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Date: Sun, 9 Jul 2023 04:43:31 +0200
From: "Consumer Rewards" <AceCustomerSupport@jointrestoregummesx.shop>
Reply-To: "Ace Department" <AceDepartment@jointrestoregummesx.shop>
Subject: Shipment Pending - Milwaukee Power Drill
To: <bruce@untroubled.org>
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Shipment Pending - Milwaukee Power Drill

http://jointrestoregummesx.shop/zjT6LMX96X9jPDwcmq2Chx_tAZRnT5GZYk5cq_wBkNflSk0Lkw

http://jointrestoregummesx.shop/OVXYHL_HFRRahJPpTIKoOvzlq7WDg2nzWJ5WsJQ65RPWV_N7Lg

Punggol station features an artwork Water, Landscape & Future by Goh Beng Kwan as part of the network's Art-in-Transit programme. The artwork consists of a set of nine glass paintings displayed around the concourse, with each 3-by-2-metre (9.8 by 6.6 ft) glass panel reflecting natural light in the station. The glass paintings represent elements of water, the seaside, kampongs and trees, with pieces of materials embedded in the glass to create a shimmering effect.

In the work, the artist uses various colours (blue/turquoise for the sea, yellow/brown/sienna for the kampungs and green for the trees) which reflects his memories of Punggol's past. While his inspiration is from the past, the artist used a contemporary style for this work, intending for his work to remain "fresh and appealing" to the residents of Punggol then, now and the future. First creating his work using oil and acrylic on canvas, Goh has the computer-generated copies put up in a 3D-model of the station. Presenting his work, the artist recounted that he had a difficult time convincing the Art Review Panel that the work could last a long time in a public place.

This was the first time Goh used glass as a medium. Creating the work required patience, as Goh had to repeatedly fire the glass after applying colour on the panel. As glass is fragile, a panel broke apart after being fired seven times. Recounting this as a "heartbreak", the artist went on to seek help from Howard Chua of Sun Glass. Chua then experimented with materials and colours to create the textures and colours closer to the originals. He used a unique method of integrating glass with glass and other materials. Hoping to recreate the textures of cloth and paper in the originals, new materials were introduced, while firing techniques were refined. The artist was fascinated by the "element of spontaneity" during the firing process

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<span style="color:#FFFFFF;font-size:5px;">Punggol station features an artwork Water, Landscape &amp; Future by Goh Beng Kwan as part of the network&#39;s Art-in-Transit programme. The artwork consists of a set of nine glass paintings displayed around the concourse, with each 3-by-2-metre (9.8 by 6.6 ft) glass panel reflecting natural light in the station. The glass paintings represent elements of water, the seaside, kampongs and trees, with pieces of materials embedded in the glass to create a shimmering effect. In the work, the artist uses various colours (blue/turquoise for the sea, yellow/brown/sienna for the kampungs and green for the trees) which reflects his memories of Punggol&#39;s past. While his inspiration is from the past, the artist used a contemporary style for this work, intending for his work to remain &quot;fresh and appealing&quot; to the residents of Punggol then, now and the future. First creating his work using oil and acrylic on canvas, Goh has the computer-generated copies put up in a 3D-model of the station. Presenting his work, the artist recounted that he had a difficult time convincing the Art Review Panel that the work could last a long time in a public place. This was the first time Goh used glass as a medium. Creating the work required patience, as Goh had to repeatedly fire the glass after applying colour on the panel. As glass is fragile, a panel broke apart after being fired seven times. Recounting this as a &quot;heartbreak&quot;, the artist went on to seek help from Howard Chua of Sun Glass. Chua then experimented with materials and colours to create the textures and colours closer to the originals. He used a unique method of integrating glass with glass and other materials. Hoping to recreate the textures of cloth and paper in the originals, new materials were introduced, while firing techniques were refined. The artist was fascinated by the &quot;element of spontaneity&quot; during the firing process</span><br />
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