"Central to calligraphy is the power and rhythm of the brushstrokes. Without either, the work is soulless. Calligraphy requires not strength, but inner energy. I write words from the heart, and I write best after I have come across a verse which moved me. I have always loved literature, and nothing moves me more than to recite verses and write them at the same time."



 

 
 

"In 1973, I began working in Chinese ink. Although I steered clear of the stereotypical subject. My kelongs and kampungs done in Chinese ink did come out very refreshing. And the government was clearing up old Singapore so rapidly. I could not just sit back and watch. I quit teaching in 1981, long before I was due for retirement, to capture the many fast disappearing scenes of old Singapore. That is why there is always a sense of history in my brush work."
 

 


¡°Still I am glad I never tire of learning. My art has gone through so many phases. I am either a Jack of all media and master of none, or I am an all-rounder. I started with water colour, which I studied diligently from primary school to high school, before I went on to oils after seeing the boldness in Liu Kang¡¯s works.¡±

 

View artist's exhibition "TZE PENG IN PARIS"

View artist's list


 


Basket of Jambu,1992

Blacksmith, 1980

Potmaking, 1993

By the river Li, 1997

Chinatown Festival, 1983


Calligraphy,c2000-2002