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Clifford Chance

Clifford Chance

Arcus Pride Art Exhibition 2019


2019 marks the third year of Singapore's participation in Clifford Chance's international Pride Art events.

Our key exhibit, provided by Art Porters Gallery, focuses on the works of LGBTQ-friendly Singaporean artist Johann M Fauzi. With his paintings, Fauzi defines otherness through re-appropriation and displacement of his subject matters and painting style.

Johann M Fauzi

Pride of the Mangosteen

Johann M Fauzi is a Singaporean artist and art collector whose collection span the 13th to the19th centuries, ranging from paintings, tapestries, prints, bronzes, ceramics, lighting and furniture.

It is through his interest in collecting that he began exploring the mediums of painting, printmaking and sculpture which he connects with classical canons of art thanks to a formal training at Nanyang Academy of Fine Arts. Light and perspective are some of the elements he has chosen to work with, focusing on oil painting as a means to explore image-making. He currently focuses his research on the ideas of conceptual framing of Singapore landscape within the intersections of Classical and Romantic periods, as well as questioning 'otherness' and the position of a Malay person in Singapore.

Fuazi's exhibit comprises seven oil paintings, crafted in a western colonial style, juxtaposed with Malay titles and personal narratives, several of which are framed in the artist’s own creation, inspired by specific classical museum frames. Besides 'otherness', the paintings also question provenance and identity. The paintings were exhibited in April 2019 at the Institute of Contemporary Art Singapore, within the installation 1820 to 1920, which received accolades from Singapore Art Museum curators and other art luminaries.


MANGGIS (Self Portrait)

2018 Oil on copper H49.5 x W60 cm (framed)

© Johann M Fauzi 2019, courtesy of Art Porters Gallery

This painting is a self portrait of the artist represented by the mangosteen fruit which holds the titles of the Queen of Fruits, and the Food of the Gods. The mangosteen also reflects how the artist views himself. The dark skin of the fruit represents the colour of the skin of the artist while the inner flesh reflects the artist’s 'otherness'.

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2018-2019 Oil on linen H97 x W78 cm (framed)

© Johann M Fauzi 2019, courtesy of Art Porters Gallery

Tuan Stamford Raffles is a homage to the founder of Singapore, Sir Thomas Stamford Raffles. The garland of flowers that surrounds him and the eucharistic still-life portraiture style that pays homage to religious images were made common in the 17th century by Flemish painters. In this painting, the garlands 'frames' the founder of modern Singapore. This painting is also critical of the dominant narratives in the country, with Singapore celebrating the 200th anniversary of her founder. Some of the questions include, Why are we celebrating our coloniser? Are we "colonial whitewashing" the founder? Are we failing to admit that colonialism is wrong?

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2018 – 2019 Oil on linen H92 x W110 cm (framed)

© Johann M Fauzi 2019, courtesy of Art Porters Gallery

Menunggang Kuda (Horse Riding) is based on the view of Singapore Race Course at Farrer Park, Singapore circa 1842. The artist incorporated a horse rider with a mask to represent a bandit, the horse and the building to symbolize the wealth of the country. The trampled hibiscus, which is the national flower of Malaya, and the mouse deer, represent the natives.

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