Since the 1970s, Goh Beng Kwan has been actively travelling around the region and beyond, exhibiting his works abroad while seeking inspiration for his ever-evolving practice. Even after travelling far and wide, it is still the natural beauty of the untouched rural landscapes specific to parts of Asia that is most alluring to him. Goh’s art practice in the early part of the new millennia drew heavily from his frequent travels - from the vast padi fields of Bali to the awe-inspiring mountains of China, Goh sought to capture the essence of their spirit and beauty on his canvas.

While collage work admittedly has brought Goh Beng Kwan critical acclaim, he avoids the narrow categorisation as a collage artist, refusing to let it define his practice. His continued experimentation with different mediums and materials – from acrylic paints, and watercolour to Chinese ink, on canvas, linen, paper, or even ceramic surfaces – and his constant travelling, reflect his strong desire resist stagnation, in art or in life. The end of the first two decades of the new millennia saw a gradual return to his roots as he began to revisit ink painting on paper with renewed reverence, while demonstrating a mastery over the medium through his fresh perspective. With decades of experience working in a variety of media, Goh cultivated an acute sensitivity to pictorial harmony and compositional balance, allowing him to execute his works with confidence despite their drastically differing forms.