiled to himself.

The fine motor control required to do that is really quite advanced - and so too is the hand-eye coordination, for a thirteen month old child.

This is another demonstration of the fine control that Tiarnan exerts over his own movements. First his drawings that are not scribbles - and now this. This is a type of gift in itself - and, in Tiarnan, I think it will manifest in the type of control of the world we call Art. We will see.

(If you would like to read more of Tiarnan, thirteen months, or his gifted brothers, including Ainan Celeste Cawley, a scientific child prodigy, aged seven years and three months, and Fintan, three, then please go to: http://scientific-child-prodigy.blogspot.com/2006/10/scientific-child-prodigy-guide.html I also write of child prodigy, gifted education, IQ, intelligence, child genius, baby genius, adult genius, savant, the creatively gifted, gifted adults and gifted children in general. Thanks.)

Tiarnan's first adventures in Art

There is something spooky about Tiarnan in that he does things which, if done deliberately would appear to be remarkable - but, we are left to judge - was it deliberate or was it accidental?

This phenomenon occurs when Tiarnan is given a pencil and paper. We have only recently done this. He holds the pencil firmly in his fist but, interestingly, does not scribble on the paper. He applies the pencil to the paper, with control. The first time I saw him do this he drew a heart-shape - and a square: both recognizable. Was that deliberate or not? We have no way of knowing.

Yesterday, however, with his mother, he added a single line to a drawing she had done. Now, again, we are left to wonder at the coincidence of it. Did he intend the line - or was it lucky happenstance? You see my wife had drawn a face without a neck. Tiarnan added a single line. It was not a straight line but one which bent in a rather apt fashion. The odd thing is where he put the line. He drew it in exactly in the right position so that it completed the drawing and gave the face a neck and suggested a chest below. I didn't see him do this. So, when I saw the drawing, I complimented my wife on the interesting way she had drawn the neck. "I didn't do that...Tiarnan did."

That could just be miraculous luck. However, it should be noted that he controlled the pencil very well - it was not a scribble, but a carefully placed line, that looked like it had been fashioned by my wife.

What happened next is, however, very clearly deliberate and indicates Tiarnan's state of mind with regards to exploring Art.

He took each coloured pencil in turn and drew the same straight line on paper, for each one. He did so methodically, drawing one line for each colour and studied the result. He also drew some of them with his left hand and some with his right as if trying to decide which hand was better for this task.

It was interesting to note that he drew the same line with each one: it was as if he wanted to compare the appearance produced by each pencil, by controlling other variables (like what he actually drew). Again, he didn't scribble. Each line was carefully controlled.

So what do we have here? We have a baby who doesn't scribble when given a pencil, but draws careful lines. He is thirteen months old. Could he be an artist, in the making?

(If you would like to read more of Tiarnan, thirteen months, or his gifted brothers, Ainan Celeste Cawley, seven years and three months, a scientific child prodigy, or Fintan, three, then please go to: http://scientific-child-prodigy.blogspot.com/2006/10/scientific-child-prodigy-guide.html I also write of child prodigy, IQ, gifted education, intelligence, child genius, baby genius, adult genius, savant, the creatively gifted, gifted adults and gifted children in general. Thanks.)