GEOGRAPHY AND ART : AN EXPLORATION OF SINGAPORE LANDSCAPE MEANINGS

Abstract

Paintings, in particular, urban landscape paintings are a hitherto neglected medium in geographical research. Few people see the relevance of paintings to geographical research. It is my aim in this study to argue for the geographical significance of paintings especially in uncovering the multiple layers of landscape meanings and experiences that are held by different groups of people, in the context of Singapore. In this thesis, I have focused on Tan Kwank Liang, a Singaporean artist and his paintings as my case study. I seek to explore the meanings that are encoded in the paintings by the artist and those decoded by gatekeepers (organiser, sponsor and art reviewers) as well as consumers (Tan's exhibition goers). The conceptual framework which underpins my study is largely an adaptation of Johnson's (1986) circuit of culture and Lim's (1996). Paintings are conceptualised as texts that are imputed with multiple layers of meanings as they transform within the three different spheres, namely the production, mediation and consumption spheres. Each of these spheres can impinge on the meanings that are later on appropriated in the other spheres. Both qualitative and quantitative methods are employed. Qualitative methods include the use of a case study and semi-structured in-depth interviews with the artist, organiser, sponsor, art reviewer and consumers in order to tease out their readings. In addition, quantitative methods in the form of a questionnaire survey was conducted with the consumers to obtain the profile of consumers so as to contextualise the context of consumption. My empirical results are organised according to my conceptual framework which is basically a composition of three distinct yet, interactive spheres, namely production, mediation and consumption. In the sphere of production, I sought to illustrate that the meanings that are encoded by Tan are informed by not only his artistic techniques but also subjected to influences of the broader social, political, economic and cultural contexts. Hence, his paintings are not only his personal expressions but also social commentaries. As Tan's paintings leave the production sphere and enter into the mediation sphere, the same set of paintings assume different meanings which nevertheless co-exist with Tan's encoded meanings. In this sphere, paintings can be a means of advertising, community service and cultural enrichment and are aesthetic objects at the same time. Similarly, for the consumers, Tan's paintings can be aesthetic objects and vehicles of commentaries. Very often, consumers' readings of Tan's paintings can be discordant with those intended by Tan. This is due to the divorce in the context of consumption from production. Furthermore, consumers' readings are, to some extent, influenced by art reviewers. In completing the circuit of culture, the producer's future production of paintings may be influenced by mediators and consumers. In sum, the study has shown that one's experiences of landscapes vary according to different contexts, and these experiences may be understood through the experience of landscape paintings