Farizi Noorfauzi at Undescribed #3

One-Corner questions the structuralist approach of cultural stereotypes in constructing meaning about people. Specifically, it is my satirical response to the historical colloquial stereotype of “lepak one corner” – an assumption of the Malay community as idle and lazy – through the repeated action of me sitting in different corners around my residential area.

No Corner 4

No Corner 5

No-Corner (2017, Photographic series). Pasted within a defunct residential area, the stickers (of me sitting in different positions suggesting the “lepak one corner” stereotype) are meant to disappear along with the expired space.

Dear M. (2018, Video sculpture, installed at DECK for Undescribed #3) explores my experience of uncertainty in confrontation with my religious identity. The performatory interaction between myself and the door is a manifestation of the emotional and physical boundary resulting from that experience. Through the use of televisions, the work attempts to capture the fragmented and disorienting experience of reconciling with one’s religion.

Let’s Swim (2018, Video installation, 11’12”, installed at DECK for Undescribed #3) explores water as a motif in different dominant religions in Singapore. Through the act of wearing different coloured clothings representative of these religions, and submerging them in the ocean, I attempt to investigate the possibility of unifying such fundamentally different religions, and overcoming the polarised nature of religion through the idea of water as a commonality.

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Baju Kurung, Sangkar Burung (Baju Kurung, Caged Bird) (2017, Installation). The garment’s form and function explores how the baju kurung, as a symbolic clothing of the Malay culture, restricts one’s freedom as an individual.

Self Haircut 4

Self-Haircut (2017, Live video performance). In the performance, the act of shaving my own head parallels how pilgrims in Mecca shave their heads to mark the finality of their pilgrimage. The private performance was done in a booth, which was made accessible to the audience through the live feed video. This was a good illustration of my practice; I am always making my personal cultural experiences accessible to the public through my artworks. The video is meant to be a revisitable archival of the performance.

Currently showing at Undescribed #3 is Farizi Noorfauzi, a recent School of The Arts, Singapore (SOTA) graduate and a multi-disciplinary artist working predominantly with media and performance art. “I’m interested in investigating the relevance of culture, specifically within the unique socio-cultural context of Singapore as an intersection of diasporic cultures. Taking the traditions of my Malay-Islamic culture as a point of departure, I examine cultural traditions and rituals through performances, which are made accessible through videos. In doing so, I investigate new cultural states of living and ways to move on.”

Undescribed #3 runs until 31 March at DECK. Check it out!

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Where art thou Jon?

whereartjohn_ Bus 54

whereartjohn_ Mountbatten Road

whereartjohn_ St Andrew's Road

whereartjohn_ Time's Arrow

whereartjohn_ Untitled

After a long radio silence, Jon Lim aka whereartjon, resurfaced with a thirst for documenting “ordinary things that deserve to be seen”. “While a good part of our culture might have manufactured roots, there’s still a lot more depth to Singaporean life than we often give it credit for,” Jon explains.

In between earning a wage as a freelance graphic designer and cranking out one digital painting a week, Jon is finishing up a graphic novel titled Walking Like Trees. “The novel is slated for a joint release with Inch Chua’s next single later this year.”

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Spotted! Ng Wu Gang

Ng Wu Gang-1

Endeavour

Ng Wu Gang-2

Endeavour

Ng Wu Gang-3

Endeavour

Ng Wu Gang-4
The pain we leave behind this wretched place

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Ng Wu Gang-6

Entropic Dream

Ng Wu Gang utilises photography to create a visual narrative of his life and memories. But he also likes to show us things that extend beyond every day life, producing images that interpret what is within him, what is told by his dreams.

“Our dreams are this weird manifestation of our consciousness, and often don’t make any sense. Typically, we experience these dreams when we are alone. I often use Polaroids as a medium to document my dreams, as Polaroids will fade over time.”

Wu Gang is one of the 16 emerging artists from LASALLE College of the Arts’ BA(Hons) Fine Arts program showing at Art Moves III. You can view his work at the TCC Novena outlet.

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Spotted! Ru Yi Gan

ruyi_Claw Crane

ruyi-Mt Burger

ruyi-Rainbow Ice Cream

ruyi-Sun, Moon and Stars

ruyi-The Art of Tea

ruyi-When the Stars Twinkle

“I enjoy telling stories through illustrations, and I always had a passion for drawing and a strong interest in digital art and animation,” Ru Yi Gan tells Culturepush. When studying at Nanyang Polytechnic, she decided to attend the Digital Media Design course, specializing in Animation.

“Since then, I’ve worked on numerous book illustrations for publishing companies and I’ve been actively involved in video production projects.”

Ru Yi developed a fascination with book illustrations and plans to publish an illustrated storybook in the future.

 

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Ryan Benjamin Lee at Undescribed #3

ryan lee_unfold

Unfold (2017)
Unfold is a stop-motion animation which takes the humble cardboard box and injects character into it, revealing its surprising malleability.

Mushroom (2018)
Video Installation, 5’20”
Silent

Mushroom is a site-specific video installation that stretches the human body to its spatial limits. The video accumulates as disembodied movements and impulses reaching upwards and outwards, desperately trying to grasp on to something tangible.

This work was made in collaboration with movement artist and actor, Chaney Chia.

ryan lee-spawn

Spawn (2018) – Silent
Screensaver, 4’20”

The screensaver becomes an unlikely breeding ground for video art. Its parasitic presence pops up when you are least interested in it.

Stray (2017)
Two-channel video installation, 10’50”
Sound in collaboration with Lee Hong Xuan

The stray cat pops up in Singapore’s HDB void decks and social media newsfeeds, roaming effortlessly between physical and virtual spaces, much like a video artist. Through recording the stray cats’ endless wanderings via my iPhone, I began adopting their playful attitude towards the world, integrating it into my art-making process.

ryan lee-waiting

Waiting-Prinsep St. (2016)
Video, 2’00”
Sound

The traffic light is a transitory space for people to move around the city. This video work extends the frustration of waiting to a never-ending loop, fidgeting, scratching or tapping become ways of occupying time.

What Was Left Behind (2015)
Gifs, Washi Tape, QR Codes, Inkjet on print

Sticking out like a sore thumb, Waterloo Centre, though situated at the heart of the art district, is a reluctant participant in the hippie, trendy art events. I wanted to respond to the quaintness of Waterloo Centre by bringing attention to its many under utilised pockets of space and unattended objects found along every corridor.

Ryan Benjamin Lee one of the selected artists for this year’s Undescribed, an annual platform conceived by DECK to support emerging artists who have recently graduated from local art institutions.

Artist Statement
Ryan Benjamin Lee is a moving image artist whose practice utilises video art, animation, and installation to create a range of mixed media assemblages. Grounded in an interest in material investigation, his artworks explore the relationship between physical and virtual spaces and how our post internet experiences seamlessly merge the two. As such, his works often have a sculptural or site-specific quality to them.

Undescribed #3 runs until 31 March at DECK gallery 1 & 2.

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