Ng Eng Teng (1934-2001) was one of Singapores pioneering sculptors, creating

artworks that explored various states of the human condition. From his early
training in painting to later sculptural works, Ng consistently desired to express
the complexity of human emotions, influenced by the economic and political
conditions of late colonial Singapore. His early works featured realist
representations of figures in various states of psychological frailty, but by the
1990s, Ng turned towards abstraction, abandoning his focus on portraying
anguish in a physical form. Dreaming encapsulates this evolution in his artistic
vocabulary, evoking a ruminative wonderment in the green figure. A free-standing
cast bronze sculpture, it was created in 1992, standing at 67cm by 51 cm by 25
cm.
Dreaming is a sculpture of a human figure, albeit abstracted into a simplified form
with an evident lack of a torso. It thus consists of a distinct head supported by two
detached arms, the ends of which touch two masses that are exaggerated thighs.
The overall effect of the works dark form and green colour contributes to a sense
of serenity and calm, linking back to the titular condition of a dream-like state.
Dreaming is seemingly composed of amalgamated body parts. However, the
angles and lines of the work create a distinct form that influences the viewers
perception of volume and space. The work can be approached in three parts, in a
vertical fashion the head at the top of the sculpture, the midsection of arms, and
the bottom structure of heavy lumps that imply thighs of the human figure. As the
human figure is abstracted in this work, the dislocation of body and altered
proportions transforms the overall form into an unnatural triangular posture. The
lack of a torso and a triangular implied space, created by the acute angle formed
by the contact of hands, facilitates this. However, the sculpture tilts towards the
left, as the right side comprises of appendages from the head and right thigh that
point up at a northeast direction. Thus, a sense of suspension on the right side
creates this imbalance, imbuing a movement to the piece with the entire work
focusing on this upward movement. The paralleled placement of the long, flat
piece extending from the head, likely to be hair, and the right foot also enhances
a sense of harmony through symmetry in movement. Dreaming thus seems
weightless, contributing to the ethereal evocation of being in a dream-like state.
However, the flow of hair and positioning of the right foot implies that the figure is
in fact descending from rather than ascending into the ether. As abstraction
simplifies the body, the body language conveyed through the figures posture
becomes increasingly important; here, an incongruous sense of conflicting
impetuses is felt. Hence, there is tension in the suspension of the work.
Nevertheless, stability is conveyed through the sturdy base of the figures thighs
of exaggerated proportions. Although Dreaming is composed in a wistful, elevated
manner, the heaviness of the base hints at a rootedness to the ground, a
rootedness in reality.
The perception of volume in Dreaming is particularly evident, with the figures
fullness exemplified through the spherical head and masses that constitute the
arms and thighs. The contours of the work are also simplified, highlighting the
forehead, cheeks, centre of the arms and top of the thighs, lending an instant
recognition to the human form depicted. The contrast between light and shadows
is stark, with the darkness settling in between spaces that delineate the details,
such as fingers, toes, embedded eyelids and the parting of lips. The combination
of highlights and shadow creates a gentle, undulating movement that augments
the tranquil character of the work, enhancing the smooth, unbroken curves that
create a harmonious and organic form modelled after the human figure. This fluid
energy is uninterrupted in rigid angles or lines, embodying a form deep in reverie.
Overall, Dreaming is dark green in colour, although the values of this hue are not
consistent throughout. Enhancing the contours, the cheeks, for instance, are of
distinctly lower values compared to other areas. A largely uniform green tone

prevents detraction of focus from the portrayal of the figure, but also
dehumanises it, alienating it to a surreal representation that ties in with the
intended dream-like state. The texture is mostly smooth, except from the few
rough depressions made on the left thigh that disrupt the even surface. As it is the
only point of contact with the ground, the left thigh possibly expresses the harsher
realities of life, away from the idyllic, elevated position of the other parts of the
figure.
In this abstracted work, only the facial features, fingers and toes are rendered in
relative detail while the overall bodily form is abbreviated, existing merely for
structural support or to imply compositional balance. Also, the head is presented
as an autonomous entity, severed from the body and instead held preciously by
the delicate fingers. Thus, the focus of Dreaming is arguably the face, with the
greatest measure of detail concentrated around this area. The face is rendered in
its familiar form, and is represented as a psychological portrait. However, it is also
free from an individual identity as its features are more generic than specific. This
foregrounds the representation of emotions through the countenance, standing
for the universal expression of emotions by humanity. This enables the viewer to
deeply connect with this representation of a contemplative state. The eyelids are
veiled in sleep, and the lips parted in child-like repose, expressing an embryonic
innocence and purity to the essence of Dreaming. The rest of the body simply
supports this expression, contributing to the overall sense of calm and restfulness.
Ultimately, Ngs Dreaming captures an entire emotional state in the abstracted
and fragmented body. Influenced by his life drawing experience, Ng realised the
immense expressive potential in the human figure, especially when simplified to
convey the crucial bodily gestures and countenance that encapsulate a particular
emotional state. Although inspired by Rodins representation of psychological
portraits through sculpture, Ngs rendering of the abstract human figure conveys
an alternative but equally powerful representation of the human condition.