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.


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!


Spotted! Nur Isabella Andrews

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Our Founding Fathers (2016)

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This is your only Window to the World (2017)

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We Shall Meet in a Place Where There is no Darkness (2015)

Nur Isabella Andrews is a visual artist currently pursuing a BA(Hons) in Fine Arts at LASALLE College of the Arts. Specialising in graphic novel, she gained interest in sequential and narrative art, and is now experimenting with video art as a medium for her story telling.

“My work is a reflection of how I imagine the universe began, my definition and idea of how we came to be and explorations of the relationship between delusion and reality. With influences from conspiracy theories of the New World Order and esoteric philosophy, new insights of how I perceive the world are synthesized from both mundane and transcendent meanings. Using my artwork and its processes I aim to question and explore the ambiguity of life, culture and time.

My aim is to explore the different ways the elites are able to control the population, who do not share the same status through subliminal messaging and propaganda broadcasted by the mass media. The intention with my works is to cause the feeling of discomfort and paranoia to its viewers.

My work also explores existential questions of how we, as living species, are created and have conformed in the world in which we have created. In this work I am questioning the higher states of consciousness for example, are we being watched by beings that are our so called ‘creators’ or are we social experiments and do we really matter in the universe?

Focusing on these questions, I intended to create work that is a commentary on the conspiracy theories that have inspired me, such as David Ickes theory of mind controlling space lizards and the government tactic of MK Ultra. Although not always serious, I also intend to add bantered elements into my final pieces.

I decided to make my video appear as if an alien species is trying to communicate to us through the television. They are reaching out to us as a warning, for an unknown reason. It is probably meant to remind us that we are all a social experiment and nothing we do matters. But who knows?”


Spotted! Moses Tan

Moses Tan-In Shadows

In Shadows

Moses Tan_Performing for the Casuarinas

Performing for the Casuarinas imagines acts of passion as slow waltz in which it is performed for the Casuarinas.

Moses tan-Hands on Back

Hands on Back started out as a plan for a video work and is depicted as a film still.

You cannot climb peony mountain

Having majored in Fine Arts from LASALLE College of the Arts, Moses Tan‘s work flits between disciplines and includes drawings, video and sound installations. “I was also formerly trained in Chemistry and Biological Chemistry and I’m interested in exploring ideas of poetry and allegories that can be found from theories in Chemistry.”

Mo’s work revolves around themes of queer politics and sociopolitical issues, and pulls inspiration from the theories of philosophers Judith Butler and Karen Barad. In 2016, he picked up the Winston Oh Travel Award which allowed him to travel to Beijing and extend his research on queer issues.

“The award allowed me to conduct field research in Beijing, which got me to look at ideas of corrective therapy for queer individuals. With that, ideas of denial and rejection helped to enhance my understanding of queer melancholia as a result of denial of desires so as to fit into a heteronormative society. Through my research trip, some of the methods of corrective therapy ranged from counselling to electroshock therapy and one of the methods used was to snap a rubber band on the wrist any time an ‘unwanted’ desire occurs. I also managed to survey two cruising sites which coincidentally had slopes where the cruising would normally occur. The work is a translation of all these ideas where a fictional mountain (the name is formed from the two parks that were the cruising sites) and in that way, posing the mountain as a metaphor for the body. Also inspired by a text by Karen Bermann about spaces and by the peony flower which is an unofficial national flower of China. I was interested in the metaphorical nature of the peony flower (which in Chinese is also mudane) which was then translated into a book where images of the sites were hidden.”


Enter ‘My Kind of Town’

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Unless you’ve spent the last couple of weeks in a hole, you’ll have seen My Kind of Town,  the multimedia feature about the people of Potong Pasir and their former Member of Parliament, Mr Chiam See Tong.

The feature is the final-year project by four students of the Wee Kim Wee School of Communication and Information (NTU) each with a different skill set, and earlier this week they launched a website which gives you unfettered virtual access to the Potong Pasir community from 6am till 12am.

Meet the team …

Cara Chiang, the team’s producer. “It was a real challenge to undertake such an ambitious project within the short time that we had. But it’s rewarding to have covered such a meaningful and important topic.”

Edward Teo, the team’s photographer. “As much as the team had created content over the months, we also learnt a lot about Singapore politics and Potong Pasir in the process. Although there were often endless nights of work, it was never boring for us.”

Sulaiman Daud, the team’s editor and writer. “When we started I knew Mr Chiam was a fairly successful politician, but over the course of the project I was struck by the immense respect for him from nearly everyone we spoke to. Potong Pasir residents, politicians, academics – even if they didn’t agree with his views they respected the hard work he put into the estate over his career. For me it demonstrated that a life of service is never regretted.”

Wong Kar Weng, the team’s videographer. “Embarking on this project was fraught with much uncertainty and self-doubt. Nonetheless, I was glad to follow this project through to the end because we saw a story that deserves to be documented.”

We just love it when students go the whole hog!


Welcome to Masterpieces, A Digital Art Gallery

Atlantis I by Dawn Ng

The Ultimate Visual Dictionary by Milenko Prvacki

Painting by a Macaque on a GALAXY Note by Robert Zhao Ren Hui

(from the press release)

Samsung Electronics Co., recently launched Masterpieces, a digital art gallery with a collection of contributed artworks by established and emerging artists created with the Samsung GALAXY Note 10.1 LTE.

To further fuel the discovery of new talents, Samsung worked with selected art schools such as LASALLE, School of the Arts (SOTA) and Raffles Design Institute (RDI) in Singapore. As part of their course curriculum, students were invited to contribute creative artworks created on the GALAXY Note 10.1 LTE.

A total of 32 selected student works are now displayed in the gallery. These were reviewed and unanimously selected by a panel of industry veterans including Masterpieces curator, Iola Lenzi, artist and filmmaker, Ho Tzu Nyen, Esplanade’s Visual Arts programming officer, Tamares Goh and arts journalist from The Straits Times, Deepika Shetty. These artworks were selected based on the students’ ability to maximise the use of technology as they relate stories through their creations.


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