Tan Wyn-Lyn’s (b. 1974, Singapore) practice is grounded in painting, and driven by a fascination with form, space, light, and perception. This curvilinear painting on wood mounted on the wall is part of her continual engagement with the materiality of painting and its dynamics in spatial and sculptural forms. The unique texture and grain of each individual panel of wood initiates a fresh dialogue between artist and medium, where the material is not simply a support but rather a sign of the process of mark-making.
Trained in traditional Chinese ink painting and Western painting, Tan has developed a contemporary visual vocabulary that often straddles the East and West. She considers the journey to and immersive experience of a place as a key part of her methodology, and much of her work has been based on travels to unfamiliar and distant landscapes in the Northern Hemisphere, in pursuit of the ephemeral. Her affinity with the North ties in with her Chinese sensibilities, as she finds a resonance between the vastness of the North and the elusive concept of emptiness in Chinese landscape paintings. Tan is also interested in spaces, both metaphysical and physical, and their evocative power. In recent years, her interdisciplinary approach has included video and installation, often involving site-specific material. Most recently, she has added generative art in the form of NFTs to her practice.