WRITTEN ANALYSIS

Introduction to The Rising Moon (2015)

The Rising Moon (2015) by Han Sai Por and Kum Chee Kiong is a sculptural installation located in Esplanade Park, Singapore. Reflecting on the Singaporean national identity, the symbolic artwork reinterprets the national flag symbols representing the five shared core values: democracy, peace, progress, justice, and equality. The Rising Moon was commissioned by the Public Art Trust, National Arts Council and sponsored by Marina Bay Sands.

Han Sai Por, The Rising Moon, 2015, Granite and corten steel. Photo by [Us].

Concept and material

The Rising Moon was borne out of a collaboration between Kum Chee Kiong and Han Sai Por which is reflected in its two components; granite blocks carved by Han, and walls of corten steel contributed by Kum. Kum Chee Kiong is a Singaporean modern and contemporary artist, trained as an architect at the National University of Singapore. In his works, he often investigates the nature of human existence and its related issues that constitute our contemporary condition.

Han highlights that her carved granite blocks' geometric form and material understanding were pivotal to its concept. Looking past granite simply as a strong and durable material, the sculpture stands rooted firmly into the earth, embodying qualities such as stability, firmness and power. Another feature is the “clean cut”, simple and regular silhouette of the geometric blocks which blend into the surrounding Singapore skyline- reflecting the progress of our nation that is evident in our current cityscape. This is further amplified by the cut-out portions of what Han deems as the “windows” in each block. This appears to be a deconstruction of the Singapore flag: the stars reconfigured into simple squares or rectangles, and a single circle in place of the crescent moon. As viewers weave through each block to look through these “windows” which now frame the cityscape, the simple notion of looking through these various lenses firstly represents us individuals looking towards a future beyond, and at large, of Singapore as a forward-looking nation. Perhaps these “windows” will become a means for us to continue to witness the ever-changing landscape as the artwork ages. Lastly, the carved texture of each granite block urges us to imagine an exhaustive process of careful hammering and chiselling of each pit, consistently, throughout the entirety of the artwork’s surfaces. This mark-making process encompasses a strong sense of togetherness, ideas of nation building and a constant transformation of Singapore from then to now, and now to the future.

Han’s process sketch of the various options of textures to choose from. Pictured on the far left is the chosen texture for The Rising Moon, 2015. Photo by Artist Han Sai Por.

Process of granite carving at the stone carving workshop located at Chong Wu town, south-eastern of Hui’an, Fujian, China (崇武镇隶属于福建省泉州市惠安县，地处福建省东南沿海突出部). Photo by Artist Han Sai Por.

Installation

Large outdoor installations are not unfamiliar to Han. In a discussion about the technical process of The Rising Moon, she places great importance on the need for foresight through careful and detailed planning to create such works.

The condition of the outdoor environment where the artwork is placed will have to be carefully considered, for example, the assessment of hard and soft ground. With sculptural works, it is important to consider the pressure on the ground in relation to the weight of the sculpture, hence, strong structures are vital to such works. It is essential for an artist to be experienced, or for them to work with someone with the expertise to assist with its installation. (e.g., creating a foundation for an artwork underwater is particularly challenging as the marine clay in water is soft and water pressure can influence the installation- its stability or durability).

Site layout plan of The Rising Moon, 2015. Photo by Artist Han Sai Por.

Belts were strapped around the base of the stone units and then suspended by the crane to transport them from the truck to their allocated spots. Due to the massive weight of the stones, the belts were not able to be removed from underneath them after installation. Hence, the default plan was to cut the exposed parts of the belts to be disposed of. Knowing the moving process and its intricacies, Han made grooves along the edges of the base so that the belts got caught at the widest part of the stone unit for optimum stability and safety. Most importantly, the grooves allow the belts to be removed from the base after installation so that no belts need to be sacrificed.

Han’s sketch of the installation process planned for The Rising Moon, 2015. Photo by Artist Han Sai Por.

In her work The Rising Moon, she explains that it was important to create a strong foundation at the base of her sculptures. Consulting with a professional engineer, a hole was dug in the ground and reinforced with concrete and metal structures (as pictured above). As Han had worked on numerous projects over 30 years, she has learned how to install large sculptural works through experience, supplemented by her own studies.

Public art in Singapore

The Public Art Trust (PAT) is an initiative by the National Arts Council (NAC) and funded by the Ministry of Culture, Community and Youth (MCCY) with the aim to breathe art into live-work-play spaces and bringing art even closer to Singaporeans. All in the effort of driving education and developing best practices for public art in Singapore.

Public sculptures such as The Rising Moon raises the question of maintenance. Proposals for Public Art Trust projects include a maintenance plan, however Han expressed that even if the work is left untouched for multiple years, the only thing that might change is the colour of the stone Attesting to the material’s toughness, perhaps maintenance is not the most necessary for The Rising Moon. Han emphasised safety foremost when asked about public interactions with the sculpture, such as climbing over the stone. However, she is confident that the sculpture has a strong enough foundation such that it could never be pushed over.

Geographics of The Rising Moon

The entire process of conceptualising the artwork to installation took one year, beginning and ending in Singapore, over the course of approximately a year. In between, she took several trips, ranging from weeks to a month, to Chongwu (崇武镇). Chongwu is a town in the south-eastern part of Hui’an (惠安县), Fujian (福建省), China, (崇武镇隶属于福建省泉州市惠安县，地处福建省东南沿海突出部) known for its stone factories filling up the streets. The entire process from sourcing raw materials to completing the sculpture took place in Chongwu, with the help of her assistants who were well-experienced stone carvers. The next step of shipping the sculpture from China to Singapore included logistical arrangements such as export-import taxes and documentation, suitability of shipping containers; processes beyond what is thought of by an artist.

Summary map of the makings of The Rising Moon. Photo by Aishah.

Extensions of the artist

Due to the tight deadlines of projects coupled with the large-scale sculptures she creates, employing artist assistants is common in the production of many works. For instance, she mentions working with experienced sculptors in Chongwu during the making of The Rising Moon. Though she is equipped with the resources to allow her assistants to create work entirely without her supervision, she places utmost importance on her physical involvement in the process. She claims that despite the assistants’ abilities to sculpt a work under her instruction, they “cannot” make art. By this, she implies that technical skill alone cannot outweigh the creativity and capability of an artist to breathe life into an artwork. Furthermore, she values direct interaction with her materials during her sculpting process, hence gaining a better understanding of them.

In relation to this matter, Han also stresses her opinion on current technology-driven tools (e.g., 3D printers). First, she mentions the benefits of technology and machinery, which she feels are extremely helpful in making her art making processes more efficient. In view of her many large-scale artworks, machinery such as those used for stone cutting, or cranes for the transport of heavy materials, bridge the gaps in our human capabilities. However, though she believes in the advancement of technology as an advantage for artists to tap on, she maintains that machinery cannot replicate the intricate details of certain forms due to its lack of precision and certainly a sense of “humanness”. This is echoed by her sentiments of the need for an “artist's touch”- a deep involvement in her entire art making process.

After the assistants and machinery work on large-scale processes, Han moves to smaller handheld tools to detail her sculptures. Hard materials and surfaces require strength and precision, which Han employs from both electric and human power. She is deft with diamond cutters, rotary drills, and hammers, carving and chipping away allowing the texture to surface from her sculptures. Han described using a diamond composite blade to cut out the “windows” in The Rising Moon and chiselling texture on its surface with a tungsten-tipped chisel.

Han’s tungsten tip hand tools for stone works. Photos by [Us].

Han’s tungsten tip hand tools for stone works. Photos by [Us].

Han’s machine-powered electrical tools for stone works. Photos by [Us].

When asked if she envisions her works or herself as leaving a mark or legacy for the future of Singapore and art, she acknowledges it but does not derive motivation from it. Simply enjoying creating as an artist and a sculptor is her contribution to the art scene. Although artists are often preconceived to have a hard life and financial difficulty, Han stressed the artist’s duty to challenge it - an artist’s life does not have to be all that bad. Han advised that hard work and trust are measures of one's success, which need to be built up over time. Each hit of the hammer to the chisel is Han Sai Por’s mark and legacy laid to witness the growth of the arts and of Singapore.

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