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| Image 1. Cindy Sao, Repulsion of the Subconscious Mind, 2019. Fabric, yarn, wire. |
Some of the notable works for me from budding young artists graduating in the various programmes in fine arts at LASALLE College, and why.
1. Playing with titles. Cindy Sao (Image 1). The idea of yarn as narrative, threading and connections to the mind, the function of fabric and softness in craft.
2. Insertion of textual elements. Andrea Tan Shi Qi (Image 2), Chloe Po (Image 3), Desiree Tham (Image 4) and Sarah Lin Fang Yi (Image 5)
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| Image 2. Andrea Tan Shi Qi, Stand in Your Silence and Reflect, 2019. Ink and synthetic polymer paint on plastic, film (6 parts) |
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| Image 3. Chloe Po, Remember Me In Your Slumber, 2019, Tissue, paper towels, glue, thread. |
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| Image 4. Desiree Tham. Place a ruyi where you work most, 2019. LED Panels, coffee table. |
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| Image 5. Sarah Lin Fang Yi, A Dark Place (Studies), 2019. Charcoal on canvas. A graphic story. |
3. The ecological factor and soil works. Marian Chow (Image 6) (the tea brick construction looks like HDB flats from a distance) and Mohd Rusydan (Image 7) (the chucking of sand from the work, operated by a motor) simulates construction and signals Singapore’s land reclamations, and Fazleen Karlan’s anthropological referencing of the SG bicentennial (200 years or does the land history go further back?) (Image 8)
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| Image 6. Marian Chow. Tea Bricks, 2019. Used tea leaves, acrylic shelves. |
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| Image 7. Mohd Rusydan. Untethered Respite, 2019. Bamboo, concrete, batik, soil, rope mirror, programmed arduino board, vibration motor, 9V battery. |
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| Image 8. Fazleen Karlan, #sgbicentennial, 2018-19. Soil, paper pulp, found objects, groundsheet. |
4. Somewhat unusual ‘found objects’.
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| Image 9. Desiree Tham, The Bathroom Should Be Pink, 2019. Dice, handle, vase, synthetic plant, wheels, rugs, metal pipe. |
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| Image 10. Han Shui Qing, Waiting, 2019. Ovulation strips, urine. |
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| Image 11. Ong Yee Yong, Go On, 2019. Incense sticks, paper, wood. |
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5. Somewhat unusual found objects and an involvement of mechanics. Masarah’s Ulang (Image 12) and Raigo Law’s visual feast– It’s Cumulative, Not Singular (Image 13).
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| Image 12. Masarah, Ulang, 2019. Bamboo sheath, steel wool, chopping board, tree trunk, resin, metal wires, electrical wires, motors, metal bars. |
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| Image 13. Raigo Law, It’s Cumulative, Not Singular, 2019. Aluminum extrusion, silicone on plastic film, metal chains, metal hooks, LED light, LED light with programmer, high definition digital video projection of live feed from surveillance camera, 16:9 aspect ratio, colour, silent, high-definition digital video projection, 16:9 aspect ration, colour, silent projection, 3 hours. Projection of live feed: continuous. |
6. Nudity revisited. Or is it? Salhaveettil Anas’ Break the Wall (Image 14)
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| Image 14. Salhaveetthil Anas Ansari, Break the Wall, 2019. Charcoal, chalk, synthetic polymer paint on canvas.
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NB: The LASALLE Show is on at Institute of Contemporary Arts Singapore (Gallery 1) until May 29, 2019.
