The big picture - Jimmy Ong

At age ten, Singaporean artist Jimmy Ong was winning art competitions for pocket money. Years later, in 1984, that talent landed him a scholarship at an arts college in the US, where he studied human anatomy (who doesn’t when they go to college?). After four years of drawing almost every day, Ong could skilfully reconstruct the human body on paper – zooming in, panning back and turning it around.

Though he’s currently based in New York, Ong is back in Singapore for a limited time, and his work – charcoal on paper for his exhibition entitled ‘Ancestors on the Beach’ – will be on display at the Post- Museum and Valentine Willie Fine Art gallery as part of IndigNation, Singapore’s fourth annual gay-pride season. ‘Ancestors on the Beach’ is the third instalment in an exploration of gender, identity and sexuality that has spanned 20 years.

Jimmy Ong explores sexuality and the human figure in 'Parting at Fort Road' (above)

What are your favourite media to use when creating your art?
Even though I am working with oil now, intuitively I reached for the charcoal stick in putting an idea onto paper. The immediacy suits some simple expression, though like a blog as opposed to a novel, it has some limitations as a medium.

On your website, there is no ‘synopsis’ of you as an artist. Would you rather the art speak for itself?
A preferred synopsis would include my person as a spouse, housewife, favourite nephew, etc…

A lot of your drawings focus on the male form. What do you think defines masculinity?
Think soft-structured, meek heroism.

What makes this latest exhibition in Singapore different – artistically, emotionally?
Most of the drawings were made with Singapore in mind, so I am pleased that it’s happening here. This time I think the message is less coded and I am surer of it. I don’t start an artwork with an answer, but often with doubt, a process which most artists go through. The result is me sharing my artwork with the public with the hope that each piece conveys a message to the viewer, whether shared or divided.

What inspires you? And please don’t say everything, we’re suckers for specifics.
Human love and its multitude of bondages.

What are the reasons behind your participation in IndigNation this year, besides your sexuality?
I was with People Like Us (PLU) in its early years, but I moved on when it first started to petition itself as a registered society. I want to contribute to the gay presence in Singapore by participating in IndigNation.

Do you think the art scene in Singapore has grown through the years?
The industry has grown in leaps and bounds. Singapore has made sportsmen of art consumers. I cannot say much about the art scene as I am rarely there, but I’m often overwhelmed by the listing of goings-on and often end up reading about it in print or on the web.

Which form is easier to capture: female or male?
The male is easier with all its exaggerated form, but I’ve been looking closely at the female form, and I marvel at the poetry it’s capable of. Though I dare say I have not been able to capture much of its subtlety on paper. Since I do not use models, I would visualise the female form as my own body.

You’ve exhibited in a few countries around the world. Which audience made you feel most at ease about your work?
In Santa Monica [in California], I met a couple who conveyed an open-hearted empathy… [this] straight couple was able to connect with me about my artwork. I did not feel embarrassed and was surprisingly comfortable in my own skin. This was good as my earlier works dealt with the intimate emotional issues I was struggling with.

For more on Ong, go to www.jimmyong.net His work will be shown in conjunction with IndigNation until 20 August.