Chua Ek Kay

Chua Ek Kay, a renowned Singaporean artist, was often called the "bridge between Asian and Western art." His distinctive style, which incorporated Chinese ink on paper, seamlessly merged traditional Chinese painting techniques with Western art theories.

Biography of Chua Ek Kay

Chua Ek Kay (1947 – 2008, Singapore) received his training in ink painting under Fan Chang Tien from 1975 to 1985. Besides his artistic career, Chua was involved in art lecturing, curatorial work, and served on various art committees. He was also a published poet.

In 1999, he received the Cultural Medallion for Art. Three years later, in 2002, STPI invited Chua Ek Kay to become the first Singaporean participant in its prestigious Visiting Artists Program. 

In early 2007, Chua Ek Kay rediscovered the art of printmaking and papermaking at STPI, leading to a vibrant new series of paper pulp works and prints that exuded energy and vitality.

Ek Kay's notable accolades include the Grand Prize for the UOB Bank's 10th Painting of the Year Award and the Juror's Choice at the Philip Morris ASEAN Art Awards in 1998.

His exhibitions spanned internationally, from Singapore to Shanghai, showcasing his evolving mastery of ink painting. Chua Ek Kay's works have been featured in numerous shows held at galleries and museums worldwide, including Singapore Art Museum, Earl Lu Gallery, Wetterling Teo Gallery, Singapore Tyler Print Institute, and many more.

Chua Ek Kay passed away in 2008 after a courageous battle with nasal cancer that began in 2004.

Chua Ek Kay Art Style

Known for his Chinatown street scenes, lotus paintings, and abstract works inspired by Australian aboriginal cave paintings, Chua Ek Kay’s art showcased a brilliant blend of cultures and artistic traditions.

Under the guidance of Fan Chang Tien, Chua Ek Kay not only mastered the four essential elements of the "Shanghai School" – calligraphy, classical poetry, painting, and seal-carving. His teacher also rigorously trained him in the principles of 花鸟 ("flower–bird"), solidifying Chua's artistic foundation.

He continued to practice Han calligraphy and ink-brush painting, believing that while contemporary art should reflect the spirit of the times and embody an artist's personality and values, it should also adhere to fundamental principles and formats. The discipline of Chinese art reinforced his linework, while Western techniques aided him in blending tones. These techniques formed the foundation of his artistic style.