Ho Yee Ping 何逸平

传统英国水彩画传入新加坡仅数十年光景，在整个新加坡艺术史上却拥有其不可匆视的地位。水彩的确有它在南洋土地上茁壮成长的优势；从它的工具便利，费用较低，快干及能现场完成，皆占尽了有利的地位；尤其对一群业余的艺术工作者，只能在周末聚一聚，画一画，水彩完全符合了这种种要求。

何逸平老师历数十年不停地工作，从教学时，周末与数位同道到户外写生，到退休后，每周数次的户外写生，其对水彩画艺术的贡献不仅于创造好的作品而已；那一份不间断的执着，对后辈艺术工作者产生了莫大的鼓励及正面的影响；我在二十年前有幸通过已故新加坡水彩画会创会会长吴承惠老师介绍，结识了何老师，得他言教身教，受益匪浅，感激不尽。

艺术在西方观念中强调突破创新，快速发展个人新风格，强调自己；但东方人对艺术创作更重承先启后，缓缓前行，含蓄地将个人的理念与手法有机地蕴藏于先贤的大脚印里。何老师的作品，我以东方人的视觉观切入，细细剖析，更能体验个中的滋味。

他以个人含蓄的文人素养，内向的性格，融入了写生绘画创作中，由于视觉感受的速度比一般快速强烈的手法来得缓慢，需观者细细体验，当观者步了他的创作视觉状态，方能感受到其作品的力量；细心研究他的笔韵与空间结构，轻快而略带传统的色彩与怀旧的情感相结合，相得益彰。

看何老师的画作如品茗，须慢慢入味，牛饮式的观赏方式用不上。

有幸能先睹为快，寥寥数字，实在无法尽述其详，还请爱画者，亲临品味佳作吧！

祝愿何老师展出成功，观者满载而归。

二零一三年一月四日

黄运南敬上

助理教授

南评理工大学，文学院，艺术设计媒体部

Traditional British watercolour art was introduced to Singapore art scene for only tens of years. However, its contribution to our art scene has been very significant all the time. It truly has its advantages to grow as one of the important Nanyang Style art medium. It is easy to carry around with light and minimum tools. And it is cost effective to all levels of artists. It is especially beneficial to outdoor weekend painters. Painters have get-together and painting sessions with ease every weekend.

Mr. Ho Yee Ping could represent one of the most significant and active participants of the above outdoor weekend painters’ events. Over 50 years, he worked during weekends when he was holding a day teaching job in school and he has been painting regularly after retirement. His huge contributions would not be just the making of nice pieces of artworks but his positive influence to new comers. It serves as a great encouragement to young and emerging artists seeing his endless energy and passion in his creative activity. I was fortunate to be introduced to Mr. Ho by the late founding president of Singapore Watercolour Society, Mr. Gog Sing Hooi. I sincerely appreciate his teaching through not only curating of my art but his showing as a great positive example of a noble artist.

The emphasis of western art making focuses on the creation of new concepts — a personal style of image making. The individual element has been the main structure of art creation. While in the philosophy of oriental art making, it places heavier weight on the retention of classical art languages. Oriental artists carefully and subtly hide their new concepts and working approaches in the footsteps of old masters. I allow myself to read Mr. Ho’s art with oriental eyes. My slow and subtle approach in reading his artworks truly allows a sublimation of visual taste to a new height.

His subtle and intellectual personality is fully immersed into his work of art. His artworks are not to be read as impulsive, but as slow and rhythmical. Careful examination of the relationship of his brushworks and space structures, his fresh but slightly classical use of colors and his emotional relationship with the old architectural elements, these organically blended structures, complement each visual element unknowingly. Though he has done it intentionally all the time.

Reading Mr. Ho’s artworks, I feel like the appreciation of Chinese tea art. It reacts slowly but deeply. A beer drinking type of ceremony will not serve any good here.

I am lucky to view his exhibiting artworks before many others. However my very few lines could not represent even a small percentage of the actual artworks. Art lovers should not miss this opportunity to experience his great pieces.

I wish Mr. Ho has a wonderful show and every visitor will be loaded with joy and knowledge leaving his show.

Ng Woon Lam

Assistant Professor

School of Art Design and Media

Nanyang Technological University

04 Jan 2013