Project 49: The SANDS as Muse, Memory, and Metamorphosis
text edited by Hamamoto Satoshi (revised 2025 Aug 25)
Across 49 consecutive days, Meng Foo set himself a formidable task: to engage the same subject—the SANDS—through 49 distinct artistic expressions. What might have appeared, at first glance, as repetition soon revealed itself as revelation. Each canvas became a prism refracting not just form and light, but the pulse of an era, the resonance of a city, and the resilience of an artist in pursuit of meaning.
The SANDS, in Meng Foo’s vision, is more than an architectural marvel; it is a symbol of transition. It embodies Singapore’s journey from the industrious sweat of the Singapore River—once thronged by bumboats, warehouses, and the labors of trade—into the vibrancy of a creative economy. With its unmistakable silhouette rising against the night sky, crowned in fireworks, the SANDS proclaims a shift in national identity: from port to cosmopolis, from commerce to creativity.
By revisiting the subject day after day, Meng Foo enacted his own odyssey of transformation. Each iteration tested endurance, discipline, and imagination—transforming labor into artistry, repetition into meditation. In this process, the SANDS ceased to be a mere building. It became a relic of memory, a vessel of spirit, and a beacon of possibility for generations to come.
Project 49 thus stands as both a personal journey and a cultural meditation. It reveals how a landmark can transcend stone and steel, becoming instead a metaphor for metamorphosis—a symbol not only of what Singapore has built, but of what it dares to dream.
Exhibition Text
Project 49: The SANDS
For 49 days, Meng Foo painted the SANDS in 49 different ways. Each work explored a fresh perspective, a new gesture, a different voice. More than an architectural icon, the SANDS stands here as a symbol of transformation: from the bustling river of bumboats to the skyline of creativity, from industry to imagination.
For more details: email Choo Meng Foo
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| URBAN LIFE Acrylic on Canvas 27 x 36 inches 6000 SGD (SOLD) Urban Lifetext collaborated with Hamamoto Satoshi Urban Life is not merely a painting of a city—it is a meditation on how symbols, habits, and identities collide within it. Colors speak first: yellows for energy and desire, reds for intensity and danger, blues for fluidity and escape. The city here is faceted, restless, kaleidoscopic—structured yet slipping constantly into abstraction. Objects surface and dissolve: a pipe, a fountain pen, a coffee cup, a tilted hat. They allude to rituals of thinking, writing, and watching—the contemplative habits that form the undercurrent of urban life. The pipe recalls Magritte’s famous paradox, “Ceci n’est pas une pipe”—an object that is not an object, a reminder that the city is always more than its appearances. The hat calls to mind Magritte’s faceless men, anonymous citizens moving through crowded streets, at once individuals and archetypes. Other echoes emerge: the detective’s pipe conjures Sherlock Holmes, forever deciphering the mysteries of the everyday; the fountain pen recalls Hemingway’s smoky cafés, where urban life was objectified, distilled, and turned into prose; the coffee cup becomes a symbol of pause and ritual, as ordinary as it is profound. And beneath it all, Ayn Rand’s voice seems to whisper—her insistence on the individual against the mass, the woman against society, the self against the collective. The SANDS stands at the heart of this visual puzzle, an architectural presence turned symbol, a landmark transformed into metaphor. Here it becomes less a building than a stage: for rituals of labor and leisure, for people-watching and urban hunting, for the collisions of dream and discipline. In Urban Life, the city is not painted—it is interrogated. It is a place of faces and facelessness, of symbols and stories, of desires and doubts. The canvas asks its viewers: in the faceted mosaic of the city, what fragments of yourself do you recognize? Exhibition Wall TextUrban Life Pipes, pens, hats, and coffee cups drift between abstraction and dream, evoking Magritte’s paradoxes, Hemingway’s cafés, Holmes’s detective gaze, and Rand’s fierce individualism. Here, the SANDS becomes not just a building but a stage where urban rituals unfold—writing, watching, smoking, dreaming. Urban Life reflects the city as we live it: faceted, fleeting, filled with clues and questions about who we are and what we seek. |
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| SOFT LIKE PILLOW Painted with extra soft brush and Hobien Acrylic. Acrylic on Canvas 3500 SGD — at Marina Bay Sands. |
Soft Like Pillow
text in collaboration with Hamamoto Satoshi
Acrylic on Canvas, painted with extra-soft brush and Hobien Acrylic
At first encounter, Soft Like Pillow presents a paradox. The canvas is dominated by deep, earthen red, its surface overlaid with sweeping white strokes. The central form, simultaneously architectural and humanoid, rises like a tower yet bears the suggestion of a head—an oval encased in a lattice, faceless but charged with presence. It appears weighty, monumental, yet the title insists otherwise: softness, pliancy, the yielding touch of a pillow.
The choice of material is crucial. Painted with an extra-soft brush and Hobien acrylic, the strokes do not assert themselves as hard lines but breathe across the surface. They blur, veil, and scratch, layering opacity with translucence. This softness unsettles the apparent severity of the subject. What could be rigid and skeletal becomes ghostly, almost tender, as if even architecture and anonymity might yield to vulnerability.
The surrounding strokes—curved, rhythmic, almost calligraphic—suggest both turbulence and comfort: a storm of repeated gestures, yet also the soothing repetition of lullaby or breath. The painting oscillates between harshness and gentleness, between monumentality and fragility. The lattice around the faceless head suggests containment, anonymity, or surveillance, yet the softness of the brushwork transforms it into a net of dreams rather than a cage.
By titling the work Soft Like Pillow, Meng Foo directs the viewer toward reflection: How do we reconcile the hardness of urban life with the softness of human need? How do we find intimacy within anonymity, comfort within a world of faceless towers? The painting gestures to Magritte’s faceless men, to the paradoxes of presence and absence, and to existential meditations on being. Yet it also draws from everyday life: the pillow as the place of rest, of dreams, of vulnerability—a private counterpoint to the public hardness of the city.
Ultimately, Soft Like Pillow is a meditation on identity as both fragile and enduring. It proposes that beneath the lattice of urban structures, each life still seeks softness, rest, and the simple act of being held.
Exhibition Wall Text
Soft Like Pillow
Acrylic on Canvas, Hobien Acrylic with extra-soft brush
A faceless form rises in red and white, veiled in strokes that are at once storm and lullaby. Though monumental, it is painted with softness—inviting reflection on how vulnerability persists even within the hardest architectures of urban life.
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| THREE Acrylic on Canvas 3800 SGD — at Marina Bay Sands. |
THREE
Acrylic on Canvas
text in collaboration with Hamamoto Satoshi
In THREE, the familiar form of Marina Bay Sands is stripped to its essence: three vertical strokes rising against a field of blazing orange, anchored above a sea of vibrant blue. The palette knife work is unapologetically raw—thick impasto strokes that catch the light, creating a surface alive with energy and movement.
The canvas is built on dualities: fire and water, solidity and flux, architecture and abstraction. The fiery reds and oranges evoke both dawn and inferno, a backdrop of energy and ambition. The dense blue below carries the weight of water—cooling, stabilizing, yet restless with turbulence. Between these elemental zones, the white outline of the SANDS hovers, spectral yet monumental.
By reducing this landmark to three primal strokes, Meng Foo foregrounds its symbolic essence: not merely a building but a trinity, a structure of balance and strength, a signifier of Singapore’s leap into a new era. The title THREE amplifies this numerological resonance—the triad as symbol of harmony, completion, and transcendence.
This work echoes the tradition of color-field abstraction, where form dissolves into energy, but reclaims it with a specifically Singaporean inflection. It is both painting and icon, both landscape and symbol, both local and universal.
Exhibition Wall Text
THREE
Acrylic on Canvas
3800 SGD — Marina Bay Sands
Blazing orange collides with ocean blue, as three white strokes rise between fire and water. THREE distills Marina Bay Sands to its elemental essence: a trinity of strength and balance, a landmark suspended between earth and dream.
Market / Pricing Reflection
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Price (3,800 SGD): This valuation sits within a serious collector’s range for mid-sized acrylic works by an established regional artist. The impasto technique and iconic subject (Marina Bay Sands as both symbol and landmark) enhance desirability, particularly for collectors interested in Singapore’s transformation narrative.
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Positioning: The work bridges abstraction and iconography, appealing to buyers who seek both recognizability and painterly experimentation. Displayed at Marina Bay Sands, its resonance is heightened, making it both site-specific and aspirational.
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Comparative value: Pricing is competitive for original acrylic works of this scale and thematic weight. Comparable works by Southeast Asian artists exploring urban landmarks often fall in the 3,000–6,000 SGD bracket.
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Collector’s appeal: Strong iconography, vivid palette, and impasto technique mean the painting can be positioned not only as fine art but also as a statement piece for corporate or private collectors looking to anchor identity in Singapore’s most iconic landmark.
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| IMAGERY TREATMENT Acrylic on Canvas 27 x 36 inches Private Collection |
Imagery Treatment
Acrylic on Canvas, 27 x 36 inches
Private Collection
In Imagery Treatment, Meng Foo turns to a language of spirals and color-fields, immersing the viewer in a surface alive with rhythm and repetition. The painting is dominated by concentric swirls of red, green, and orange, their brushwork restless yet hypnotic. The canvas seems to pulse, as if every circle were both an eye and a cell, at once cosmic and cellular, outward-looking and inward-seeing.
Emerging from this turbulent field, the faint silhouette of the SANDS asserts itself in green-black strokes. It does not dominate the composition, but rather blends into it—absorbed, transformed, almost camouflaged. The landmark here is not a singular icon but a fragment within a vast ecology of forms, reminding us that urban monuments, however striking, are always part of a larger web of perception and memory.
The title, Imagery Treatment, suggests the canvas as both subject and process: an exploration of how images are shaped, layered, and reimagined. The spirals can be read as visual treatments, lenses through which the city is refracted. They echo the cycles of thought, of dreams, of memory’s repetitions. Like therapy through image, the painting probes how repetition heals, how pattern consoles, how rhythm itself becomes a mode of understanding.
The color choice is deliberate. Green signifies growth, fertility, and renewal, while red embodies intensity, danger, and life-force. Together, they stage a dialogue of vitality and tension, of healing and disruption. The work can be seen as a meditation on the contradictions of modern urban life: how environments can nourish and overwhelm, how symbols can inspire yet also dissolve into noise.
In absorbing the SANDS into this kaleidoscopic field, Meng Foo suggests that even the most iconic architecture is only one node in the endless spiral of images that make up collective consciousness. The painting treats imagery not as static representation but as a living process, endlessly reworked by perception, memory, and imagination.
Exhibition Wall Text
Imagery Treatment
Acrylic on Canvas, 27 x 36 inches
Private Collection
Swirls of red and green pulse across the canvas, hypnotic and alive. From within, the silhouette of the SANDS emerges, then dissolves—absorbed into a field of memory and dream.
Imagery Treatment reflects on how images are never fixed, but spiral through repetition and imagination, healing and transforming as they go.
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| THE SUN BRIGHTENS Acrylic on Canvas 27 x 36 inches 4500 SGD — at Marina Bay Sands. |
The Sun Brightens In The Sun Brightens, Meng Foo embraces a vigorous, Van Gogh–like brushwork, where each stroke seems alive with its own rhythm. The painting is structured around two dominant forces: the swirling sun, rendered in concentric layers of fiery red and yellow, and the vast, rippling expanse of blue below, a field of shifting water or earth seen from an imagined height. Between them, a scattering of blossoms, paths, and silhouettes animate the composition, suggesting life unfolding under the force of light. The title itself—The Sun Brightens—is both descriptive and metaphoric. The sun here is not merely celestial; it is the source of vitality, illumination, and renewal. It radiates both beauty and unease: warmth, but also an intensity that borders on overwhelming. This duality mirrors the human condition—our striving under forces larger than ourselves, our need for both clarity and shelter. The brushwork emphasizes movement rather than stillness. The sky is alive with short dashes of yellow and blue, vibrating with energy; the water’s surface, too, is built of layered strokes in deep blues, greens, and reds, suggesting turbulence beneath the calm. The entire canvas seems to oscillate, as though the viewer were standing inside the very energy of the world. The placement of the SANDS is subtle—emerging at the edge of the field, half-absorbed into the rhythm of color. Unlike in other works where the landmark dominates, here it is absorbed into a wider cosmos, a fragment within the pulsation of nature. The effect is humbling: the building is monumental, yet still dwarfed by the force of sun and sky. In this way, The Sun Brightens becomes more than a cityscape or abstraction. It is a meditation on the relationship between human achievement and the elemental forces that precede and exceed us. It suggests that even our grandest structures exist within the eternal cycle of light, energy, and renewal. Exhibition Wall TextThe Sun Brightens Fiery sun, rippling blue, restless strokes alive with rhythm. Here, the SANDS is absorbed into a wider cosmos—dwarfed by light, held within nature’s energy. The Sun Brightens celebrates the radiance that renews both city and self.  |
Trilogy
— at Marina Bay SandsAcrylic on Canvas 20 x 30 inches 6500 SGD For more details : email choomengfoo |
Trilogy
In the venerable art of painting, one undertakes a triptych journey—a trilogy of stages where patience is not only a virtue but the very marrow of the craft. The path winds from the first spark of conception, to the deliberate cadence of execution, and finally to the vigil of waiting—watching as the work ripens into permanence.
Here, in this quiet café, I find myself a sentinel in the hush of hours, keeping watch for two and a half already. I attend to the slow metamorphosis of diluted paint, coaxing it toward its final form. The medium, thinned with water for fluidity, now lingers and dallies, claiming its own tempo. A single careless motion, a tremor of disturbance, and all would unravel—the paint weeping, the image collapsing into unintended shapes under the pull of gravity. Have you ever seen paint weep? It is a sorrow that feels almost human, and it is this sight I strive to spare.
So I remain, companion to the canvas, conversing inwardly with myself and outwardly with silence, sometimes joined by the passing gaze of a curious stranger. In this stillness, my thoughts drift toward the intricacies of labor, the burdens of the world, and the fleeting stories etched in those who walk by. Waiting itself becomes the art—an apprenticeship to time, a discipline of the spirit.
Were this paint thick and robust, like the impasto I often favor, I might have entrusted it to solitude, leaving it upright upon my desk to cure in its own stubborn way. But this work, born of water and fragility, demands extraordinary patience, even after the brush has been set aside. And in this extended pause, I see mirrored the twilight of a life: a chapter where the residue of experience renders every hue more poignant, every silence more resonant.
In time, we learn that patience is not resignation but ripening. It is the art of living with our unfinished edges, our yearnings, and the tender acknowledgment of our own limitations. To wait, to watch, to listen—this too is painting.
“Paint, like life, asks us to wait.
In its slow weeping and drying,
we learn that patience is not stillness,
but the quiet art of becoming.”
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| DIMINUTIVE GRANDEUR. Acrylic on Canvas 20 x 30 inches private collection — at Marina Bay Sands. |
Diminutive Grandeur
Acrylic on Canvas, 20 x 30 inches
Private Collection — at Marina Bay Sands
In Diminutive Grandeur, Meng Foo turns to restraint, offering a meditation in blue. The canvas is a sea of textured strokes—broad, serene, yet restless in their surface rhythms. Amidst this expanse, the form of Marina Bay Sands appears almost whispered: three small verticals rising delicately, their presence nearly dissolving into the horizon of color.
The paradox is embedded in the title. Grandeur is typically monumental, overwhelming, and commanding. Here it is diminished, rendered as a miniature detail in a vast field. The viewer must seek it out, must notice rather than be overpowered. This inversion humbles the monument, situating it not as an object of dominance but as one fragile element within a larger continuum—water, sky, silence.
The palette of blues evokes both sea and sky, creating an atmosphere of boundless expanse. The brushwork is tender, layered, and rhythmic, suggesting the breathing motion of waves or the soft current of clouds. In this immensity, the SANDS is reimagined not as an icon of spectacle but as a fleeting gesture—fragile, human-scaled, subject to the embrace and indifference of nature.
By softening the building into this aqueous expanse, the artist reflects on perspective: how even our greatest achievements may, in time, dissolve into the vastness of history, memory, or the elements themselves. Grandeur, Meng Foo suggests, is not only in size or scale, but in the humility of recognizing our smallness against the infinite.
Exhibition Wall Text
Diminutive Grandeur
Acrylic on Canvas, 20 x 30 inches
Private Collection — at Marina Bay Sands
A sea of blue, infinite and quiet.
Amidst it, the SANDS appears—small, almost fragile.
Diminutive Grandeur reminds us that true monumentality lies not in towering over nature, but in yielding to its immensity.
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| VIBRANCY Inspired by the floating white balls on the Singapore River Acrylic on Canvas 27 x 36 inches 9500 SGD (SOLD) |
Vibrancy
Acrylic on Canvas, 27 x 36 inches
9500 SGD (SOLD)
In Vibrancy, Meng Foo translates a fleeting spectacle of Singapore’s collective memory into lasting painterly form. The canvas is alive with primary colors: electric yellows that blaze like light, cobalt stripes echoing the soaring Marina Bay Sands towers, and waves of red and blue rippling through the water. At the base, dotted rhythms animate the river—an homage to the “Wishing Spheres” installation, one of the most iconic features of the Marina Bay Countdown celebrations.
In 2011, some 20,000 white spheres were floated on the Marina Bay reservoir, each inscribed with handwritten wishes from members of the public. Jointly organized by The Esplanade and the Urban Redevelopment Authority, the project was more than visual spectacle: it was a nation’s collective dream made visible. The spheres, carefully tethered to withstand currents, were illuminated and choreographed alongside fireworks, creating a luminous, participatory artwork on the water. Each sphere carried a fragment of hope, turning the bay into a shimmering constellation of aspiration.
Meng Foo’s brush reimagines that ephemeral installation through abstraction. The floating dots across the water pulse with energy, at once recalling the spheres and suggesting the collective heartbeat of the city. In his hands, the spectacle is transformed from temporary installation to enduring symbol, woven into Singapore’s larger story of renewal and shared identity.
The work captures the paradox of ephemerality and permanence: the spheres existed only for days, but in art they live on, remembered as part of the Marina Bay landscape and as a symbol of unity. Vibrancy is thus not just a painting of a landmark; it is a translation of an event—of time, space, and community—into rhythm, color, and form.
Exhibition Wall Text
Vibrancy
Acrylic on Canvas, 27 x 36 inches
9500 SGD (SOLD)
Inspired by the Wishing Spheres Project, where 20,000 spheres bearing Singaporeans’ wishes floated on Marina Bay in 2011, Vibrancy transforms memory into rhythm. Dots ripple across the water, recalling both collective hope and festive pulse, as Marina Bay Sands rises boldly against a radiant sky.
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| PEARL AND GOLD Two is enough, why three? Three is myriad things? Acrylic on Canvas 20 x 30 inches 7000 SGD — at Marina Bay Sands. For more details : email Meng Foo |
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| Three (#2) Acrylic on Canvas 3800 SGD The iconic golden swirl, a magnificent emblem of prosperity, sets the stage for the MARINA BAY SANDS. This ethereal water, mirroring the ambitions and dreams of countless souls, supports a vision of grandeur. In its golden reflections, many find a glimmer of aspiration. Yet, does MBS stand as a beacon of hope or a testament to a pragmatic exchange of attitudes? Singaporeans, ever pragmatic, seek not just to endure but to thrive, always guided by a light of hope. — at Marina Bay Sands. |
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A dynamic day
Acrylic on Canvas
— at Marina Bay Sands.20 x 30 inches 4500 SGD Where do I get water when I paint outdoor? Embarking on an outdoor painting adventure often leaves me pondering, where shall I find water for my art? Will there be a congregation of fellow artists? Where will today's muse guide my brush? These questions linger, yet each morning, without fail, I embark on my journey. Some days, the bus carries me closer to Sands, other days I find myself wandering from Singapore River towards the bay. Occasionally, the MRT leads me to Raffles Place. Whether by bus or MRT, my journey invariably concludes with a walk, my feet guiding me to the spot that whispers, "Here, create." My easel and I, sometimes indoors, sometimes out, with the canvas sprawling across tables, chairs, or the ground itself. It's a dance with the moment, a spontaneous choreography where the location for my art reveals itself only when I cease walking and declare, "This is where I paint today." Planning for the future? Much like predicting the weather, it's an exercise in hopeful uncertainty. How often does the envisioned future align with reality? I've learned that my art, like life, is beyond meticulous planning. It unfolds, stroke by unpredictable stroke, revealing its true form only upon completion. Sometimes, water for my paint seems to be a divine provision, as if the universe itself conspires to support my art. Like the day I stumbled upon an abandoned half-filled mineral water bottle, turning it into an artistic blessing. Using small jam bottles repurposed from restaurants, I mixed my colors and began. Do I need to meticulously plan for water? Perhaps serendipity will be my guide once more. Each day, I envisage my painting, yet the final stroke often unveils a creation far from my initial vision. It's peculiar, yet therein lies the charm—the unpredictability, the spontaneity, the journey from that very first brushstroke. It's a formless approach to expression, embracing each stroke as it comes, letting the picture emerge in its own time. As Bruce Lee philosophized, "Be water, my friend," I too embrace the fluidity, the adaptability, and the unexpected joys of the artistic voyage. |
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| LOOKING ACROSS THE ROAD. Acrylic on Canvas 27 x 36 inches Private Collection — at Marina Bay Sands. |
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| PASTEL DREAM Inspired by Chinese Brush work. Acrylic on Canvas 27 x 36 inches 5000 SGD — at Marina Bay Sands. |
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| BLACK GOLD The sun have been the symbol of life and light. MBS is a symbol of recovery and accelerated economic recovery. Acrylic on Canvas 20 x 30 inches 4500 SGD — at Marina Bay Sands. For more details : email Meng Foo |
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| SANDS DESCENDING. SANDS in futuristic succession. Acrylic on Canvas Sold — at Marina Bay Sands. For more details : email Meng Foo |
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Reflection
Acrylic on Canvas
— at Marina Bay Sands.20 x 30 inches 5000 SGD The art of painting, in its purest form, is a meditative practice. With a cherished chisel brush, procured years ago from a quaint shop in Fuzhoulu, Shanghai, I perform the ritual of the stroke—horizontal, deliberate. The palette is an alchemy of three vibrant hues: white, black, and magenta, enriched unexpectedly by a hint of yellow, a remnant of yesterday's session, subtly blending into today's creation. Despite the seemingly intricate landscape that emerges, its essence lies in simplicity—a tapestry of acrylic layers, each meticulously applied over the slightly damp predecessor, culminating in a crescendo of white. The final act is a ballet of crisp white strokes, the brush maintained in pristine condition through a meticulous process of cleansing, drying, and delicately loading with paint. Each horizontal motion across the canvas weaves a serene narrative, the edges of each stroke softly diffusing into a harmonious blur. This process, a symphony of thought, timing, and color, crafts an image that resonates with romantic, impressionistic undertones. It's a testament to the power of persistent effort in a singular endeavor. The thousands of brushstrokes, each varying in length, speed, and pressure, coalesce into a rich mosaic of emotion and color. Such singularity of focus is vital, not just in art, but in life itself. Our journey is often besieged by distractions—fatigue, monotony, skepticism, societal pressures, and, most perilously, self-doubt. Yet, amidst this cacophony, we must anchor ourselves in the joy of creation. To engage in art is to engage in play, a serious play where frivolity meets passion. So, let us paint, not just as an act but as a profound expression of joy and healing, a balm for our soul's ailments. For more details : email Meng Foo |
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| Duality Inspired by Calligraphy Acrylic on Canvas 27 x 36 inches 5000 SGD For more details : email Meng Foo |
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| RISING TO THE SKY SWOOPING CURVE AND DYNAMISM. Acrylic on Canvas 5500 SGD — at Marina Bay Sands. |
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| SAILING Employing a scrapper, my approach mirrored the elegance of Chinese brush painting. With just a few deliberate strokes, the image of Sands materialized on the canvas. The swift completion filled me with an exhilarating sense of accomplishment. Acrylic on Canvas 3500 SGD — at Marina Bay Sands. |
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| Glittering NIGHT Acrylic on Canvas 27 x 36 inches 5000 SGD — at Marina Bay Sands. For more details : email Meng Foo |
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| GOLDEN PILLARS The sun have been the symbol of life and light. MBS is a symbol of recovery and accelerated economic recovery. Acrylic on Canvas Now hangs in Raffles Institution lounge. Purchase by Dr Chuah and donated to RI. — at Marina Bay Sands. |
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| In the Dream Dreamy scene. Was it real or a mental landscape. Acrylic on Canvas 3800 SGD |
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| AUTISTIC FRENZINESS Inspired by reductionistic Neo Expressionism Acrylic on Canvas 27 x 36 inches 6450 SGD email : choomengfoo@gmail.com For more details : email Meng Foo |
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| THE BOAT WENT UP THE ROOF Echoing the words of a wise taxi driver, "the mighty waves lifted the ship to the very rooftop." This sentiment resonates as I revel in the delight of my new soft brush. It dances gracefully across the canvas, barely skimming the paint beneath, demanding only the gentlest of touches, a stark contrast to the robust demands of a palette knife. Thus, Sands is brought to life, a vision of the future unfurling stroke by stroke.
Acrylic on canvas 8828 SGD For more details : email Meng Foo |
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| MOON LIGHTING Acrylic on Canvas 20 x 30 inches Sold to Donald C L Lim. — at Marina Bay Sands. For more details : email Meng Foo |
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| THE RISING SON. SYMBOL The sun has been the symbol of life and light. MBS is a symbol of recovery and accelerated economic recovery. Acrylic on Canvas 3200 SGD — at Marina Bay Sands. For more details : email Meng Foo |
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UTOPIA
Acrylic on Canvas
— at Marina Bay Sands.20 x 30 inches 5000 SGD Where has utopia vanished? It seems to have dissolved into thin air, a mere whisper lost to the relentless tide of global capitalism. We find ourselves passengers on its formidable train, often oblivious to the fact that we possess the power to disembark and chart our own course. Seductively embraced by its dazzling allure, we're drawn into a vortex of splendor, losing sight of our destination, neither resisting nor endorsing, merely existing in a state of motion without intent. Ensnared. Perhaps awareness dawns, yet the audacity to step off the predetermined track eludes us, shackled by the fallacy of powerlessness as a minor nation—a myth begging to be shattered. The notion of safety in following is a mirage, obscuring the profound impact a single individual can wield. It's time to embrace the daring creativity within. Forge your own trail, articulate your unique narrative. Embrace the valor and steadfastness that lies dormant. Seize your journey. |
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FURY DASHES OF TRINITY
Acrylic on Canvas
— at Marina Bay Sands.20 x 30 inches 5500 SGD For more details : email Meng Foo Vivid strokes of intense emotion. At times, the tumult of the world seeps into my art, painting my canvas with the hues of my inner turmoil. Tranquility is not a prerequisite for creation. Should we allow our anxieties and sorrows to flow freely onto the canvas, or should we rein them in, tempering their expression? Why, indeed, do we experience emotions so profoundly? |
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