Cheong Soo Pieng

Ho Sou Ping, Ma Peiyi, The Story of Cheong Soo Pieng, Oxford Graphic Printers, Singapore, 2015, illustrated fig. 6.3, p. 97 

Yeo Weiwei, Cheong Soo Pieng: Visions of Southeast Asia, The National Art Gallery, Singapore (Singapore), 2010, Colorplate 208

This work is in good overall condition as viewed. There is evidence of some wear along the edges of the work due to abrasions with the frame, but this does not affect the overall image as it is covered by the frame itself. Under close inspection, some craquelure is visible in the background areas, consistent with the age of the work. There are a few very small and minor areas of paint loss in the upper quadrants, as well as some pinhole sized areas of paint loss in the lower right quadrant. Examination under ultraviolet light reveals areas of restoration along the edges of the work, some small areas of restoration in the background and a few areas in the houses (only in the upper quadrants). Framed.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

“The relationship between art and everyday life, which has been variously referred to as the commonplace, the banal and the ordinary, is a recurring trope in art history and artistic practices. Robert Rauschenberg once said, “Painting relates to both art and life… I try to work in that gap between the two.” Rauscheberg’s declared affiliation to the commonplace was a deliberate resistance to the rejection of everyday life that had been espoused by the Abstract Expressionist painters... In a forum on Soo Pieng organized by the Nanyang Alumni Association, panelists discussed the Hokkien phrase “Ane tu xi ane,” which Soo Pieng often used with his students at NAFA when correcting their work. “Ane tu xi ane,” meaning this is how things are, is “a way of insisting on a personal way of perceiving and doing things,” thereby revealing his underlying personal convictions and beliefs, which remained fundamentally unchanged throughout his life.”¹

¹ Seng Yu Jin and Grace Tng, Cheong Soo Pieng: Visions of Southeast Asia, National Art Gallery, Singapore, p.53-54.