Spotted! Ng Wu Gang

Ng Wu Gang-1


Ng Wu Gang-2


Ng Wu Gang-3


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

Ng Wu Gang-5

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.


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”

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”

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.


Spotted! Joses Phang






We spotted Joses Phang‘s work at the TCC outlet on Circular Road. Joses is one of the 16 emerging artists from LASALLE College of the Arts’ BA(Hons) Fine Arts program showing works at Art Moves III, a year-long exhibition across various TCC cafés.

Joses tells Culturepush his works mostly talk about people and society. “I have always been very drawn to this idea of loneliness and isolation in an urban society, especially since I took up street photography as a hobby, and started capturing these moments of isolation in bustling areas of the city. As someone who enjoys doing things alone, my photographs and drawings mirror my own state of mind wandering the city, investigating these feelings of loneliness in crowds, yet feeling completely comfortable being alone at the same time. Influenced by the absurd, each work of mine is like a journey exploring these positions of isolation, torn between being an individual and being a part of a collective, and finding no real resolution to it.”



Exhib! ROOTS: The Exhibition

roots exhibition utama

(from the press release)

ROOTS is an exhibition that explores ethnic origins and culture. The artists are invited to look within, and draw from the richest human resource — our multi-dimensional layers of identity — to create a series of work that questions and initiates conversations about issues that are rooted in his sense of belonging within our singular world.

By showcasing individual stories, ROOTS represents a vehicle for dialogue regarding the changing faces of identity within our complex social fabric.

Exhibiting Artists:
@el_nasca (Berlin)
@slacsatu (Singapore)
@anacathie (Bandung/Singapore)
@freakyfir (Singapore)
@yellowmushmellow (Singapore)
@__kringe (Singapore)
@seedoubleyouuu (Singapore)
@5on6_ (Singapore)
@pedmons (Jakarta)
@mich_rouge (Jakarta/Singapore)

Katong Point, 451 Joo Chiat Road, #02-17

Time and date:
24th February at 7pm


Exhib! NYANYI SUNYI (Songs of Solitude)

hilang gemilang

Hilang Gemilang by Izzad Razali Shah (2017)

Gayong, oil on canvas 90x70cm 2017

Gayong by Khairulddin Wahab (2017)


The Sweets Left a Sour Taste by Nadiah Alsagoff (2017)


Dia-S’porean by Rifqi Amirul (2017)

Stagecraft after lake

Stagecraft (After Lake of Singgora) by Hilmi Johandi (2017)

(from the press release)

Nyanyi Sunyi (Songs of Solitude) is an independent exhibition of six young Singapore artists— Hilmi Johandi, Izzad Radzali Shah, Khairulddin Wahab, Kin Chui, Nadiah Alsagoff and Rifqi Amirul—curated by Kamiliah Bahdar and Syaheedah Iskandar.

The exhibition explores connections and misaligned relations. These disjunctures, and the concomitant articulation of differences and otherness, exert an existential shaping of experiences and relations that inform our identities and positions.

Through a series of paintings, Khairulddin Wahab investigates the esoteric philosophy and exoteric practice of silat, a martial arts form indigenous to the region of Southeast Asia. His interest in silat as the subject of his work was piqued by a chance encounter of a family photo showing a pesilat (silat practitioner) at a wedding, where silat is often performed to honor, bless and protect the bride and groom. After delving into the roots and origins of this art form, Khairulddin found in silat the embodied form of Malay mysticism. His paintings contain symbolic and abstract representations of the spiritual elements of silat, and also seek to capture the aura of mysticism through his use of a muted dark palette, which conveys a mysterious yet ominous sensation.

Kin Chui fabricated letterboxes with the address 84 Onan Road, which is located in Joo Chiat. In pre-independence Singapore, this same address was a site of gathering and where information and thoughts were exchanged by the likes of Musso, Winata, Boedisoejitro, Soebakat and Tan Malaka—individuals who saw themselves as revolutionaries in exile from the Dutch East Indies for their struggle against colonial subjugation. 84 Onan Road was just a node in the larger regional network of anti-colonial revolutionaries who influenced, inspired and supported one another. This trans-national network is now largely forgotten. Kin Chui’s installation of letterboxes and letters is part of his continuing research into anti-colonial struggles and the politics of memory, and an attempt at reflecting on the shared regional histories together.

Nadiah Alsagoff often explores themes of identity and self through the body. For the exhibition, she created paintings on fabric informed by her experiences of disconnection and feelings of perturbation stemming from her inability to speak and understand Malay and Sarawakian Malay fluently spoken by her extended family residing in Sarawak, Malaysia. The Sweets Left a Sour Taste took place in her kindergarten class, when a classmate refused to share sweets with her due to her mixed heritage. Unable to defend herself in Malay, she kept quiet so as to avoid being validated as an outsider. In the paintings, the initial layer of brushstrokes are marred and defaced by moving the tongue across the surface of the cloth, portraying the ongoing conflict between familiarity and distance, closeness and separation that language engenders.

In his works of mixed media on glass and drawings on paper, Rifqi Amirul continues his interest in transit spaces and border places that is informed by his past experience of daily cross-border commuting between Malaysia and Singapore. His new series maps a psychological space onto the architectural environment. The architectural focus is emphasised by deploying the same glass used for windows as his support medium. On these glasses, he employs both painting and printing techniques: applying acrylic and resin with brush, pouring and screenprinting enamel, spray painting and etching directly on them. Sparsely populated by silent anonymous figures, these glasses depict cold, detached and isolating spaces. In contrast, noisy lines thin and thick overwhelm his drawings, imposing a sense of movement and chaotic rhythm to these same places.

Taman Rumit Bertumit (Complicated Garden) is a series of paintings that Izzad Radzali Shah has worked over the past year. He intuitively translates not only history and culture but also his surroundings, environments and memories into symbols, metaphors and cryptic texts on his canvasses. These serve as indirect expressions of his feelings on society and urban living—from issues of power and protest, to ideas of home and feelings of loneliness and confusion. He has said that, “Art is just a tool for me to bridge the gap between what I see and feel and what other people don’t see and feel.” As such, his canvasses function like diaries, although one that undergoes constant editing and re-editing as Izzad often works on the same canvas for months, adding and taking away various elements over many layers of paint.

Hilmi Johandi explores the construction of staged sets, whether film, theatre or others. His treatment of the subject unsettles the relationship between the reality of the set and the illusion on screen or on stage. In his drawing of charcoal and acrylic on canvas, Hilmi composes the depth and dimension such that the viewer is placed on the set itself, positioned not too far behind the opened curtains, reminisced of Diego Velázquez’s Las Meninas (1656). His works are characterised by an openness allowing for manifold interpretations. Dioramas, sets and props are revealed in fragments as set-ups, its illusory potential lying dormant.

The exhibition opens on February 4 and runs through 25 February (Tue–Sun:11am–7pm) at Gillman Barracks Block 47 #01-25.


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